Diana Roșca (born in 1990, currently living and creating in Bucharest) graduated from the Faculty of Arts and Design in Timișoara, specializing in Conservation-Restoration, with a bachelor’s degree in 2011 and a master’s degree in Painting in 2013.
She has participated in various art projects and exhibitions, including “Mentoring und Aktion,” organized by the German Cultural Center in Braşov (2022), curated by Irina Botea Bucan, Lia Perjovschi, and Ionela Andreea Ghete; “Pandemic Art,” an online exhibition on the TehnoArte platform, curated by Aura Balanescu (2020); Performance titled “Avem la vânzare perne pentru desteptare,” curated by Antigona Silvia Rogozea at Galeria Galateca as part of NAG; Collective exhibitions at the Corneliu Miklosi Museum in Stereopsis/Home (Timisoara 2023), curated by Mālina Ionescu, and at the National Salon of Contemporary Art UAPR 2023, curated by Mālina Ionescu from MNAC.
In her artistic practice, Diana addresses current themes with subtle, seemingly ironic and playful messages, often within a local and sometimes universal context. She uses common materials such as sponges, mirrors, glass lenses, fluorescent threads, LEDs, survival foils, batting, crates, and creates an atmosphere for reflection where the subtle messages lead to interaction with the viewers. Her primary artistic mediums include art installations, artistic interventions, and performance art.
You can follow Diana on her Instagram profile: https://www.instagram.com/_diana.r.rosca_/
Q&A with Diana Roșca
When did you discover your passion for art, and what does art mean to you?
Initially, drawing and painting fascinated me. Later, I attended an art high school, and eventually, I enrolled at FAD Timișoara, experimenting with various artistic media and practices over the years. Art, to me, means multidisciplinarity, collaboration, interaction with various media, mediums, and new ways of discovery.
Describe yourself briefly: what do you like, what moves you, what revolts you?
I like connecting with nature, and I feel constantly inspired by it. I am moved by social cases involving vulnerable animals, and I am revolted by manipulation and subliminal messages in the media, especially those directed at children.
Describe your artistic vision: sources of inspiration, methods, messages you want to convey to the audience.
The main media through which I express myself are installation, site-specific intervention, and performance. In my practice, I address social themes but with subtle, ironic, and sometimes playful approaches.
It’s easiest for me to answer this question by providing examples of the following projects:
“Oikofobia” (2020) is a performance created during quarantine, with its primary message being the idea of imagined fear, anxiety felt within the home. Fear is a natural emotion and a reaction when the mind perceives danger, along with the realization that this fear is irrational, useless, or excessive.
“We Have Wake-Up Pillows for Sale” (2018) is a performance about the imperceptible boundary between marketing and art in an era of aggressive imagery and obsessive digitalization that have become integral parts of human daily life.
Who has influenced you on your journey so far and why?
I believe that no one has influenced me, but I find my inspiration in observing interpersonal relationships.
Which of your works do you like the most, and what does it mean to you?
The site-specific intervention “Eye’s See U” is a silent protest by the forest through which I tried to question the contemporary human’s relationship with the environment.
What has been the most joyful moment in your career so far?
There are several projects I’ve been involved in, such as the Passion for Freedom Festival (London, 2018), the Mentoring und Aktion project organized by the German Cultural Center in Brașov, a mentoring project with artists, and later, exhibiting my work at SNAC MNAC last year.
What do you expect from the Accelerator Brașov program?
I expect to learn more about the artist-cultural entrepreneur, artist-curator relationships, and about communication and writing in the context of artistic practice to help me better organize and manage future projects.
Which other artist do you like and find inspiring, and why?
One Lithuanian artist comes to mind, whom I have been following with interest for a few years, named Tadao Cern. He is a conceptual artist who works with various media, including installations, photographs with different materials and textures.
What are your future plans?
My intention is to evolve as much as possible in my artistic projects and put into practice the information gained during the mentorship.
Work of the Artist
in Fabulating About a Gelato Machine Exhibition
