FUCKi̶s̶m̶ ToshainCeeh at PROCESS TERMINUS, Art Encounters 2017, Romania

PROCESS TERMINUS a project by Alexandru Niculescu, Daniela Pălimariu, Cristian Răduță

part of Art Encounters 2017 (Timișoara, 30.09 – 5.11.2017)

artists Anca Benera & Arnold Estefan burning FUCKi̶s̶m̶ Toshain & Ceeh posters

Curator Liviana Dan burning FUCKi̶s̶m̶ Toshain & Ceeh  Posters

CONTRIBUTING ARTISTS: Jorge Peris, Ken Ueno, Paul Dunca, Chika Unigwe, Bogdan Ghiu, Mandy El-Sayegh, Thomas Tsang, Anetta Mona Chisa, Martin Piaček, Svätopluk Mikyta, Liliana Mercioiu, Ada Munteanu, Daniela Palimariu, Cristian Raduta, Alexandru Niculescu, Adrian Iurco, Mihai Iepure Gorski, Mihai Rusen, Cosmin Moldovan, Anna Ceeh, FUCKi̶s̶m̶ Toshain & Ceeh, Franz Pomassl, Diana Manole, Radu Cioca, Pavel Braila, Maria Pop Timaru, Viktor Vejvoda, Delia Popa, Adelina Ivan, Dan Perjovschi, Larisa Sitar, Kate Sutton, Reka Csapo Dup, Adi Matei, Giles Eldridge, Darie Dup, Dan Vezentan, Olivia Mihălțianu, Dan Acostioaei, Viktor Vejvoda, Thomas O’Grady

In the studio practice in general, almost with no exception, each creator has sometimes confronted the desire or even the need to destroy some of their works, with many famous stories on this. Some authors destroy works that no longer represent them, youth works or works that they simply don’t like anymore. Sometimes, the wrecking is complete, other times it becomes the beginning of a new creation process, and the destroyed work becomes raw material for a new project. While radical, these gestures are often seen as liberating.

Sandwich proposes a transfer of the complete annihilation of an artwork, from the creator to the public, through a process terminus in which the visitor has the chance to deconstruct artworks, up until their complete destruction. The project avoids recreating new works, through combining or modifying them, but aims for total disappearance, once and for all. Visitors are thus encouraged to attain, through their chosen destruction method, the smallest possible form of the chosen artwork.

Process terminus starts from the premise that destruction is in itself creativity, and the performative act that implies the physical action necessary for reducing the chosen work to its zero moment is, in fact, constructive. Sandwich assumes the role of an art sanitarium and applies an ecology of ideas. Not only it encourages the destruction of things that are no longer desired, but offers space for new projects, it liberates and creates support for new concepts. Moreover, the project discusses attachment and renouncement to one’s own ideas, images, objects.

The artists accepting to contribute works to the project have the chance to happily part with stages they have already surpassed, with the marks of failed try-outs and experiments, with old projects that simply obstruct new ones. What’s more, both artists and visitors have the chance to reflect on the effects of overproduction, of surplus and over-saturation, not just in the art-world, but on a general scale.

* COMMITMENT towards contributing artists:

We guarantee the complete destruction of the artworks. No part of the artworks will be moved out of the exhibition space or be used, in any way, in another context. The resulted debris will not be used for another project, but will be disposed of as soon as Art Encounters 2017 is over. The author will sign a declaration that he/she own the right to the artwork, that he/she voluntarily renounces it and that he/she agrees with its complete destruction during the project. We cannot accept works in collections or of other authors. Optionally, the author can indicate the method in which the work is to be destroyed.

* TERMS of destruction (for the participating public):
The enrolling for participation (made on the spot) involves signing a declaration in which the participant agrees to only destroy one work that he/she freely chooses, that he/she will use the protection equipment and will not keep any parts of the destroyed object.

Sandwich reclaims the hidden potential of a residual space between two utilitarian buildings and uses its own constructive limits in order to provoke new solutions. sandwich functions as an independent art space since April 2016.


Băiculești 29 St. – Combinatul Fondului Plastic, Bucharest

Art Encounters is a biennial art event that brings together the national art scene, in dialogue with international guests, within an ample program of art exhibitions, debates, workshops, performances and art in public space.

2017 Curators: Ami Barak, Diana Marincu


​picts © Sandwich Gallery



⁄S⁄O⁄N⁄I⁄C⁄ ⁄Z⁄O⁄N⁄E⁄S⁄-perfromance at Performing Sound, 6th-7th.Oct, Galerie 5020, Salzburg

PerformingSound _A. Hengl .jpg

The two-day symposium located at the 5020 Gallery is dedicated to current artistic positions in performance, theory and music dealing with aspects of the vague and ephemeral. In light of a networked world – a world that may also be monitored as a consequence, artists dedicate themselves to the aesthetic as well as the sociatal grey-areas of the permeable and non-controllable.

This has a social and political dimension. The symposium subseqeuntly raises questions about „unruly potentials“ that may arise through „illegitimate“ approaches among individual disciplines, art genres and popcultural genres. Performance and Music signify disciplines that have long practiced aesthetic, social and technical transgressions. Drawing from the archives of pop culture creates additional resonant space that in turn facilitates alternative forms of artistic and theoretical discourse in combinaton with existing systems, opening up further perspectives.

The aim is an exploration of existing boundaries in the understanding, approach and experienceability of art, as well as an examination of current performative practices with a media-theoretical background.


„In der Galerie 5020 sprechen und diskutieren unter anderem die 5020-Leiterin Karolina Radenkovic, Thomas Edlinger, Didi Neidhart, Eva Fischer, Michael Manfé, Richardas Norvila, Anna Ceeh, Marius Schabella sowie auch Franz Pomassl.

Einfluss von Natur auf Kultur

Letzterer unterrichtet nicht nur an der Akademie der bildenden Künste in Wien. Er ist auch Mitbegründer und Mitglied des Forschungskonsortiums ISSA (International Society For Sonic Arts) sowie – dies seit 1990 – Co-Betreiber des ersten österreichischen Elektroniklabels Laton. Pomassl wird gemeinsam mit Anna Ceeh über Utopie, Science-Fiction und Dystopie in der früheren UdSSR und auch der Post-UdSSR referieren.“



photo by Alexander Hengl


Guerilla Poster Exhibition in the public space of Tel Aviv ( Israel), Nov. 2018

⁄S⁄O⁄N⁄I⁄C⁄⁄ ⁄Z⁄O⁄N⁄E⁄⁄S⁄⁄ presenation at Cosmos Hotel, Chisinau/MDA at Mobile Biennale 2, 2017


⁄S⁄O⁄N⁄I⁄C⁄⁄ ⁄Z⁄O⁄N⁄E⁄⁄S⁄⁄  presenation at Cosmos Hotel, Chisinau/MDA at the Mobile Biennale 2 curated by Adrian Bojenoiu and Alexandru Niculescu, 2017

2017 August 5

photo by Dan Vezentan

more info:

The Centre for contemporary art Club Electroputere launches the edition 2017 of the Mobile Biennale (TM7D).

Dan Acostioaei, Silvia Amancei, Bogdan Armanu, Matei Bejenaru, Manfredi Beninati, Cristina Bogdan, Adrian Bojenoiu, Andreea Bojenoiu, Miki Braniște, Pavel Brăila, Anna Ceeh, Roberta Curcă, Arantxa Etcheverria&Ada Musat, Tatiana Fiodorova, Cătălin Gheorghe, Lucia Ghegu, Mihai Iepure Gorski, Vasile Leac, Virginia Lupu, Diana Mărgărit, Adi Matei, Dana Maxim, Liliana Mercioiu, Andrei Nacu, Cristi Nae, Alexandru Niculescu, Iulia Nistor, Daniela Pălimariu, Franz Pomassl, Thomas Tsang, Ken Ueno, Vladimir Us, Viktor Vejvoda, Dan Vezentan, Kristin Wenzel, Marian Zidaru, Victoria Zidaru

Initiated in 2012 by Adrian Bojenoiu and Alexandru Niculescu, Mobile Biennial is an art project that aims at expanding and analysing the relational context of contemporary art and culture. Mobile Biennial brings together personalities of the artistic world scene. Each edition is organised starting from a definite strategy and a curatorial plan according to which the entire project is carried on.
Mobile Biennial is a mise-en-oeuvre that inspires mobility and interaction which take place in a well-determined space or emplacement. Movement is the element placed at the core of the Mobile Biennial concept. Envisaged as a poetic materiality, movement acquires a particular shape according to the space-time dimensions that activate it whereas its content is engendered by the interaction and the heterogeneity of the participants who establish a special relation with the surrounding world.

Suggesting a revaluation of the symbolical and conceptual essence of the biennial as an institution, and of its relation to artistic production, Mobile Biennial can be best understood when taking into account the following features:

• Mobile Biennial brings together different types of behaviors. The project focuses on the participants‘ behaviors and on their free movement in relation to otherness and to the configuration and content of a geographically, culturally and historically determined space.
• Movement is understood as an act of going from one place to another within the confines of a territory (space/time), an act which engenders interaction.
• Taking part in the MB is considered as explicit artistic production; a potential exhibition phase of the project is optional and doesn’t constraint the participants to produce works.
• Mobile Biennial is not confined to a national and geographical space but may be carried out anywhere on the globe, in any type of space and time, according to the initial scenario.
• Mobile Biennial does not solely address visual artists but also people coming from other fields of activity, according to the initial plan specifically designed for each edition.

The Tour of Moldavia in 7 Days, this year’s edition of the Mobile Biennial, will take place between 30 July – 5 August and consists of an itinerant coach trip in Moldovia (Romania and the Republic of Moldavia). This edition, as conceived by its organisers, aims at analysing those aspects that render art a space of experience, communication and knowledge. There will be 35 participants in the 2017 edition – not only artists, curators, journalists in the field of visual arts but also personalities coming from other related fields like philosophy and poetry. The participants display different types of temperaments, energies and interests that make up and negotiate, through their various artistic stands, different aspects of contemporary art. This type of artistic microclimate is activated when rendered coherent and symbolically invested by the conventional framework of an Art Biennial.
The process of selecting the participants will result, on a small scale, in creating a climate specific to contemporary art, to be later on challenged through direct confrontation with social, cultural, political, spiritual and environmental realities of a region that lies at the problematic extremity of Eastern Europe.

The itinerary includes objectives such as Iasi (starting point), CUG industrial platform form Iași, Piatra Neamț City, the Dam Bicaz, the Lake Izvorul Muntelui, the Mountain Ceahlau, Bucovina region, Putna Monastery, Balti, Chisinau and many other special places.

Exhibition at the Gapar Aitiev Fine Arts Museum, Bishkek, Kyrgyzstan, 2017 August 18. – September 3.

Anna Ceeh: Jayloo (wiki pict) DIY-inkjet print, 2017


„Her anarchic approach to high end inkjet printers is refreshing (to say the least): she is subverting the main reason for the existence of such printers – that of reproducing ad infinitum and with accuracy and consistency any digital file sent to them. Instead, by redefining the whole idea and purpose of the cartridges she is making works that can only exist in their original print form as one-off prints: reproduction can only be by means of photocopying or photographic reproduction. Or, I guess, by scanning in a subverted print and then printing it out on a ‚properly‘ set up printer – a sort of ‚cure‘ for subversion!“ – Richard Noyce (UK)


„Ее анархичный подход к высококачественным струйным принтерам освежает, если не сказать большего: Anna Ceeh подрывает основную причину их существования (их функцию) – бесконечное (ad infinitum) и точное репродуцирование любого цифрового файла. Вместо этого, пересматривая всю идею и цель картриджей Anna Ceeh делает работы, являющиеся единственными оригиналами: их репродукция может производиться только с помощью копирования или фотографии. Или же, как мне кажется, таки вновь путем сканирования оригиналов и их распечатки на нормально настроенном принтере – как своего рода удаления данной инверсии“- Ричард Нойс (Великобритания)

Guerilla Poster Exhibition in the public space of Iași (Romania) and Chișinău (Moldova) August 2018

Iași: University of Art George Enescu (Faculty of Visual art and Design), and  the MAE cast iron foundry.



photos: ©Anna Ceeh Iv Toshain

VICE Creators (U.S.) feat.our recent perfromance at the 57th Venice Biennale

VICE Creators: Troops in Riot Gear Deliver a Hidden Message in Venice

by DJ Pangburn

In front of the entrance, Giardini (May 11th)

Anti-war performance art invades the Venice Biennale.

The art label FUCKismTC operates under many monikers, including FEMINismTC, FXXX ismTC, XXXXismTMC, and SUCKismTC, which change continuously according to the artists involved and the concepts they focus on. The group has tackled issues like politics, deconstruction of social hierarchies, challenging power structures, peace, and feminism among others. Over the last few years, the Vienna-based trio of Anna Ceeh, Iv Toshain, and Matthias Makowsky, collectively known as XXXXismTMC, have staged an anti-war performance art project, МИР – МИРУ – FRIEDE (Peace).

One woman and nine men dress as soldiers and stand in line like an honor guard with messages of peace written on their protective vests, which can only be seen using night-vision goggles. Under their new museum-meets-artwork initiative, MOTA (Museum On Tour Austria), XXXXismTMC recently staged МИР – МИРУ – FRIEDE outside the Venice Biennale, the world’s largest arts festival, to bring more awareness to their artistic call for peace.

In front of the Italian Pavillion (May 12th). Images courtesy XXXXismTMC.


Artists that contributed messages to МИР – МИРУ – FRIEDE include Lawrence Weiner and Olaf Nicolai, among others. South African artist Kendell Geers‘s slogan, “Stealing fire from heaven,” is rather mythological, while Iranian artist Parastou Forouhar’s reads, “He kills me, he kills me not.” Afghan artist Amanullah Mojadidi cut right to the chase with what Toschain describes as the angry, prompting, and incisive message, “Go bomb yourself.” Weiner, on the other hand, offered a more sober and conciliatory slogan with, “Here Today, Here Tomorrow.”



In 2016, when Ceeh and Toshain invited Makowsky (the only man) to join their artistic duo, XXXXismTMC came into being and their anti-war performance project began to take shape. In recent years, Ceeh and Toshain have hacked Vienna Metro advertisements with their logos, spray painted the FUCKismTC logo on Vienna’s Kunsthalle Wien as a public statement against curators and museum directors copying artist works and concepts, and even enlisted the former Austrian President Heinz Fischer and the First Lady Margit to join and perform in their feminist installation САКРИЛЕГ. All of these works subversively harness the power of branding and mass messaging, and МИР – МИРУ – FRIEDE‘s message of peace is no different.


Artist statement seen through infrared night-vision goggles.


As Toshain and Makowsky tell Creators, the work essentially came into existence back in 2014, when they staged a theme-based site-specific installation for the World War I centennial at the Ehrenhalle of Burgtor at Heldenplatz in Vienna. This, along with a number of ongoing international crises and political tensions, inspired the trio to send out a message of peace to the world. While the collective created messages for the work, they also invited a number of international artists to create anti-war or peace slogans.

“We asked them hypothetically: ‘When the going gets rough, and you artists go to the barricades to voice your protest, what will you take with you? A work of art, a project, a portfolio?’” say Toschain and Makowsky. “No. No more solo shows, no ego. Create a slogan.”


Parastou Forouhar’s artist statement seen through infrared night-vision goggles.


The contributing artists created 28 black posters displayed on the walls of the Ehrenhalle. Viewers could only see the messages when using military infrared night-vision goggles. It was here that the trio started engaging with the actual political situation, imagining what artists could do to make things better.

MOTA and МИР – МИРУ – FRIEDE came about because the artists did not want to work in exhibition spaces any longer, in white cubes surrounded by white walls. From that moment on, the trio’s slogans for peace moved into public spaces with human bodies as performers.


Orlan looking through the IR Device, Giardini (May 11th)


Ceeh, Toshain, and Makowsky say that МИР – МИРУ – FRIEDE confronts not only art fans, but passersby and tourists who unexpectedly encounter it. Venice, with its constant influx of tourists and this year’s Biennale, proved to be fertile ground for their protest for peace.

“Our XXXXismTMC peace-forces are conceived to act everywhere and every time without being announced in advance,” they say. “The [Venice] crowd loved the piece. A lot of people commented that it was one of the best works seen at the Biennale, [and] most of them didn’t know it was guerilla and ‘illegal,’ so to speak.”


Ai Weiwei looking through the IR Device, Piazza San Marco (May 10th 2017)

Lawrence Weiner’s artist statement seen through infrared night-vision goggles.

Click here to see more of XXXXismTMC‘s work.