The catalogue Miki Velciov. Land Art and Interventions in Nature opens a series of editorial projects proposed by the Tehnoarte Association to bring into the public sphere the work of artists who have contributed to defining Timișoara’s artistic creation in the last 10 years. This first catalogue in the series maps 16 artistic projects realised by Miki Velciov between 2016 and 2023, in which the multiple valences of land art are presented, both thematically, by addressing specific concepts of environmental activism, and technically, by creating monumental anamorphic installations that engage the viewer  in optical illusions extended to the scale of a landscape. The catalogue thus reveals a whole arsenal of technical concepts and descriptions, sketches and notes, measurements, calculations and topographical analysis, followed by photographs taken during the creation and drone images to capture the works as a whole. It also presents the technical arsenal used by Velciov to realise his monumental anamorphic installations that involve viewers in optical illusions extended to the scale of the landscape, referring to vanishing points arising from the pyramids of visual perspective. Guest authors such as Ileana Pintilie complement the documentation with critical studies, referring to the role of the land art artist in bringing ecological issues to light. Gabrielle Schwarz emphasises the tendency of land art experiments to transform the classical theme of the landscape into a “flux, due to both our own movements through space and the changing conditions around us.” Maria Orosan Telea talks about the history of the anamorphosis abscondita approaches, specific to the Italian Baroque to “ create harmonious, balanced ensembles or achieve optical effects of lengthening distances and equalising elements, which, in fact, have different dimensions.” Horațiu Lipot asks us a rhetorical question: “What would an archaeologist from superrational future think of these true codexes by Miki Velciov?” Aura Bălănescu emphasises the “observational situations” specific to Velciov’s compositions, which