Liliana Mercioiu Popa lives and works in Timişoara (Romania). She is one of the few Romanian artists who have a constant preoccupation with the use of text in the creative endeavour, in a manner of conceptual influence. This has been visible since the beginning of her career in the late 90s, and over the course of time has completed the other forms of expression employed by the artist: painting, drawing, installation and photography. Liliana Mercioiu interests cover a wide range of issues, most of which are nuanced through her personal view of the macro- and micro-historical contexts. Her own becoming in relation to the development of the world, the historical evolution of the social and cultural climate in which the artist lives her everyday life, the balance of forces and determinations that create the identity of a community, of a social group or of an individual, all these are recurrent aspects in her art.Her works could be seen in solo exhibitions such as: “Medial Space”, Bucharest (Romania), 2016; “Variable Geometry”, Timisoara, 2014 or “About Fluidity”, Novi Sad (Serbia), 2013 or in collective ones – “Universallowed”, Timisoara (Romania), 2017; “Hidden Agenda”, Bucharest, (Romania), 2016; “What about you?”/”The Connection with the Present”, Art Encounters Biennial, Timisoara (Romania); “Possible-Unsure”, Timisoara (Romania), 2011, “In the Light of Utopia”, London (United Kingdom), 2010; “7 Terraces Open to the World”, Essen (Germany), 2009, “About the Absurd in the Plastic Arts”, Budapest & Szeged (Hungary), 2004.


The concept proposed by Mobile Biennale (The Tour of Moldavia in 7 days) offers a framework which is inherently subjected to change, through the movement in “time and space”. Thus, right from the start, it presents itself as an artistic act that involves the participants in this project as its constituent elements through their mere presence and participation, which are not planned, and are therefore free of charge and free of any constraints (as any artistic act should be).  This is also the reason why my contribution brings this idea to the table, by stating textually: […] NOTHING ELSE […], although, paradoxically, this can become, at the same time, through the very referent it starts from, (What exactly is nothing else? and  Nothing else than what?), a “channel” with both ends open to possible/multiple additions/interpretations, open to the inevitable individual need to draw one’s own coordinates, need for manifestation…
In this way, […] NOTHING ELSE […] becomes a personal statement of the “open space” between things/places/participants, as the potentiality of relations between them; nothing is deliberately proposed, but still has the liberty to happen…


The under-layer of this statement consists in (var.1) the superposition, through transparency, in black and white, of all photos I took during this route.
In another version of transposition (var.2.), aspects of letter character are related to visual details captured during the course, a translation from one medium / language / reality into another or a conjugated archaeology of the moment .












The vestiges of a former (wasteful or not?) industry that is still fighting for survival between heroism (owner) and lack of alternatives (workers) –MAE factory, Iași Romania.



Every look at the city can be a breakdown of the layers of history, and the analysis of space relations between the architectural dispositions occurring over time – un urban archaeology.


Feeling upon entering the city: the contrast between its general derelict look and the importance attached to advertising.