My name is Alina Lupu and I am a conceptual artist. For the past 5 years I have been based in Amsterdam. My country of origin is Romania.I am very much dedicated to the social aspects of an artist’s life. Rather than just the end goal of art display. I’m puzzled and influenced by everyday living and by the impact that an artist can have on his or her surroundings. Refreshing my previous education in the field of psychology, my practice has turned to performance and intervention and other means of initiating a dialogue, shifting from the contemplative to the active and engaging and posing the following questions:

“What are we actually looking at and what does the act of looking imply?”

“Are we complicit?”

“What is our position”?

I employ photography and video as mediums and I use appropriation alongside conversation and sound recording in order to frame the coordinates of situations. I work with organising performances which strive to not have anything of the theatrical in them, nearly mirroring everyday life and feeding it back to itself. Performances which break the regular mold of the visual art field in which the main aim is to abolish the stage and enter into making deep connections, not immediately apparent, to economical structures (borrowing, exchange, waged labor), systems of surveillance, digital networks and actual communities.

I also am a published writer and link my performative works with text pieces to provide them with a broader context, less in the manner of theory, more in a way of adding a semi-fictive frame around a situation.

One of my strong working characteristics is the drive to make collaborative works. I enjoy the process of enhancing someone’s practice in dialogue and I enjoy having my own practice enhanced. I believe the fact that in the case of socially-shaped visual arts projects, the work should not just fall solely on the shoulders of an individual, self-established autonomous artist, but rather it should be shared with others (artists, technicians, employed performers, institutions, funding instances), something which the initial artist should be able to acknowledge.

My most recent field of interest is centered on: precarious conditions of living and working within the art world.

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