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"For Adriana Chiruta, Techniques to get out of the needle for those who believe they are butterflies is first and foremost a declaration of love. Then it is the basis of a discipline focused on non-aggression and poetic respect for our fragility and the world, gently aiming to reduce the tension and suffering around us. Adriana invites her visitors to be subjects of art (sujets d`art), becoming part of the work proposed by her with their own breath, their own body and micro-movements. The installation, which discreetly colonises the exhibition space by means of 11 fragments of text, video and sound, starts from the belief that people and their societies can be saved through art. What does it mean to make art or to be an artist ? Is it just about appearing on a stage or presenting an object of art in a gallery, waiting for admiration and applause? But what if it means much more ? What if it means, for example, to transform your own life and all that surrounds you into art ? Or, as humanly as possible, to turn people around into artists? Techniques represents a small attempt to perform this aesthetic and social change. Adriana Chiruta’s positive but equally critical spirit is beyond the answer to these questions; she believes that in today’s world of multiple crises, sometimes surrounded by cruelty and heartbreaking injustice, we need, on an ever-widening scale, some social training in respect and care for our own fragility and sensitivity."

Anca Verona Mihuleț

”Using 'art' as a device for navigating passionately in her life and also working the logical and practical conditions that allow 'freedom' to be also lived, not only conceptualized, Adriana Chiruta invites you to 'occupy the stage of your own life', personally, socially and politically. The three performative installations as three acts of the artistic corpus Tasting Life Series: 'dancing with Woolf' (no. 1), 'reality is a matter of taste' (no. 2) and '3 minutes of nothing to do' (no. 3) are an invitation to savor life thoroughly in order to arrive to what is profoundly human and more significant in all of us, trying this way to free the mind from the danger of reductionism and uniformisation, which the artist sees as diseases, contaminating societies and nations. Fusioning her background as a theatre director and philosopher, she has envisioned a series of training exercises, aimed at transforming the simplest events in the human life into a meditation upon the voluntary act of embodying 'art'. How can simple daily events, like gazing, taking a break, moving aimlessly or just playing with stains from the last lunch on a used table paper cloth, or simply a cry, be interpreted as instruments which brings together 'reality' with the creative Self? An attempt to a response can be through switching, by engaging the bodies and the senses of the visitors, the contemplative focus to ourselves, as 'sujets d'art', rather than to exterior 'art' objects and mechanisms, one usually searches for when one is formatted to perform the role of the art consumer.”

Iris Ordean and Isabelle Henrion

”Adriana Chiruta’s installation, which stretches throughout Kunsthalle Bega’s exhibition hall with text fragments on the floor and walls, is the only kind of element that can survive in this space of minimalist architecture. The poetic approach might turn every reaction to it into art, becoming the most subtle work of the exhibition.“

Maximilian Lehner, Blok Magazine


”Similarly putting forward delicate propositions for introspection, Adriana Chiruta’s text works  enveloped the empty spaces between installations in the gallery. Her words, whether serving as curious instructions (“whisper the sound oooooooo/melting yourself/like a piece of black chocolate”) or meditative provocations (“life blooms in a huge empty space”), have a magnitude as earnest appeals to the viewer.”

Anna Harsanyi, Art Asia Pacific

”Adriana Chiruta, a theatre director and philosophy graduate, uses her atmospheric punch lines scattered throughout the exhibit area to remind us of the brain’s innate capacity for creativity.”

Alex Mirutziu, Contemporary Lynx


Welcome to my online gallery and performing arts` stage. Enjoy your visit!

Techniques to get out of

the needle for those who

believe they are butterflies


in the second edition of CHRONICLES OF THE FUTURE SUPERHEROES curated by Anca Verona Mihuleț at National Museum of Contemporary Art, Bucharest, 2023

video installation 

sound installation with voices of kids

a board game for parents & kids

online workshops with 11 techniques to get out of the body of trauma

Alternative Futures Laboratory / Laborator de viitorologie alternativă

@ Buget Zero curated by Liviana Dan, Sibiu, 2023


3 minutes of nothing to do / performative installation & ”just think” psychosocial experiment

Social Dreaming Cabinet / sound installation

Maybe We All Have a Future / video work

fitness for dreamers / workshop

5 performative solutions for social change / workshop

How NOT to Plant a Baobab in Greenland

in Now the impulse is to live! curated by Raluca Voinea 

@ CCA Topocentrala, Sofia, 2022

a board game for post-apocalyptique relations

play the game 

The Kiss | Piece (Peace) for women and pollinating insects | We all cry the same way | Love as political power

(an ecofeminist reminder of love and respect for the finesse and fragility of life)

in PAV_platforma de arte vizuale initiated & produced Dan Perjovschi in the frame of Documenta 15

with the technical support of Hans Scherer

Sibiu, 2022

an audio intro & 3 video works projected in the public space (the Lutheran Church of Sibiu  & the Philarmonics) 


Piece (Peace) for women and pollinating insects

There are incredibly talented performers around us which, unsurprisingly, are not human beings. Like this Chrysoperla Carnea harmonizing perfectly with Joan La Barbara sounds during a delicately hypnotic dance that plants the viewer in a soothing, strange loop.

In a world so endangered by the mechanics of destruction and war, Piece for women and pollinating insects offer the taste of the fragile tenderness of a biological, non-mechanical, glimpse of our reality. A glimpse that if untrained, will be lost.

We all cry the same way

Some years ago, somewhere on the western margins of Europe, I cried for hours. As it was not a cry caused by personal reasons, I decided to record it. The tears where triggered by the fact that we did not learned, neither at a personal, nor at a collective level, to stop making each other suffer in the most unjust, but also avoidable ways. I was deploring the avoidable sufferance, logically pointless, of humanity. Now, some years after, against the background of wars and cries and blood spills from Ukraine, Syria, Somalia, Ethiopia, Myanmar, Mozambique and so many other place of the world,

WE ALL CRY THE SAME WAY is an invitation to perform another future by taking a fresh start in a more peaceful course of our actions, as deprived of avoidable sufferance as possible.

Love as political power

Presented either as sound installation in public space (PAV, Sibiu) or as a video work at Suprainfinit Gallery in Bucharest as part of  Love as political power or how to rewrite our future with our breath in TRIUMF AMIRIA. The Museum of Queer Culture 2022, this is a fragment of a postmaterial performance with an unlimited number of performers I`ve started in 21.02.2017 inspired by this idea of Ludwig Wittgenstein: ”How small a thought it takes to fill a whole life.”

The Kiss

They remained fused to each other for more than 5 hours, in the sun, in the rain, inseparable, ecstatic and indifferent to all that was happening around. Bodies of love in a choreography of an extreme tenderness. Absolute masters of kiss. Nature was showing again as a huge space of performing arts or an art gallery in which uncountable and refined non-human artworks are happening all the time. This reinterpretation of the theme of the kiss with a snails couple, questions again all the narratives about human superiority in terms of performing love and respecting the finesse of the world.

Techniques to get out of

the needle for those who

believe they are butterflies

in CHRONICLES OF THE FUTURE SUPERHEROES curated by Anca Verona Mihuleț @ Kunsthalle Bega, Romania, 2021-2022

performative installation consisting of video intro, sound intro,

11 micro-movement techniques

and a collective ritual for sensitive people


april, 2019, Saint-Brieuc, Villa Rohannec'h

in ”A villa of one’s own. A mobile residency for 10 actors and 2 locations”

curated by Anca Verona Mihuleț, Iris Ordean & Isabelle Henrion,

Romania - France Season 2019

dancing with Woolf (Tasting Life Series no. 1)

reality is a matter of taste (Tasting Life Series no. 2)

3 minutes of nothing to do (Tasting Life Series no. 3)

dancing with Woolf
sound and performative installation with used table paper cloths

april, 2019, Saint-Brieuc, Villa Rohannec'h



The real work of art here is in fact the involuntary dance that the public is performing while their sight travel over Virginia Woolf`s text about a lunch, written on some used table paper cloths, the sound around rhythming the passion of her writing with my voice. Having a postmaterial target, all the materials and the sound work are not used for themselves,but as a coreographic installation for the dance of the public.

reality is a matter of taste
performative installation


Besides being a test of humanity, counting how many of us still get emotional in front of a weeping eye, this  is inciting the visitor to transgress the usual visual relation to a work of visual art and to jump into the game, interact, move, taste, explore beyond the visual. It is a video installation, of course, but there`s no use to admire a pool without jumping in it. That jump, that reaction of the public, is, in this case, the work of art. And, in this case, the reaction of the public was a delight.

3 minutes of nothing to do
performative installation & psychosocial experiment


Many scientists and thinkers concerned by the crises of the world today sustain that, if we all could stop for some moments our frantic everyday activities, and contemplate what is around us, while giving ourselves more time to think, the world might restore from its wounds. This is an experiment that tries to discover whether we are able to do this, or not When you are invited in, please enter the room and sit on the pillow in front of the window while doing nothing for three minutes. You will be all alone during all this time. At the end of the three minutes there will be a sound signal that will announce you to leave.

fitness for dreamers | 

laboratory of research and training in anarcho-surrealist languages

performing collective dreaming scores

mai, 2019, Cetate

Produced during ”A villa of one’s own. A mobile residency for 10 actors and 2 locations” curated by Anca Verona Mihuleț, Iris Ordean & Isabelle Henrion, Romania - France Season 2019


dreamers guide: Adriana Chiruta

dreamers stimulator: Anca Verona Mihuleț

performers: Adriana Spînu, Larisa Popa, Monica Predescu, Florentin Simion

dreams collectors: Tania Chițu, Alin Constantin, Deky Curcan, Denisa Pătru, Larisa Popa, Monica Predescu, Daria Ionela Prună, Cosmin Sbârcea, Florentin Simion, Adriana Spînu, Erica Vieru

Thanks to the Gheorghe Vasilichi Theoretical Highschool principal, Ms. Claudia Ilie.


performer – spectator playfield

The Paintbrush Factory,   2012-2013

FEED(me)BACK was a minimalistic performance composed of a series of games  focused exclusively on the multiple facets of the encounter performer/spectator. It started from the fact that the actual presence of two human beings, along with their imagination and playfulness, behind the social media and behind the production, sell or consumption of goods and services, it`s an experience that we start to forget.

In the everyday rush in which we tend to constantly reduce ourselves to tasks and jobs and projects and labels, just living and breathing together in the same space for some instances, while contemplating each other, is such a rare experience that it can already be called a state of art.


Directed by | Adriana Chiruță

Cast | Andreea Gabor, Raluca Uzunov,

Marosán Csaba

Scenario, costumes, set design: Adriana Chiruță

Photo & Video: Daniel Robu

Graphic Design: Răzvan Anton

Manager: Simina Corlat

4FAUST  &  the brainwashing machines

Now choose! Result n˚ 1 sequence

theatre & dance performance

 The Paintbrush Factory,   2011-2012

In this minimalist „lack of freedom” experiment, the spectators were asked to choose between two possibilities: n˚ 1 or n˚ 2. Independently of their choice for n˚ 2, the performer would conclude, invariably, that their choice was n˚ 1.  This led sometimes to blockages, for some minutes, of the entire performance, as some spectators, refusing the falsification of the results, choosed the freedom not to choose. But being a „lack of freedom” experiment, refusing to choose was not a valid option, so the spectator would hear incessantly Now choose! Now choose! Now choose!........ till he or she would finally choose one of the two possibilities: n˚ 1 or n˚ 2. Independently of their choice, the performer concludes as usual:

Result n˚ 1.

4FAUST  &  the brainwashing machines

theatre & dance performance

 The Paintbrush Factory,   2011-2012

4FAUST started from this reductive suspension of reality to the visual dimension of a simulacrum, from this loss and dilution of the perceived world, caused by our constant visual immersion into our screens. It was a postdramatic and polyphonic political performance about selling our freedom and sense of reality for the temptation of some beautifully packed illusory promises. A journey into the world of commercial brainwashing, where humanity is ecstatically perorating about the pleasure of watching the screen while eating chips and Big Mac, about the preference for the virtual individuals instead of the real ones,  about monsters escaped from cartoons feeding themselves with human brain and data taken from neuromarketing, about the supreme fulfillment of drinking Coca-Cola and praying to God in the same time and about a Mephisto disgusted by the horrors that humans inflict to each other.

Directed by | Adriana Chiruta

Cast | Agota Szekely, Timea Kovács, Cristina Secăreanu,

Csongor Köllő, Balázs Bodolai

Composer | Ovidiu Iloc

Visual Artist | Mihai Pataki

Set design | Adriana Chiruță, Árpád Debreczeni

Scenario and textual collage | Adriana & Felician Chiruta

Production manager | Corina Bucea

Thank you for your visit! Don`t hesitate to send me your feedback. I would be thrilled to receive it.

Thank you!

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