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1st Station

Field notes from Paris

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Patricia Morosan Bio
Patricia Morosan, based in Berlin since 2007, is a multimedia artist whose work explores themes of memory, intimacy, and cultural identity through photography, video, text, performance, and installations. Her notable projects include "Re/Turn & M/OTHER" (2017–2022), "(I)Remember Europe" (2018–2022), "You, The Living" (2019–2021), "Telepoetics. Practices of Intimacy at a Distance" (2020–2024, in collaboration with Bianca Oana), and "That Every Stone Is" (2024). Morosan holds an MA in Photography and Moving Image from the University of Fine Arts Leipzig (2022–2023), studied photography at Ostkreuzschule Berlin (2015–2018), and earned degrees in Film Studies, Art History, Communication Studies, Philosophy, and Political Science from Freie Universität Berlin and Bucharest University (2004–2018). Her publications feature artist books like "Telepoetics" (2024) and "M/OTHER" (2023), essays in magazines such as Scena 9, and catalogs for exhibitions. She has exhibited extensively in solo and group shows across Europe, including at Planches Contact Festival in Deauville (2024), Kunsthalle Lund (2023), and Rencontres photographiques d’Arles (2019), with her work held in collections at the Museum of Contemporary Arts Bucharest, Ville de Montpellier, and private holdings. Morosan has received numerous awards, such as the IASPIS Grant (2023), Deutsches Photobook Award - Bronze (2023), and FUTURES Programme grant (2022), and engages in lectures, workshops, and co-curation of the Temps Zero collective while participating in socio-cultural initiatives in Berlin.



My purpose is to engage with the work of the Trainers developed in their workshops during the Station #1 Training School, through an artistic-research lens, using methods such as photographic documentation and interviews.
The outcome of this mission was a digital publication that brings together the visual and textual material collected during the workshops. This document serves both as a record and as a creative research artifact, contributing to a deeper understanding of the role of art in ecological and pedagogical contexts. The workshops brought together critical pedagogies, decolonial thought, and ecological practices – areas that resonate deeply with the concerns at the core of my artistic practice. The 3 trainers are known for their work on decolonial ecologies, circular systems, and transformative education—areas that align closely with my own artistic practice.

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