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In art, simplicity is not an end in itself, but you reach it unwittingly, as you get closer to the real meaning of things.
Seeing is one thing. Going there is something else.

Some of the most current art trends and preoccupations tend to pertain to Brâncuși and his work. Art lovers check his exhibits on the maps and plan their trips so as to take them as close as possible to the work of the person who became known as the inventor of modern sculpture.

But no matter how close we are to his works, how much of Brâncuși gets directly to us? The “Mirrors of Brâncuși” exhibition aims to overcome the safe barriers of traditional displays and to put us face to face with ourselves, passing everything through the sculptor’s filter.

What Brâncuși intended to leave in the memory of the people around are ideas that are ever-present in his entire work and indeed his life. To change it, you need an exhibition with a powerful impact, focusing on interactivity, fresh information, new technologies and new approaches.

The “Brâncuși’s Mirror” exhibition aims to leave a deeper and more specific impression of the sculptor on people, to share with the public some of the other works and stories from his life, less told and less known, as well as a reference to other concepts and definitions that are closer to the essence of Brâncuși, man and artist, using technology and interactivity.

This exhibit consists of two parts: the first one focuses on a biography of the artist that will reveal some lesser-known events, which outlined his artistic achievement, relationships with other artists of his time, traits of character not captured enough until now. The exhibition approaches a variant that includes new technologies (video projections, sound) to make the presentation dynamic, so that the information draws the attention and does not go unnoticed, inevitably envelops the viewer, so that by the end of the experience he will have learned new concepts about the sculptor.

The second part of the exhibition relies on interactive features and places visitors inside Brâncuși’s works. If we were forced by circumstances to analyze our features by making a direct comparison with the Sleeping Muse, would we discover that what really characterizes us are a few seemingly simple lines, but capable of displaying the entire map of our emotions in them? Or if we became a part of “The Kiss”, would we find that this gesture is not only about physical closeness, but that it turns into something so deep that it takes our breath away and we would have no choice but to feel more inside ourselves and less outside? With the help of modern technology, Brâncuși is taking off. Flies far away to Impasse Ronsin, where he was born, or flies towards us, to show us what we failed to notice — a bird requires no wings to aim for the sky.

A revolution in sculpture sustained on the shoulders of an Oltenia native who travelled to Paris on foot — this is how we could describe Brâncuși’s work. However, the Brancusian forms conceal an infinity in them. And to discover this, we need to put ourselves in the artist’s shoes. We trade places with Brâncuși and this way, through our reflection in the mirrors, we become both an artist and a muse.

Verticality, complexity hidden among the simple lines, emotion and return to oneself — this is what you will discover in the “Mirrors of Brâncuși” exhibition. And the collective perception will change and it will share with the public such concepts as simplicity in form and complexity in emotions, true meaning of things, direct reaction and defining Brâncuși as the “inventor of modern sculpture”.

Silvana Dulamă-Popa


Constantin Brâncuși's work has always been in my area of interest — I still remember the first interaction with Madame Pogany's image, when I was only 11 years old, and the way this sculpture fascinated me. But to me the MOB project meant a new connection not only with what Brâncuși's work embodies, but also with who Brâncuși was as a person. Because the best way you can really understand the work is when you try to understand something about its author. With Brâncuși, it is difficult to grasp all of his extraordinary and mysterious facets, but it's well worth a try. That is what I did when I devised MOB, and that is what I intended for those who would visit the exhibition to experience. For me, Mirrors of Brancusi is the challenge that takes me out of my comfort zone and hurls me into a project that forces me to be at Brâncuși's level and, at the same time, to empathize with the audience who will visit us to offer a complex and complete experience that will leave a lasting impression on the viewer, stimulate his imagination and develop his creativity, all starting from that seemingly “simple” that Brâncuși was looking for. When I pictured the exhibition for the first time, I was thinking of an episode mentioned in Brâncuși's biographies where, as the story goes, the lady who was cleanning the sculptor's workshop suddenly stopped and stood in awe of his works, and he said that this was exactly what he wanted — to arouse emotions. And how can you get people to react if not by making them part of the whole creative process? We live in a time when everything is moving fast, when access to culture is made easy and that makes us oversaturated with information, and too few things can break our everyday monotony to give us a respite to feel. In Mirrors of Brancusi, we will all be both the muse and the artist, we will be lost in a Kiss, we will become the Sleeping Muse and we will see our own reflection in the Endless Column. At the journey's end we wil have learned the answer to the most burning question: what is actually endless in this world? And this way, Brâncuși will be closer to us than ever.

Diana Miroșu

Production Designer

The Mirrors of Brâncuși project was a starting point, for me personally, in forming an overview about the future of art and the direction it is taking. The Internet, online, technology are already a very important part of our lives, and ignoring this reality is no longer an option. We need to constantly improve our skills and the way we relate to the reality surrounding us. I think that to an artist the challenge is to try to anticipate a reality or, as with Mirrors of Brâncuși, to recreate someone else's reality. For me, this is what our project is about, the joy of recreating Brâncuși's reality using technology available to us in 2021. An open invitation into his thoughts, as we managed to understand them ourselves.

Alin Popa

Lighting Designer

In a society where we have technology at our fingertips, it is increasingly difficult to capture someone's attention with topics relating to our history as a means of education. But I welcome challenges, so the Mirrors of Brâncuși was exactly what I was looking for — a chance to show people that technology should not be chained to the present, quite the opposite. It can be the way we explore new facets of a familiar biut never truly known past. A unique and captivating experience, putting the spotlight on a fascinating personality.

Zoli Toth


To me Mirrors of Brâncuși meant sculpture translated into music. It is a known fact that Brâncuși was a music enthusiast, he owned entire vinyl collections. What a challenge it was to create the musical context to display the work of the great sculptor from another perspective. A challenge that made me follow Brâncuși and his concepts.

Dilmana Yordanova

Video Production

When you approach a brilliant man like Constantin Brâncuși, even if in a peripheral way, you experience humility, admiration, and then - inspiration. Even in a rather difficult context, like nowadays. This video follows the narrative of Brâncuși's life. During the work process we focused on the fundamental elements in the artist's searchings — essence, light and simplicity of form.

Ovidiu Eftimie

Video Animation

We tried to reproduce this quest, but also the defining moments in his life, as a continuous, fluid process. That is why the scenes develop one into another, portraits and sculptures are transformed in a succession. We hope that a small part of our emotion will pass on to those who will watch this film.

Iulian Dinu


To be part of the team who made “Mirrors of Brâncuși” project happen, represented not just the opportunity to work on a very special project, but also a real honor to follow the path of the patriarch of modern sculpture, Constantin Brâncuși, and to put in perspective his emblematic work.

Project financed by 2014-2021EEA Grants as part of RO-CULTURA Program
The EEA Grants and Norway Grants represent the contribution of Iceland, Liechtenstein and Norway to reducing economic and social disparities in the European Economic Area and to strengthening bilateral relations with 15 EU countries in Central and Southern Europe and the Baltics.
These funding mechanisms are established on the basis of the Agreement on the European Economic Area, which brings together EU Member States and Iceland, Liechtenstein and Norway as equal partners on the internal market.
In total, the three counties contributed €3.3 billion between 1994 and 2014 and €1.55 billion for the 2014-2021 funding period.
More details are available on: www.eeagrants.org and www.eeagrants.ro
The RO-CULTURA Program is implemented by the Ministry of Culture via its Project Management Department and as a general objective is aimed at strengthening economic and social development through cultural cooperation, cultural entrepreneurship and cultural heritage management. The Program budget is 29 million euros. More details are available on: www.ro-cultura.ro