Flaviu Rogojan
lives and works in Cluj, Romania

Wind, 2017
UV print on transparent plexiglas, sound
multiple versions, dimensions variable

shown in

From Within (solo show) 
13. 12. 2017 ‒ 17. 02. 2018
at Pilot, The Paintbrush Factory, Cluj, Romania

Nature Nature 
03. 10. 2019 ‒ 31. 10. 2019
curated by Mirela Baciak
at Kunstraum Niederösterreich,
Vienna, Austria
During a skype call, if one person talks very quietly the application will automatically boost the signal to bring up the volume of the voice. If no one is talking, this auto-gain function sometimes has the effect of amplifying background noise to unbearable levels. Passing background and signal noise through it's voice-enhancing filter, the Skype algorithm produces a wailing noise sound that overpowers communication. Searching for a solution online one finds this issue described using the metapor of wind or being in a wind tunnel.

In an age of long-distance relationships made bearable by endless phonecalls, this sound created from technical errors gives a sonic dimension to an imagined private space of internet communication.

Paleto Forest, 2017
C-prints and inkjet print on paper
dimensions variable

shown in

From Within
13. 12. 2017 ‒ 17. 02. 2018
at Pilot, The Paintbrush Factory, Cluj, Romania

hax! (solo show)
03. 10. 2019 ‒ 31. 10. 2019
at Galerie Klubovna,
Brno, Czech Republic
Grand Theft Auto, a game centered on stealing cars and working for the criminal underworld, where breaking the law is not only encouraged, it’s the way you win the game. A lot of casual players however not only use the game to break the rules of society, but the rules of the game itself, by using cheat codes to get access to more money, the best cars, the best weapons and so on. A form of cheating that goes one step further is breaking the rules of the in-game physics. Running from the police, in a stolen car, driving the best car in the game, this player is using cheat codes to turn off any collision between the police car barricade and his car. Not only disrespecting the authority of the police but also being unstoppable, immune to the normal physical constraints. Being able to move through objects is a form of mobility imbued with power, a ghost-like movement transcending power relationships. Being able to walk, run, drive, or move through 3D objects and environments, unrestrained by “natural” physical limits and collision rules, can be a form of subversion in the case of cheat-codes, but can also be a case of a higher perspective. In competitive video games, walking and, implicitly, seeing through walls which are not meant to be transparent, is a right reserved only to moderators, referees, or admins.

For me this act of seeing the world from an inside perspective, from within the 3D world, is a metaphor for power relationships in the real world, power relationships built on surveillance technologies, power coming from making things transparent, power held by those that are allowed to look through barriers (which is not always police or government agencies, but also marketing and tech companies, which see through their own services’ backdoors).

Blue Hell , 2017
Mousepad Edition of 6, 
20 cm x 23 cm
Youtube Playlist
Falling through the world is a glitch that can happen in video games, whether intentional or not, the player finds himself falling endlessly, as the virtual 3D environment does not really have any materiality beyond just a thin surface. The way the game represents this on screen is mostly like falling through thin air. The gamer community of Grand Theft Auto calls this space Blue Hell, a very poetic name for a state of falling through a nonspace. Instructions found on a gaming forum on how to enter blue hell have been written down and printed on mousepads.

Big Crunch, 2017
66 C-Prints
10 cm x 15 cm each

More exhibition views from Pilot, Paintbrush Factory, Cluj, Romania:

Photocredit: Roland Vaczi