Incursions into sound, text and image.
Abstractions, revelations, dissections.
Music, language, cinema, fiction, futures, memory.
Rhythm, texture, nuance.
Change, change, change.

Time feels warped and weird in a psychedelic way — that’s because it is. The present is a culmination of accelerated sign production. Society has simulated itself, a model built to represent the model. It’s a scale model, the map of no territory, sold to us, its loyal customers, for a discounted price. It’s also a discounted experience. It’s the sales version, the one that works just long enough for the Company to cash out. We bought the projection, not the real thing. The Power Point presentation instead of the actual product.



We don’t share the same time, we don’t even share the same illusion of time. We belong to societies thrust in a blender of symbols, signs, languages and gestures that need to be the same, but aren’t necessarily the same. The language we use to communicate might have the same grammar, but differs in syntax and meaning. 

Cosmin Nicolae

︎︎︎ is an anti-disciplinary artist working with image, sound, text to produce works of intimate reflection at the intersection of autoethnography, psychogeography and possible futures.

︎︎︎cultivates meaningful connections and collaborations in the realm of music for film, installations, dance, performances, theatre, talks and flânerie. All things art, avant-garde pioneers, anthropology, ethno-musicology, cinema and beyond.

︎︎︎ published three collections of poetry aged 13

︎︎︎ born in Romania

︎ A meandering trajectory from writing for bizarro mock-reality TV shows in the 2000s followed by a full-fledged electronic music career culminating in a pivot to screenwriting - CN is a restless observer with a passion to engage in raw conversations across media. Having released a slew of recordings and toured the globe as an electronic music producer for more than a decade, Nicolae is expanding on his practice to include forays into filmmaking and exploring the nexus of theater, dance and ethnography. The aim is to cultivate a novel vocabulary that eludes linguistic barriers by drawing from multiple cultural potentials to tap into a primordial source of exuberant expression.

︎ explores the liminal, the prehistorical, the microscopic, the delusional, the utopian

︎ ︎ ︎  ︎ ︎ ︎


Dramaturgy | Ian Burton
Sets | Radu Boruzescu
Costumes | Luis F. Carvalho
Music | Cosmin Nicolae
Lightning Design | Robert Carsen, Giuseppe Di Iorio
Movements and Choreography | Marco Berriel
Assistant director | Stefano Simone Pintor

Staatsballet Berlin, 2022

Choreography: Johnny McMillan
Music: Cosmin Nicolae
Costumes: Johnny McMillan, Alexandere Cagnat
Stage Design and Lights: Johnny McMillan

In his choreography OH CAPTAIN for ten men, Johnny McMillan deals with identity politics and concepts of masculinity. What is there to say about this in the transient world of genderlessness? Intimacy and the nature of relationships were starting points for the subjective answers of each individual.