Gentle agents

At the invitation of IOMO Gallery in Bucharest, I collaborated with curator & visual artist Andrei Tudose, in bringing about a new body of work meant to bring together my research and experiments in optical contraptions and holography. I wanted to connect this to my other interests – scanography, hybrid film, contemporary dance and public activation. It sounds a little too much, doesn’t it? Well, it wasn’t.

One of the very first things one comes in contact with while digging for information on holography is, in fact, what this medium is not. Neverendingly ironic, I thought, since it’s a medium that brings so many things together – photographic emulsions, optics, chemistry, laser technologies, even video for certain recording setups. It’s an image recording technology, yet this is the approach it is least used for. I wanted to play with the debates which surrounded the contemporary overlapping of holography with 3D projections, stereoscopy, or Pepper’s Ghost.

I’ve always disliked this kind of debates, but that doesn’t mean I am to look away. It just means I stumbled upon a new playground, so I decided to dive right into that, instead of using holography, as initially intended. I worked with the idea of misconception which materialized into a series of rather simple optical objects simulating certain 3D effects that one might associate with holography or lenticular imaging, while the objects’ main task was, in fact, to challenges the established way of interacting with art in a gallery setup: the visitor had absolute freedom as far as the exhibition structure was concerned. If an object was movable, the visitor would choose if/ where that objects should be exhibited. Some objects where extremely heavy, so the visitor had to be truly motivated to change its place. Some objects where quite light and small (and many), so they could even be bent into new structures or games.

Another piece in the play was the video series, which expanded from my previous experiments done through the first iteration of Faulty Technology – that is, digital video materialized using ink-based printers that went awry (and encourage them to go as far into glitch-mode as possible), frame by frame, layering through scanography and re-digitization of the analogued frames back into video.

Mobile objects / Installation




glass, plexiglass, wheels, photographs / scanograms, digitized video



Andrei Tudose – curator

Irina Marinescu – movement

Floriama Candea – movement

Catalin Cretu - soundscape



2022 - Life as we touch it..., solo show, IOMO Gallery, Bucharest [RO]

Mobile objects & co.

Sabina Suru, Gentle agents – exhibition vies @IOMO Gallery, photo Andrei Tudose
Sabina Suru, Gentle agents – exhibition vies @IOMO Gallery, photo Andrei Tudose
Sabina Suru, Gentle agents – exhibition vies @IOMO Gallery, photo Andrei Tudose
Sabina Suru, Gentle agents – exhibition vies @IOMO Gallery, photo Andrei Tudose
Sabina Suru, Gentle agents – exhibition vies @IOMO Gallery, photo Andrei Tudose
Sabina Suru, Gentle agents – exhibition vies @IOMO Gallery, photo Andrei Tudose
Sabina Suru, Gentle agents – exhibition vies @IOMO Gallery, photo Andrei Tudose

“The first segment of the exhibition invites the audience to be part of an artistic game. Ten movable objects – emotional activators -, visually bend and recompose slightly different connotations of a similar metonymy. The rule is simple – anything mobile can be moved. However, it becomes an incredibly difficult task when lacking a game board. The space is the culmination of the white cube concept – an almost sterile environment, with few anchor points. Thus, the public has the freedom as well as the responsibility to make an emotionally charged decision on how to interact with art, particularly in the absence of other stimuli. Also, three other different artworks occupy fixed positions, questioning the materiality of the artistic object and of the process. They seemingly offer a guide for spatial orientation but really raise more questions.

The way Sabina Suru opens the artistic process towards a participative act for the viewers is meant as a fuel for an internal dialogue each of us should have:
how do we relate to reality, in general, and art, in particular?

A second room is dedicated to this dialogue, an intimate, emotional space, almost like a decompressing guided meditation, that flows on the artist’s video accompanied by Cătălin Crețu’s soundscape.

Life, as we touch it… addresses topics that occupy a considerable share of public mindset: how identity is mediated by technology, how the art world captures tangible and intangible value, how an artist navigates these systems to survive and how an “empowered” public connects to art and galleries.

Sabina Suru playfully explores conventions of the exhibition space and how visitors could (and more importantly, should not) interact with the works of art. She creates a subtle and nuanced playground that examines the multitude of possibilities in our experience of culture. When everything is seen and touched, Life, as we touch it… is a ludic and tender opportunity to (self)investigate how we emotionally relate to ourselves in the context of art but outside the usual context of the art space.”

curatorial text: Andrei Tudose

Life, as we touch it… – Exhibition view at IOMO Gallery

Gentle touch_mobile objects (2)
Sabina Suru_216 turns of hand_19
Sabina Suru_Kinaesthesia_03
Sabina Suru_Life, as we touch it_01
Sabina Suru_Life, as we touch it_03
Sabina Suru_Life, as we touch it_10

Video recomposed from scanograms / Installation view @IOMO Gallery