„Relaxat, de vară” este un proiect care a apărut firesc, și care a avut drept punct de pornire înregistrările care surprindeau viața de familie și relațiile dintre membrii comunități din blocuri cu indicativul P, de pe strada Pescărușului, undeva între 1990 și 1996.

Red Bull – 2015 © 2015 Flavia Lupu

With Google Maps you can get anywhere very quickly. Virtual. See the whole picture from above, from almost 20 metres away, if the area is of interest.

memory proiect 88 Art yourself – 2015 © 2015 Flavia Lupu

Upper Class Supervized este un prim episod al unui proiect work-în-progress, cel de-al doilea episod sub titlul I’m a Spoiled Daughter of a Politician la Victoria Art Center din Bucureşti.

I’m a Spoiled Daughter of a Politician is the result of a project that had its first episode – Upper Class Supervised – presented at Calina Gallery in Timisoara.

Project made for due to the theme “The Non-humans” of the course held in Salzburg at the Salzburg International Summer Academy of Fine Arts by Doug Ashford in 2014.

A woman in a box or femininity as a rule, a „princess”, a doll, whose purpose is to exist and to be used like an object, assimilated to other selected goods that generates reputation to their possessors.

False dramatic reality is built around a central purpose – the woman should be a baby doll type of one: a trophy, a quantifiable value, whose glow depends on the presence of an audience to applaud the one who has it in his own „possession „.

We exist in a certain space and at a certain time. It’s true truism. Nothing simpler and more obvious. The two coordinates determine each other and they generate focused or chaotic destinies.

„Nothing to see” is a project about a nothing important. In a world that we are used to look outside our sealf and judge others, two artist are following another one. Me (Flavia Lupu) I am followed by two fellow artists: Jana Viteková (from Slovakia) and Gian-Andri Toendury (from Switzerland) in a summer day in Salzburg. I cannot interact with them, and they cannot interact with me. This is a way to watch myself using the eyes of a woman and a man, from two different type of culture.

Case: Flavia Lupu, artist, in a self-portrait, 1: 1 scale; when you vandalize the photo, blood flows (fake).

The principle: we have a woman who offers herself, hypothetically, to the public to be abused. Participants can intervene with a gilded hammer, nails and other objects that are on a table, also gilded, used in the medical system.

Bold NAG – 2013 © 2013 Flavia Lupu

I prefer the metaphor. I do not give verdicts, I do not shout, I am not radical, I whisper. I try, with the risk of not finding, to look for the identity profile of those who, by chance, we were born at about the same time and in the same place with me. I rely on the truncated memories of a happy former life. My own mythology is related directly to the collective mythology of my generation. I was born in 1986. For us, Ceausescu did not exist as such. He was an almost a fictional character. Instead, the transition was for certain, a profitable moment, in which you could have something new every day, because the new seemed to be born overnight. It is not clear, however, where we started and if or when it ended. What is certain is that a world was born in the same time with my generation.

In the gallery space was organized an imaginary museum of recent history, where anyone, looking at any of the works, can have the opportunity to reflect on what was, what it could have changed and what it could have been and is not today.

Book Art Instalation History book – 2012 © 2012 Flavia Lupu

(In) visible me … Or a kind of “I” put in parentheses… is an attempt to explore the play between essence and appearance, between various levels of self-awareness. The red mannequin distillates my own frustrations, denials, flaws, disappointments, disillusionments, inadequacies, preconceptions… in short, defects.

Delights in transition Workshop – 2011 © 2011 Flavia Lupu

Accustomed to spend its nature in a permanent state of disguised self-sufficiency, in an almost obligatory superiority – a gained status -, secluded in hard-to-reach spaces, symbolically located considerably above the common world, the upper class is, in theory, impossible to capture as a vulnerable or inconsistent object of observation.

Red of Golden Era – 2010 © 2010 Flavia Lupu Red of Golden Era movie

This project is the representation of a certain type of connecting to the world, a kind of inner and outer investigation of the relationships between real and false, which implies a refusal of „the obvious”.

Landscape series – 2007 © 2007 Flavia Lupu