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How to Mend a Broken Sea?

  • Talks & screening
  • Free entry

3 hr

Info

How can a catastrophic climatic event trigger historical and geopolitical turmoil? How does it feel for a sea to be divided? The Black Sea, containing two non-interacting layers of water, has long been a geopolitical theater of war, shaped by fluctuating balances of power, where histories of conflict and strategic political ambitions continue to unfold.
We frame the landscape of the Black Sea as a lens through which ecological, economic, and political issues are explored and contemplated.

Join us for “How to Mend a Broken Sea”—a public event that includes a film screening and insightful presentations from art critics, scientists, scholars, and artists. This event will explore the environmental and geopolitical changes affecting marine environments, using the Black Sea as a launching point to spark a wider conversation on underwater ecosystems and the waterways linking our planet’s troubled seas and oceans.

The event will feature a series of presentations from six experts in fields ranging from anthropology and philosophy to architecture and biochemistry, alongside a video work by the artist duo Anca Benera & Arnold Estefan.

Speakers and Presenters

Dr. Alexandra Hillebrand-Voiculescu is a biochemist and Senior Researcher at the “Emil Racoviță” Institute of Speleology, Bucharest. Also member of the Group for Underwater and Speleological Exploration (GESS) she used to be one of the custodians of Movile Cave, a gate to the underground chemosynthesis-based ecosystem that spreads throughout South Dobrogea and the Black Sea.

Anca Benera and Arnold Estefan are an artist duo known for their multimedia works that explore geopolitical histories, environmental changes, and collective memory. Their work addresses resource politics and the climate crisis, weaving stories of environmental interconnectedness and presenting internationally at major exhibitions.

Ovidiu Țichindeleanu is a Romanian philosopher and cultural theorist whose work engages with decoloniality, post-communist transformations, and the intersections of culture and politics. His contributions to the field of philosophy provide a critical lens on how geopolitical histories influence contemporary art and society.

Pelin Tan is a sociologist and art historian based in Diyarbakir/Kurdistan/Turkey, renowned for her work on critical spatial practices, urban conflict, and the role of art in social movements. She has taught and lectured extensively and has been involved in numerous international research projects related to urban transformation and architecture.

Raluca Voinea is a curator and art critic, currently co-director of tranzit.ro. She has curated numerous exhibitions and projects that engage with the socio-political context of contemporary Romania and the broader region, always with a strong focus on how art can intersect with political discourse.

Shahram Khosravi is a Professor of Social Anthropology at Stockholm University, specializing in migration studies, statelessness, and the lived experiences of displaced populations. His extensive fieldwork and writings offer deep insights into how borders shape human lives, particularly in conflict zones.

Svitlana Matviyenko is a scholar specializing in cyberwarfare and environmental destruction, with a particular focus on the intersections between political systems, technology, and ecological crises. Her research provides a contemporary critique of how technological advances contribute to environmental degradation.

Curator: Corina Oprea, a curator and editor, currently part of the Collections and Exhibitions team at Moderna Museet, Stockholm. She has served as Managing Editor of L’Internationale Online, Artistic Director at Konsthall C and as curator of Timișoara 2023 – European Capital of Culture. Oprea holds a PhD from Loughborough University.

Partner
The National Center for Dance Bucharest

The event takes place in the frame of “How To Mend a Broken Sea” project co-financed by AFCN. The project do not necessarily represent the position of the Administration of the National Cultural Fund. AFCN is not to be held responsible for the content of the projects, nor for the ways in which the results of the projects might be used. Those are entirely the responsibility of the beneficiary of the grant

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