NEW ARTIFACTS
By Silviu Padurariu

In the traditional perspective of philosophy, the technical dimension of humans, as a form of practical knowledge, has been separated from and opposed to the dimension of theoretical understanding, establishing a fundamental divergence between manual skill and reason. Conversely, the contemporary perspective offers a vision of the world in which modernity is described using terms such as Anthropocene and posthumanism, where manual skill and reason have faded, replaced by new technological, non-human beings.

The exhibition “New Artifacts” reflects on a less-discussed possibility—where the human horizon is conditioned by the technical and technological phenomenon, aligning with the ideas of Bernard Stiegler. The key to this exercise, led by four artists, is to bring back into focus and rethink the idea of techné, placing it in a perspective where both manual skill and knowledge are, on one hand, interdependent and, on the other, permanent in humanity’s evolution. In this sense, the idea of the artifact and the human trace in the world can be confused with the trace of technique and technological development.

Techné, a term rooted in Ancient Greek philosophy, refers to the concept of skill, craftsmanship, or art. More than the mere technical execution of a task, techné embodies the knowledge and principles underlying the creative act. The term is often associated with artisanal practices and artistic mastery, as well as with the application of knowledge to achieve specific, tangible results. Philosophers such as Plato and Aristotle used the term to distinguish between practical knowledge and theoretical understanding, emphasizing its role in shaping human creativity and problem-solving.

In Plato’s dialogues, techné is presented as a structured form of knowledge, focusing not only on the ability to produce something but also on understanding the reasoning and method behind it. For Plato, techné involves rational thought and intentionality. Aristotle extended this idea, describing techné as a combination of intellectual and practical virtues. For Aristotle, techné was distinct from episteme (scientific knowledge) and phronesis (practical wisdom), representing a unique mode of knowledge centered on making and creating.

In modernity, techné remains relevant in discussions about technology, engineering, and design, reflecting the interaction between innovation and mastery of tools, techniques, and systems. Unlike mechanical skills or automated production, techné emphasizes the creative intuition and deliberate thinking involved in creating something meaningful. For instance, both a software developer applying algorithmic logic and an artist blending colors on a canvas represent manifestations of techné in action.

Ultimately, techné bridges the gap between theory and practice, reminding us of the deeply human impulse to create with purpose. It is a timeless concept that underscores the importance of skill-based knowledge in shaping the world, reflecting the profound connection between intellect and craftsmanship. In an era of rapid technological advancements, the essence of techné remains as significant as ever.

— Silviu Pădurariu

The “New Artifacts” Exhibition
by Lina Țărmure

The exhibition “New Artifacts” presents works by four artists who engage with the broad phenomenon of technicity—a concept that encompasses technical knowledge, manual skill, expertise, and innovation.

Beniamin Popescu (b. 1989) brings drawing into focus by creating ground imprints that capture the forms of archaeological sites. The traces of what was once inhabited shape a layered and tactile surface, encapsulating multiple moments of the degradation process while preserving an aesthetic dimension. The textures and relief-like forms become signs of natural decay, symbols of the memory of settlements after their practical function has ended. The imprint of these sites, transformed into wall-mounted objects, creates a dialogue between past and present, fragility and permanence—a symptom of contemporary reality.

Florina Drăguș (b. 1991) presents “Uplifting Claw” and “Inner Trophies”, works that function as indexes of creatures—both real and imaginary—reminiscent of claws, horns, and vertebrae. Their evolutionary process includes regenerative layers that form a protective epidermis. As inner trophies, positioned between the animal and the human, these forms traverse time, from prehistory to the present. Florina’s works draw from natural forms—either long lost or yet to appear—playing with volumes and textures that could easily inhabit aquatic, terrestrial, or fictional biospheres.

Radu Pandele (b. 1993) creates an in situ intervention populated by a seemingly chaotic series of “icons” from his own fictional discourse, summarizing a cosmogony that generates a system of contemporary emblems. Arranged like a curiosity cabinet, his figures map the traces left by humans in nature, referencing elements from art history to consumer society and mass media. Pandele’s characters and objects expand in an arborescent manner, starting from Edenic symbols and extending to cutting-edge innovations of the digital world, evoking the latest posthumanist distortions.

Saint Machine (b. 1979) presents the work-in-progress installation “I Feel You and Everything is New”, capturing the radical tension between technology and nature by generating a sensitive, living installation—an example of a non-human being. The mechanism reacts to even the faintest sounds in its proximity, emitting luminescent and chromatic pulses; like pneumatic signals, this technological entity shows signs of life, communicating with the environment. The artist frequently engages with the technosensitive exchange between the viewer and the installation, dissolving the functional boundary between observer and artifact, creating an interactive exchange between them.

The exhibition can be seen as a form of “Anthropocene Display”, referencing the title of a poem by Ștefan Manasia, in which old and new artifacts are brought together to generate dialogues between traditional artistic mediums, nature, and technology. These artifacts gain significance through their timelessness, mapping a recent past or an imagined future, saturated with human intervention and post-humanist vestiges.