CRITICAL REVIEW

          Preda Sânc, Marilena, multimedia artist. Trained as a monumentalist painter, she extends her preoccupations to complementary mediums generated by the formal issues that lead to a volumetry resolved not through illusionist painting techniques, but through the objectual removal from the plan. The solution to which she resorted to is the creation of some 
volumetric modules, freely geometrical, that had to become the morphological landmarks of her formal thematology. Her increasing interest in political and social commitments leads her to means of communication that are more directly provocative - performance, 
videofilm, videodance and object. The commentary on the state of the political crisis, degenerated in an armed conflict in the Balkans, and also the spread of armed conflicts, generated an impressive series of violently assaulted representations of the Globe, called Remaping the world. Transposing some portions of the planiglobe on objects belonging to the traditional domestic inventory indicates the feminist perspective of the series of representations that are invested with the unsettling message of the destabilisation of the normal, peaceful routine. Another theme that concerns her is autoidentification, resumed in various interrogative versions and medium solutions. The object - casts after her own full or transformed portrait, iconoclastic, in pieces and installations of plaster masses that gather war figurines expressed in the ’90s the tension of the latent, interior and general conflict, personally assumed. The performance and dancing scenes suggest the human body as an active object. Video transposed, the scenes and the elements that constitute the image become unsubstantiated and the object on which depends their visualization / manifestation requires the syntax of the video instance’s discourse, it imposes the repetitive stereotyping of the electronic screen as an unavoidable dimension of the daily or exceptional, cultural experience, as another critical dimension of the artistic commentary.

Alexandra Titu (2014)