Filmed faces

  'Filmed faces' is a film based on series of shootings common people's faces, in my hometown. During five days, I was out in the city, wherever on the streets, interacted with people, speaking, asking, listening one another; and they been agree or not with my demand and proposal : to film their faces for a few seconds. From a special point of view, from emotional one, this interaction was very exciting and releasing. On the one hand the people who refused me, brought in the project the items of 'personal space', 'prudent behaviour', 'trusting or not trusting', 'confidence', 'unstudied behaviour'. On the other hand, the people who say Yes to me, brought the gladness, the exultation of open faces, of eyes to eyes contact, the expressiveness, and  they heightened the emotional  and communication levels. Another important thing for me, was, that somehow I regained my own  common face. This teaser is part from almost 300  common faces filmed.

elenacopuzeanu/ 'Pastels,mirroring faces,and no prejudice'

This is a part from Fragmentarium, an interdisciplinary project, where  were involved people with very different backgrounds. Everyone of us, decided to bring a new situation, and deal with her/his limits. Here, is  a part of my proposals. We, both worked with improvisation and communication in this frame : faces a mirror, with make-up colors and some items  of 'cosmetic'  tools ( and cosmetic also can mean to improve  or not a situation ) . Touching, dare, watching, surprising, pleasurable, mixing colors, painting, beauty, handsomeness, loneliness, absence in presence, skin,humor, are some words and concepts that we need to release  together.

'what you see is not what you looking at' - IPA performance,Bucharest CIV,2014

What you look is not just what is seen' is a performance installation, which lasts 1 hour. It is an intervention that aims to reconnect an art Gallery space with outside space of that Gallery. With minimum tools: a body, a camera and a monitor, I realize a direct, intimate and powerful intercourse between the subject offered to be contemplated and the very sight of those who contemplate, making a living whole. It's a challenge who's looking who. Is an indirect link between my eyes and the eyes who looking at me. Here, I want to redefine the Act of looking from the perspective of the one who is seen as object and subject of contemplation.

ELENA COPUZANU PERFORMANTA GALERIA SIMEZA FILM DE MURIVALE IV

ELENA COPUZEANU - PERFORMANTA - GALERIA SIMEZA - FILM DE MURIVALE P I

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IPA - first day - dance performance, Bucharest 2014

In Real Time Composition, I organize my body and thoughts into unitary and coherent whole. I'm suddenly in a live dialogue with myself, in a fragile process, in which the elections succeed quickly. I choose to keep a gesture, to correlate it with a certain part of the body, and to give up to another. The meanings are starting to circulate through the whole body. My attention is that which, as a lover of the city, cross and pass over the body seduced by countless situations and possibilities. The body became a city. It has secret parts, dead ends, circuits, dull surfaces, inexpressive ways, errors, lockups, or liberating surprises. My Attention, a mysterious pilgrim, fell in love with a city-body and miss the way, and finally find itself, in a compound of exaltation, gestures, movements or even dance.

'Virtual me' - soon at WASP Bucharest

'Virtual me' este o colaborare intre un artist visual/performer si un fotograf. Impreuna cu Emilian Savescu, voi explora posibilele cai ale acestei tehnici media de a creea tururi virtuale ale unor spatii interioare sau exterioare, in care, eu ca si performer, ma voi integra prin ipostaze ale corpului in dans si prin actiuni . Rezultatul final va fi o alcatuire de video-uri iar prezentarea lor, pe unul sau mai multe monitoare. Navigarea privitorului se va putea face din afara, invitand la interactivitate. Am fost fascinata de tehnica 'Turului virtual' si provocata de a performa intr-un spatiu pe care privitorul are posibilitatea apoi, sa-l exploreze din exterior printr-un device adaugat programului. Privitorul are posibilitatea sa exploreze virtual anumite spatii , sa le parcurga in sensul in care isi doreste. Insertia si mai bine zis intruziunea corpului meu care performeaza traversand aceste spatii expuse in "Turul virtual'', imi da posibilitatea sa creez raporturi subtile, neprevazute cu acele spatii, cu diversele lor caracteristici si detalii, cu specificitatea lor. Ma provoaca sa gasesc miscarea/dansul/pozitia care sa le completeze, sa le dea sensuri noi, si nu in ultimul rand sa surprinda privitorul. Proiectul vrea sa exploreze cat mai mult din tehnica "Turului virtual" sa gaseasca noi tehnici media, care sa o imbogateasca. ‘Virtual me’ isi propune sa genereze spatii inedite, reformulate, regandite in urma raportului acestora cu un corp viu si in miscare. Corpul insusi, se va lasa influentat de inovatia tehnologica, isi va gasi noi forme de expresie, de miscare/dans si dialog cu propriile aparitii, cat si cu ceea ce voi intui ca o sa fie apoi, abordarea curioasa a publicului.

Fragmentarium - 2011

To whom it might concern, Elena Copuzeanu is one of the very first representatives of the younger generation of Romanian artists who engaged in the reworking of the performance as an artistic genre. She has set landmarks in the happening&performance practices. Back in the mid-90s, she succeeded to focus wider attention on group- or solo-performances developing both in the public space in its physical sense (the street) and in its virtual sense too (mass-media, posters, publications). Her 1994 "Homage to Mandela" (nothing to do with the late Nelson Mandela, but with a local, Bucharest thug of the same nickname) highlighted the aggressive invasion of public prejudices linked to the burgeoning consumer culture onto the personal/visual space of the individuals sharing the same urban milieu. Her further works, actions and events went more and more toward enacting the innermost reception of external, socially codified stimuli. Her intuitive works mirror the paradoxical cohabitation of socially codified gestures and behaviors and personally estranged, inchoate feelings. Her work is neither aesthetic, pleasurable, nor therapeutic, healing, but it keeps on being vivid and troubling. erwin kessler, art critic