Matei Bejenaru emerges as an established artist in the complex arena of global distribution networks. He navigates economic disparities and cultural uniformity with ease through quantitative calculations and creative intuition. Bejenaru challenges traditional concepts of value while transcending the boundaries between art and commerce.
A comprehensive investigation of economic exploitation and resource allocation is at the core of Bejenaru’s body of work. To demonstrate his dedication to promoting solidarity and providing concrete opportunities to underserved groups, he has undertaken initiatives like the Mehr Chancen für unsere Jugend (2002), Songs for a better future (2011), Strawberry fields forever (2002). Through promoting social justice and facilitating cultural interaction, Bejenaru’s artwork becomes a potent tool for societal transformation.
Bejenaru (b.1963) is a multifaceted artist whose work includes video, photography, and performance. He uses these mediums to investigate the function of art and its influence on others. His role as the creator and artistic director of the Periferic International Biennial in Iasi further evidences his commitment to engaging with the margins of Romanian society and elucidating the complexities of post-communist Romania.
Bejenaru’s recent projects delve deeply into the fundamental nature of photography and video, exploring the materiality and political foundations of these mediums. Using analogue picture technology, he encourages spectators to examine the difficulties associated with maintaining originality and creative dedication in a constantly changing world. The global resonance of his work is evidenced by his exhibitions at prestigious institutions like Tate Modern London and its selection for international biennials such as the Prague Biennial (2007) and the Venice Biennial (2001).
One of Bejenaru’s most noteworthy works is “Projection 02,” a multifaceted installation featuring dia-projections and large-scale photography mounted on mobile stand-alone boxes. This project, curated by Cristian Nae—a curator, art historian, theoretician, and professor at the “George Enescu” National University of Arts in Iasi—takes over the entire space of the Kunsthalle Bega in Timişoara. Nae, whose interests include the history of art and exhibitions in Central and Eastern Europe, as well as the study of transnational and transregional cultural interferences, has found an ideal collaboration with Bejenaru for this installation.
Projection 02 invites viewers to reflect on the concept of mediation and its influence on human experience. Bejenaru explores how media transforms culture, communication, and technology. I compare Bejenaru’s approach to that of French philosopher Régis Debray, who argues that ‘powerful ideas need intermediaries.’ By challenging traditional storytelling methods, Bejenaru encourages spectators to create their own narratives through the use of spatial arrangements, varying time lengths, and subtle sound effects, utilizing technological devices often tailored by the artist to fit his work.
His artistic practice is deeply influenced by the foundational principles and efforts that led to the advent of photography. In an interview, he mentioned that the mindset of photographers has largely remained unchanged since the medium began in 1822. His slide projections, filled with intricate images of plants, architecture, and abstract forms, prompt viewers to pause and scrutinize what is being presented. These large, immersive slide shows often evoke a feeling of involvement in the meticulously crafted environments Bejenaru creates. As an artist with a profound respect for photography, Bejenaru discusses the technical aspects of image-making in public forums like Kunsthalle Bega, where he shares his extensive knowledge with an open audience.
Bejenaru uses slide projectors and varying image durations to encourage reflection on perception and reality. At Kunsthalle Bega, his work offers multiple ways to experience images, not just through the slides but through their projection onto various surfaces. The exhibition space becomes a canvas for exploration. Each image, initially appearing simple, reveals layers of complexity upon closer inspection, prompting viewers to reconsider their understanding of photography. This dynamic interplay of images involves both internal and external durations, echoing Alexandra Warwick’s assertion that “we do not move through time; time moves through us.” Time, therefore, relies on us as observers, while consciousness and memory differ. Only in the present can we find our place, even if fully comprehending or being aware of it is nearly impossible. Bejenaru views duration as encompassing the qualitative aspects of temporal experiences. In his exhibition Projection 02, duration resembles a melody, thanks to the deliberate use of multiple simultaneous images.
Matei Bejenaru’s creative work acts as a catalyst for reflection and social critique in a world that is increasingly interconnected. By challenging existing norms and advocating for marginalized voices, he invites us to reconsider art’s potential for significant change. While not opposed to AI or digital media, Bejenaru stresses the importance of understanding the actual process of creating an image. He avoids working with mystery and uncertainty, possibly due to his engineering background, yet his deep immersion in the craft of image-making is refreshing, countering the instant image production facilitated by cellphones. Bejenaru’s work not only documents the complexities of human experience but also offers glimpses of hope and resilience. His serious work, such as “Prut,” records rural life along the Prut River, preserving a way of life that is gradually vanishing. He pragmatically captures moments, holding onto them swiftly and momentarily.
The subjects photographed by Matei Bejenaru, once events to him, now challenge us through our relationship to them. Our roles as witnesses are tested because everything unfolds anew each time, demanding our awareness.
