Experiencing Interruptions?

Doru

The second chapter of “Video Monuments” documentary trilogy is focusing on the life stories of Doru, Bogdan’s father, mapping through these subjective lenses the path of social and economic strategies in Romanian. Stories about smuggling and entrepreneurial attempts cast a prototype of capitalist persona starting with the late 70’s throughout the transition years of the 90’s.

  • Silvia Amancei & Bogdan Armanu
    Director
  • Doru (Ion Armanu)
    Key Cast
  • Project Type:
    Documentary, Short
  • Runtime:
    15 minutes 30 seconds
  • Completion Date:
    October 18, 2018
  • Country of Origin:
    Romania
  • Country of Filming:
    Romania
  • Language:
    Romanian
  • Shooting Format:
    Digital HD Video
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Silvia Amancei & Bogdan Armanu

Silvia Amancei and Bogdan Armanu (both b. in 1991) is an artist couple living and activating in the city of Iasi, Romania.

Working together since 2012, their artistic practice could be positioned at the border between social studies and visual art, researching for methods and examples where art and artistic means can be instrumentalized in order to overexcite the ability to look beyond capitalism and create a (common) future.

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Director Statement

We activate as independent artists, working with the issues triggered by the new paradigm of life exploitation and at the shelter of our micro community we try to assure our political / intellectual existence by means which could be understood as artistic. We feel the need of change and would like to put a shoulder to the materialization of this much needed movement, at least through the means available for us, i.e. questioning, underlining, sharing, so on and so forth.

Within the process of materialization of our political position we like to make use of all the knowledge and skill available to us. Therefore we consider our artistic practice to be trans-medial, flexible and shapeless, extending its subjective knowledge across the exhibition space, will that be a gallery, a street or the space(s) of the Internet.

Our revolutionary march starts from the position of the oppressed / marginal / the Other, and by appropriating the dominant Discourse, having as purpose the maintenance of its critic, we end up being absorbed by the multitude of layers of the Capital.