In a genuine queer approach, we wrap the museum with TRIUMF AMIRIA an unusual, bright and empowering name imagined by the art collective Apparatus 22 as an immaterial work for public space in their BLANK AUGURI series.

An allusion to the sense of pride, to that pride that queer communities around the world celebrate annually, TRIUMF AMIRIA is a hyperbole that encapsulates a broader vision of the role of a queer museum.

Triumf (triumph) for queer communities their everyday struggle with prejudices and discrimination, Triumf as a prophecy for a better future. Because we dared to dream of a queer museum during the pandemic, aiming not at “a return to normal”, but at imagining new, better, revolutionary realities. 

A-mi-ri-a because tenfold tends to suprainfinit, to utopia. We reshaped miria from that mýrioi of Greek origin used in the 18th and 19th centuries (later forgotten) as a decimal prefix in the metric system to symbolize ten thousand. A necessary gesture to represent our queer, fluid identities, multiplied ten thousand times and ten times as much in an ideal world in which queer allows space for all of us, by virtue of our humanity.

A- (miria) / like-(miria) because our proposal is outside pre-established rules.


Also, the visual identity is queer. We do not have a single logo, but countless options created by Otilia Mihalache Fiastru to emphasize those essential elements of hybridity, multiplicity, but also a sense of community. Otilia has always been an ally of the queer community – among many others, she is also responsible for the graphics of Crooked Days (CNDB, 2008: Brynjar Bandlien, Manuel Pelmuș, Cosmin Costinaș), one of the major queer artistic manifestations in the RO context.