Elena Urucatu – Sobremesa, an Exploration of Memory and Community

Elena Urucatu’s artistic journey is as dynamic as the cities that shaped her. Born in Bucharest, she moved to Madrid two decades ago, transitioning from a physical education teacher to industrial design and Fine Arts. Now based in Berlin, she continues to explore her artistic path. This October 2024, she will be participating in the final exhibition “Superorganism” of Magic Carpets in Tartu, Estonia, as part of the European Capital of Culture program.

Her performance “Sobremesa” was a part of the Mahalla Festival “Palimpsest” 2022 in Istanbul. META Culture Foundation‘s curator Raluca Dorotfei proposed the artist to Diyalog Derneği curator Ilayda Tunca and Urucatu developed the idea of a metaphorical dinner-event as the centerpiece of the Magic Carpets event.

In an interview with Léa Cordani, the artist delves into the details and significance of “Sobremesa,” illustrating how it fosters connection through shared memories.

Can you give us some insights into the “Sobremesa” performance you did in Istanbul?

“Sobremesa” is an installation composed of a table, tablecloth, tableware, and food served during a performance. The central aspect of the performance is the conversation that unfolds around the table. The name “Sobremesa” derives from a Spanish term referring to the time spent conversing after a meal. For the performance, participants were asked to bring a plate for dinner, which was then randomly shared among everyone.

I encouraged participants to share personal stories about their plates, sparking meaningful conversations. The act of sharing a personal plate is a unique and intimate experience that created a sense of connection among the participants. The table itself serves as a metaphorical canvas, accumulating layers of stories and marks from use, which are often passed down through generations. Each tablecloth, marked with its own history and imperfections, contributes to this narrative.

Is the performance going to change in Tartu?

The Tartu performance will be a continuation of the first, adding another layer to the narrative. We will use the same tablecloths from Istanbul, which I painted black to preserve the shadows of the dinner. We will also incorporate the sounds recorded during the Istanbul dinner. A new group of 20-25 participants will join the installation, adding their stories and experiences to the existing layers, thus continuing the narrative.

How do you relate to the idea of the exhibition?

When I read the curatorial text, I envisioned a large octopus. The first element that I have in common with ‘Superorganism’ is precisely the unity that is created between the various elements of the installation. Each element is worked to improve the piece, but the conversation is what gives life to the installation. It is spontaneous, open, and leaves room for the imagination and memory of both the participants and the audience. Each visitor has the opportunity to connect with their own experiences through the sound. They can listen to the conversation and be transported to different places.

This is also enriching for the creation itself, as it’s another layer that I have lost control over. But it’s another layer that they put on the installation somehow. ‘Superorganism’ in the end. I think that ‘Sobremesa’ is born precisely thanks to the collectivity and unites the different elements in order to bring the light persistently on the collaborative power, its capacity to tell stories that can’t be told.

Why is collaboration with the community important to you?

In my performances, I’m always looking for people who are not used to the art scene: participants from diverse fields, such as lawyers or doctors. This approach makes the performances more accessible and engaging. By working with people who are not related to the art scene, I can bring new ideas and energies to the project. Moreover, engaging with artists from diverse backgrounds offers unique perspectives, enriching the overall experience and understanding of the art. Everybody has a different way to see the world, depending on how they were socialized. And if they see the world through your eyes, then they can experience your own memory, your own experience, and your community too!

From your perspective, how does Magic Carpets contribute to a wider understanding of contemporary art?

Magic Carpets approaches people and audiences in a unique way. In Istanbul, we were directly connected to the neighborhood. The people there weren’t used to the art scene at all. And art is definitely the best way to communicate between different cultural and political points of view.

I think art is the easiest way to make people see the political and historical situation, and also the most digestible way to see life. And I think that people need to be close to art, but they usually don’t have the opportunity to do so. I was working with people from the markets who I invited to the exhibition, and they were impressed about what was happening there, how they never had the opportunity to see and visit the school before, which was very important to me.