Adina Drinceanu

OZIO explored the layered meanings of idleness, contemplation, and inertia, and its historically oscillating. Developed within the evocative context of Teatro Ditirammu in Palermo, the project unfolded during Manifesta 12 through a program of specially commissioned works across performance, film, music, theatre, and poetry, reflecting on ozio as both resistance and condition, shaped by nature, desire, and constraint. Anca Benera & Arnold Estefan Sanford Biggers Ishion Hutchinson Concetta Modica Curator: Adina Drinceanu @teatroditirammu @manifestabiennial Romanian artists Anca Benera & Arnold Estefan’s “Citrus Tristeza” (2018) is a film, installation, and performance that approaches ozio as a temporal ecosystem where neglect and decay are normalized. Their work investigates the intersection of natural and social histories in the present debris(f)era. @beneraestefan Jamaican poet Ishion Hutchinson interprets ozio as a form of protest against power, connecting the histories of Sicily and Jamaica. The project unfolds in three parts: “Abeng”* (2018) a soundscape installation, the poetry performance “Mariner’s Progress”, and “The Singing-Court of Dread”. Hutchinson’s concept of island time, shaped by the vastness of the sea, embraces a simultaneity of histories, where stillness and resistance coexist. In collaboration with American artist Sanford Biggers, the final act merges sound, music, and performance to explore temporality and protest. @portie_urchin * “Far  Districted” (2010) poetry collection; Abeng /YtSMBCVPL1jq3Bxj7 @sanfordbiggers Sicilian artist Concetta Modica’s “Going Back” (2018) explores ozio as a temporal suspension shaped by boredom and repetition. Inspired by Palermo’s pupi theatre, she reimagines the epic deeds of Orlando through performative objects, music, and theatre. @concettamodica0 Elisa Parrinello’s OzioLapa (2018) is a theatrical performance rooted in Palermo’s oral traditions, weaving songs, proverbs, and collective memory into a contemporary reflection on ozio. @elisaparrinello

Presented at the Conservatorio di Musica Benedetto Marcello during the 56th Venice Biennale, UNRECOUNTED brought together Christoph Schlingensief’s “The African Twin Towers” (2005–2009) and Nicola Brandt’s “Indifference” (2014), confronting the unhealed wounds of Namibia’s history under German colonial rule (1884–1915) and South African apartheid (until 1990). Set against the charged landscapes of Namibia, the exhibition explored how unresolved trauma and inherited guilt resurface in contemporary experience. It contributed to ongoing discourses on the entanglement of Romanticism and imperialism, while shedding light on a chapter of colonial history too often overlooked. Curators: Adina Drinceanu @adinnade Sarah Hegenbart Vid Simoniti @vidsimoniti Schlingensief’s 70-minute film, projected in Venice, captures the chaotic fragmentation of a failed attempt to stage Wagner’s Ring Cycle in Namibia — a confrontation with colonial memory that collapses into narrative disorder. His work lays bare the inadequacy of any simple reckoning with Germany’s past, instead forcing German audiences to face their own psychic otherness in relation to colonial legacies. @schlingensief_filmarchiv Brandt’s three-channel video Indifference offers a contrasting meditation: rooted in Namibia’s landscapes and voices, it channels memory and oral history beyond the archive. Her cinematic language seduces with Romantic aesthetics only to dismantle them, revealing landscapes haunted by genocide and shaped by ongoing inequalities. Collaborating with Herero women such as Uakondjisa Kakuekuee Mbari, Brandt’s work self-reflexively addresses the complexities of representation, power, and historical trauma, offering viewers both confrontation and the imaginative space for future repair. @nicola_brandt produced by Valorizzazioni Culturali and Art Events @artevents.it National Art Gallery of Namibia @nagn_namibia in collaboration with Filmgalerie 451 @filmgalerie451 @conservatoriovenezia

Victoria Zidaru: On the origins of her practice ReFacerea - ReMaking Artist: Victoria Zidaru Curator and Narrator: Adina Drinceanu Film by Bogdan Georgian Alexandru Original Sound and Sound Installation Călin Țopa Film Installation by Tudor Cucu Exhibition Hosts @nicodimgallery in collaboration with @suprainfinitgallery Produced by: Ferma de Arta Special Thanks: Mihai and Ono Nicodim and Suzana Vasilescu Embroidery Collaborators�Loredana Budeanu�Larisa Budeanu�Lucreția Dragomir�Vasilica Dumitrescu�Valentina Mihai Additional Visual Material “Marian and Vitoria Zidaru - Artists in light” directed by Franz Galo @victoriazidaru @adinnade @calintopa @tudorcucu @mihainicodimla @suzanna_vasilescu

Have No Doubt of the Omnipotence of a Free People CURATED BY RAPHAEL GUILBERT Assistant Curators Ana-Maria Ştefan & Catinca Tabacaru A research, publication and exhibition revisiting the overlooked Romania–Zimbabwe solidarity of the 1970s, where Cold War internationalism shaped unexpected alliances in the struggle for liberation and alternative world orders.

“Many disasters have happened in the world, but few have given so much pleasure to posterity.” Goethe

ReFacerea - ReMaking Artist: Victoria Zidaru Curator and Narrator: Adina Drinceanu Film by Bogdan Georgian Alexandru Original Sound and Sound Installation: Călin Țopa Film Installation by Tudor Cucu Exhibition Hosts @nicodimgallery in collaboration with @suprainfinitgallery Produced by: @fermadearta Special Thanks: Mihai and Ono Nicodim and Suzana Vasilescu Embroidery Collaborators�Loredana Budeanu�Larisa Budeanu�Lucreția Dragomir�Vasilica Dumitrescu�Valentina Mihai @victoriazidaru @adinnade @calintooa @tudorcucu @mihainicodimla @suzanna_vasilescu

Paul Neagu (1938 - 2004) at @artwill_com Bucharest

IKT Symposium Art Philanthropy: Yesterday, Today, Tomorrow Monday, 4 May 2026 | 08.30-12.30 CET Deloitte Auditorium & Deloitte Gallery (Via Santa Sofia 28, 20122 Milan, Italy) + Online livestream The symposium is open to all and free of charge, with mandatory registration (Please note that delegates attending IKT Congress 2026 are registered automatically and therefore do not need to register) Co-conveners: Denis Maksimov (@denis.a.maksimo ) and Adina Drinceanu (@adinnade ), Future of Art Philanthropy initiative From ancient patronage systems to the emergence of public funding, artists have long relied on a combination of private and institutional support. Historically, the balance between public resources, the market, and private wealth has fostered diversity and innovation in the arts. Today, however, the growing corporatisation of culture - combined with austerity and the retreat of public funding - risks narrowing artistic production toward more homogeneous, market-driven models. In this context, the role of art philanthropy is increasingly significant. “The symposium aims to open an essential conversation about the future of culture-making and the conditions that enable ambitious artistic and curatorial work,” say Maksimov and Drinceanu. “As public funding declines and geopolitical priorities shift resources elsewhere, sustaining platforms for experimental cultural production has become an urgent challenge.” Featuring, among others, the voices of @curatorview , @lpoddar of @deviartfoundation , @rajeebsamdani of @samdaniartfoundation , @andrearurale of @unibocconi , @nadjaarg of @thessalonikibiennale , @suheyla.takesh of @barjeelart , @robagb of @famm_mougins , @yavachev of @christojeanneclaude To learn more about the Symposium and to register visit the IKT website: link in bio. Thank you to our Symposium Partners: @deloitte_italia , @innextart , @avenir.institute , and @ecoresearchart . Image: Reconstruction of the Villa Maecenas in Tivoli, Italy, 1713 (image: public domain) #iktnetwork #IKT #Curating #IKTNews #iktcongress #symposium

Save the date: IKT Symposium Art Philanthropy: Yesterday, Today, Tomorrow Monday, May 4, 2026 | 08.30-12.30 CET Deloitte, Milano, Italy + Online Co-conveners: @denis.a.maksimov and @adinnade , #FutureofArtPhilanthropy initiative The history of art philanthropy spans millennia. Artists have relied on private donors and the state for support for centuries, even before the state became involved. While both actors had their own agendas, the balance between state and market, and the wealthy, fostered diversity and innovation in arts and culture. However, with the corporatisation of art and culture against the backdrop of ongoing austerity policies, the state’s withdrawal from the field has led to a shift towards more homogeneous, market-friendly forms of art. In this context, the role of art philanthropists becomes increasingly crucial. The pressing question is how curators, artists’ vision champions, and art philanthropists can work together to address the sensitive issue of funding. This ensures that diverse, rich, and innovative art and culture remain produced. We will explore the practical models of funding and support for innovative contemporary art curators who are pushing the boundaries of art and culture making. Featuring, among others, the voices of @curatorview , @lpoddar of @deviartfoundation , @rajeebsamdani of @samdaniartfoundation , @andrearurale of @unibocconi , @nadjaarg of @thessalonikibiennale , @suheyla.takesh of @barjeelart , @robagb of @famm_mougins , @yavachev of @christojeanneclaude To learn more about the Symposium and our speakers, visit the IKT website: link in bio. More information on how to register, whether attending in person or online, will be available in the coming weeks. Keep an eye out! Thank you to our Symposium Partners: @deloitte_italia , @innextart , @avenir.institute , and @ecoresearchart . Image: Reconstruction of the Villa Maecenas in Tivoli, Italy, 1713 (image: public domain) #iktnetwork #IKT #Curating #IKTNews #iktcongress #symposium

What is most striking in Bernini is his mastery of thresholds: the precise instant before transformation, the suspended gesture, the tremor of flesh caught in stone. In this suspension between control and surrender, the Baroque emerges as a deliberate orchestration of perception, emotion, and belief — and, crucially, a language of power. At “Bernini e i Barberini” curated by Thomas Clement Salomon we encounter how Maffeo Barberini’s patronage strategically shaped Rome’s visual identity and defined papal authority, transforming Bernini into the architect of Baroque language and the visual voice of a pontificate. This remains acutely relevant today: cultural patronage still determines who is seen, whose perspectives dominate public imagination, and how institutions wield influence — reminding us that commissioning art is not neutral but a decisive act of power with enduring cultural consequences. These questions will be further pursued in the symposium Art Philanthropy: Yesterday, Today, Tomorrow, which Denis Maksimov and I are convening as part of the IKT International Association of Curators of Contemporary Art Annual Congress. Further details will be announced soon. Art Philanthropy: Yesterday, Today, Tomorrow 4 May 2026 | Milan Hosted by Deloitte @ikt_curatorial @denis.a.maksimov @ombrainbow

Art Basel Qatar 2026