- SEVERAL LAWS. THE ELASTIC TEST _ exhibition view, 2016
- UNTITLED (1) _ object (leather, laser inscription, hand dyed in white), 100x140cm, 2015-2016
- ERRATIC STATISTICS (1) _ object (wood stick, leather of different colors), 2m, 2016
- INFINITE CONTRADICTIONS _ installation of three joint flags (reused black leather, wooden sticks, steel), 2016
- INFINITE CONTRADICTION _ exhibition view "HÄMATLI & PATRIÆ", Museion-Bolzano, 2017
- ARRANGEMENTS & HAZE _ exhibition view "Work it, feel it!", Kunsthalle Wien, Vienna Biennale 2017
- SUBTITLES C1 _ artist intervention at Edicola Radetzky, Milan, 2017
- PORTRAYING SIMULACRA _ installation (object and digital questionnaire), 2012–2013, documentation from la Biennale di Venezia 2013, Romanian Official Representation II - "Reflection Centre for Suspended Histories. An Attempt", The New Gallery, The Romanian Institute for Culture and Humanistic Research, Venice, Italy
- AS GOOD AS GOLD (triptych) _ painting (hemp fabric, iron wire, leather strings, acrylic paint, glitter), 240x190cm, 2014, documentation from Apparatus 22 - AS GOOD AS GOLD solo show at Akademie Schloss Solitude, Stuttgart, Germany
- 7 UNCERTAIN SCRIPTS _ installation (immersive lightbox of 9m x 3m x 3m size: metal, black and white backlit print, neons + 4 wood benches + video of 8’34’’ created and projected for the triptych shape + wooden semicircular wall), 2014, documentation from Shape Noise exhibition at MNAC, Bucharest, Romania
- POSITIVE TENSION (IN THE AIR) _ performance, 2012, still from the series of five performances produced for Museums Quartier, Vienna, Austria
Apparatus 22 is a transdisciplinary art collective founded in January 2011 by current members Erika Olea, Maria Farcas, Dragos Olea and Ioana Nemes (1979 – 2011) in Bucharest, Romania.
Since 2015 working between Bucharest and Brussels, Apparatus 22 thinks itself as a collective of dreamers, researchers, poetic activists and (failed) futurologists interested in exploring the intricate relationships between economy, politics, gender studies, social movements, religion and fashion in order to understand contemporary society. A recent topic of research and reflection in Apparatus 22 practice is the SUPRAINFINIT universe: a world-making attempt to use hope critically in navigating present and future.
In their very diverse works – installations, performances, text based-shapes, reality is mixed with fiction and storytelling and all merge with a critical approach drawing knowledge & experience from design, sociology, literature and economics.
The collective participated in exhibitions and festivals at La Biennale di Venezia 2013, MUMOK, Vienna (AT), Brukenthal Museum Contemporary Art Gallery, Sibiu (RO), MAK, Vienna (AT), Steirischer Herbst, Graz (AT), Akademie Schloss Solitude, Stuttgart (DE), Salonul de Proiecte, Bucharest (RO), Museion, Bolzano (IT), TIME MACHINE BIENNIAL OF CONTEMPORARY ART, D-0 ARK UNDERGROUND, Konji (BIH), TRAFO Gallery, Budapest (HU), Futura, Prague (CZ), Ujazdowski Castle – Centre for Contemporary Art, Warsaw (PL), Württembergischer Kunstverein Stuttgart (DE), Contemporary Art Museum (MNAC), Bucharest (RO), KunstMuseum Linz (AT), Osage Foundation (Hong Kong), Progetto Diogene, Turin (IT), Drodesera Festival, Dro (IT), Young Artists Biennial, Bucharest (RO), Oberwelt, Stuttgart (DE), Galeria Nicodim, Bucharest (RO), GALLLERIAPIÙ, Bologna (IT), Nieuwe Vide, Haarlem (NL), Nest, Den Haag, (NL), Académie Royale des Beaux-Arts de Bruxelles (BE), CIAP, Hasselt (BE) etc.; Apparatus 22 also works beyond institutions via performances in public spaces, interventions in private spaces and other hybrid forms.