How much can you really say in 3 minutes and 17 seconds? Especially when tackling big ideas like transdisciplinary collaboration or interdisciplinary approaches? 3’17” is a satirical response to the overuse of such buzzwords in the contemporary artistic landscape. In an art world where terms like these are constantly thrown around, what happens when we ask what they actually mean? Can artists, researchers, and theorists truly collaborate across disciplines, or are these just words that sound impressive on paper?
Through a mix of sound art, video art, and podcasting, 3’17” sets out to explore these questions — while poking fun at the very discourse it critiques. The project engages 9 visual artists, 9 researchers, and 3 sound artists, placing them in a weird experiment where they collaborate “in the blind.” None of the participants knew what the others were working on, turning the very notion of collaboration on its head. The result? A collection of hybrid works that capture the beauty and chaos of crossing boundaries — without relying on overhyped jargon.
Each video work, sound piece, and podcast session follows the strict time frame of 3 minutes and 17 seconds, a nod to the digital age’s bite-sized content (also the average length of a song on Spotify). While this constraint reflects the urgency of modern communication, it also asks a deeper question: can truly complex ideas fit within such tight confines?
Video artists: Charlotte Eifler, Claudia Brăileanu, Pablo Mendez, Nona Inescu, Katsuki Nogami, Cristina Bodnărescu, Vera Hector, Mara Oglakci, Alex Halka
Sound artists: Simina Oprescu, Vlaicu Golcea, [ d s l x ]
Speakers: Tom Chatfield, Lev Manovich, Claudia Schnugg, Yvonne Volkart, Annick Bureaud, Alexandra Sofonea, Laura Welzenbach, Špela Petrič, Sonja Schachinger
Moderator: Sorin Badea
The works generated by this experiment will be presented as part of an interactive installation designed by Alin Rotariu, at Simultan Festival in Timișoara and at the French Institute in Bucharest. These exhibitions aren’t just about showcasing the pieces; they also create space for critical dialogue through round tables, where artists, researchers, and the audience will reflect on the dynamics of true collaboration, technical precarity, the role of art in science, and the potential for more meaningful interdisciplinary exchanges.
The final materials from the 3’17” project will also be made accessible beyond the physical installations. An online archive will be created, where all the triads — bringing together the video works, the sound pieces, and the podcasts — can be explored in depth, offering a broader platform for interaction and allowing the conversation to continue long after the exhibitions have closed. By extending the project into these digital spaces, 3’17” ensures its themes of collaboration and interdisciplinary critique remain open to ongoing public discourse.
Beyond the individual works, 3’17” aims to ignite a broader discussion about the role of collaboration in today’s art world. Are artists and researchers really working together, or are they merely coexisting under fancy terminologies? By staging these discussions, the project aims to bridge the gap between artistic creation and public discourse.
The project doesn’t take itself too seriously, but it does address real issues: what does collaboration mean today, especially in the art-science dialogue? And how can we break free from the echo chamber of buzzwords to create something more authentic, challenging, and ultimately impactful? In 3’17”, even when the collaboration is done blindly, it’s still about finding connections in unexpected ways, and the project invites the public to not only witness this but to participate in the ongoing conversation.
3’17” is co-financed by the Administration of the National Cultural Fund.
The project does not necessarily represent the position of The Administration of the National Cultural Fund. The Administration of the National Cultural Fund is not responsible for the content of the project or the manner in which the results of the project may be used. These are entirely the responsibility of the funding recipient.
