Mihai-Aureliu Savin (b. 1995, Iași, Romania) is a visual artist, sculptor, and lecturer at the Faculty of Visual Arts and Design, George Enescu National University of Arts in Iași, where he earned his PhD in Visual Arts in 2024.Rooted in sculpture, his artistic practice extends into installation, intervention, functional objects, video, and performance. His work explores authorship, originality, technological delegation, and the mechanisms through which artistic objects acquire meaning, visibility, and legitimacy. Often employing irony and humor as critical strategies, Savin examines the technical, economic, and institutional infrastructures shaping contemporary artistic production, investigating how sculptural objects can become devices, instructions, situations, or frameworks for activation.A recent direction of his practice is „mihai savin ™”, a superfictive artistic brand conceived as a one-man corporation producing speculative objects and services. Operating between art, commercial branding, and institutional fiction, the project explores the boundaries between artwork, commodity, prototype, and functional object. Its products can be worn, used, or activated, while its services take the form of interventions and performative situations.Recent exhibitions include „Brâncuși. The Syndrome” (National Museum of Art of Romania, 2026), „Common Grounds” (CICA Museum, South Korea, 2026), „Ludic Manifest” (New Media District, Bucharest, 2026), „VISIONS”(Venice, 2026), „Worst Show” (Offenbach, Germany, 2026), „CO-LAC” (RAD Sculpture Park, 2026), and „Unstable Images” (CATEDRA, 2025). His solo exhibitions include „Superfictious, Supertheoretical, Superboring” (2024), „În teorie” (2022), and „Axis Mundi” (2021).His practice has received support through the ANIS × Eviden Research Grant (2026), Silicon Prize (2023, 2025), Neo Art Connect (2024, 2025), and Creative Five Production Grant (2022). Alongside his artistic practice, he is involved in artistic research, education, and editorial projects, including the artist's books „Not to be reproduced” (2025) and „Common Grounds: Networks of Practice” (2026).