Virus, virus! Doesn’t that sound like à samba tune? Swaying and dancing rhythmically. It is spreading like the virus of the day carried by the chicken, ducks, swans and all those migrant birds that set off from China, stop in Turkey, fly over Romania, Africa and France to reach the North and then fly back. Less lethal but equally pervasive like those small bombs called H5N1 which we don’t know how to stop and which are transported by air and disperse like pollen. We are living in the “information” age. Information that allows for a great amount of disinformation. Ever so permeating. This is it – virus.

Virus as the notorious “emigration flood” so frequently discussed. Virus as the American funds, those big sums of money which travel from one end of the world to the other disregarding any rule or regulation. Virus as the companies which delocalize. Virus as the one that attacks our e-mails. Virus as everything that slips away, oozes and soaks into “the underground” or above in the open, rushes by then disappears and moves on.

Our exhibition is organized around this notion which is central to our lives and the idea of movement, unstableness, permeation and constant branching. It is not meant to be displayed in a closed space or in a single or several museum halls where the works of art are the subject of contemplation but rather in a pattern similar to The Garden of Forking Paths Borges is talking about or even – and why not? – to Heidegger’s Roads to Nowhere. A light and hazardous exhibition wandering like Schubert’s Wanderer Fantasie which is concurrently displayed at two places and splits up between two cities – Bucharest and Sofia – and two countries spreading across newspapers, magazines, the radio, television, the Internet. An exhibition which unlike the usual linear discourse presents itself open and multiplied.

Leonor Nuridsany

With the artists Bertran Berrenger, Laetitia Carton, Baptiste Debombourg, Gerome Nox, Anne-Marie Rognon.