Short bio
Vlad Nancă, born in 1979, studied Photography and Video, between 2001-2003 at the Art University in Bucharest, Romania where he continues to live and work. In parallel with his early art practice he was an active participant in the coagulation of the young artist scene in Bucharest. In 2003 he was one of the founding members of 2020 initiative, under which among other events, he hosted the Home Gallery (with exhibitions by Anna Jermolaewa, Ioana Nemes, Mona Vatamanu and Florin Tudor, Janek Simon, etc), started the “începem” emailing list and the “începem” fanzine. In 2008 - 2009 he founded and coordinated “Scoala Generală”, a free university type of institution. His early works employ political and cultural symbols, often using word-play to evoke nostalgia, referencing Romania and Eastern Europe’s recent history and challenging the social and political climate of their time, but his current interests revolve around (public) space and its use and functions, materialising in sculptures, objects and installations. In 2009, the year marking 20 years since the Romanian revolution, we are witnessing a change in his practice, “sliding from the political towards the poetical. Outside the artistic life I remain politically and civically involved, but my artworks do not necessarily reveal this. However, even if my works seem to be focusing less on the political and more on the visual and poetical aspect, this aestheticism does not convey a withdrawal from the social. I believe that restraining from plainly expressing political issues in my work has made me a more active citizen and at the same time has expanded the outreach of my art works. My interest in recent history has remained unchanged and the in the past few years has been one theme I enjoyed exploring was the history of architecture and its versions of postmodernism in Western and Eastern Europe.” In his 2015 exhibition “From the white square to the white cube” he was focusing on an imaginary intersection of the socialist utopia as seen in the works of radical Italian architects Superstudio and the reality of day to day life in socialist Romania in the 1970s. The same retrospective look was also used in “Souvenirs from Earth”, another solo show from 2015 which started from the question “What would you take with you on a translocation to a 2.0 planet?” He tried to speculate on the possibility of colonizing Kepler 452b (a planet with similar atmospheric conditions to those of Earth) and question the cultural heritage one might bring to a fictitious relocation, outside our galaxy.

Selected solo shows:
In the Natural Landscape the Human is an Intruder, SABOT gallery, Cluj, Romania (2018); Souvenirs from Earth, Calina Gallery, Timisoara, Romania (2015); That ‘70s Show, Boccanera Gallery, Trento, Italy (2014); Garden of Mary, SABOT Gallery, Cluj, Romania (2013); The Way, curated by Liviana Dan, Contemporary Art Gallery, Brukenthal Museum, Sibiu, Romania (2011); Dream of Bucharest, curated by Jean-Baptiste Joly, Akademie Schloss Solitude, Stuttgart, Germany (2007).

Selected group shows:
Fragile sense of hope, curated by Nathalie Hoyos and Rainald Schumacher, Art Collection Telekom, me Collectors Room / Olbricht Foundation Berlin (2014), A few grams of Red, Yellow, Blue, curated by Ewa Gorzadek at the Center for Contemporary Art Ujazdowski Castle in Warsaw (2014); Image to be projected until it vanishes, curated by Mihnea Mircan at Museion in Bolzano (2011); On Difference #3, curated by Iris Dressler and Hans D. Christ at Stuttgart Kunstverein (2005); Social Cooking at NGBK Berlin, curated by Dan Mihaltianu (2007); Der Prozess, curated by Marco Scotini, Prague Biennale 3 (2007)