Time moves slow, duo show, between 10 Jan – 24 Jan.
Featuring works by: Maxim Liulca / RO. & Anna Olenicenco / RO.
This exhibition is inviting you to see the dialog between two apparently different image approaches, but also synchronously quite similar. It is resembling a mirror where they’re rather symmetrical than identical. Both of them exploit the notion of the mark, its material and immaterial essence, as well as acknowledging the concept of time as both hypothetical abstraction and unequivocal reality. Maxim Liulca is displaying a series of lino-cuts, which originate from various outlines of potential paintings from his sketchbook. In this stage of the process the works are showing their raw and rough tendency; as a stamp, its performance is quick and never the same, just a mark, an authentic and humanistic approach to image-making. Anna Olenicenco’s drawings are illustrating a history of the artist’s perception of everyday life, highlighting the subjectivity of the individual. The marks of erased drawings after too much pressure with the pencil remind you of the phantoms from the old photographs with multiple exposures, or the changing frames in movies from the time when film editing didn’t have today’s advancement. It seems like the artist is deliberately making patterns with them to understand more of what is happening around, attaching herself greater to the world and making it appear even more real than the quotidian continuance.These works are a part of an artist’s process which embodies the starting point of the creative formation:
– the drawing, the sketch; black and white. They show you the privacy of an artist studio and it’s not representing, nor showing its complex practice.
Text by: Maxim Liulca and Anna Olenicenco.
Image Library, solo show, between 23 Nov – 07 Dec.
Featuring works by: Irina Magurean / RO.
All the works in this show were initially part of different series, but by placing them together we notice both a continuation of the artist’s experiments regarding photography and printing and the visual image itself, as well as a departure in the way they are connected to one another. This juxtaposition of the works, passing from structure to structure appears like an overview of a database, which as a whole conveys a certain randomness that only enriches the works’ already abstract character. The result is a corpus of images that may at first seem cold and unemotional, but in reality comes out of a profound and personal and questioning on the building blocks of images themselves.
If we are to consider pixels the cells that make up the digital image, we find the same kind of scientific approach in these prints. What is visible upon inspection is close-up so deep, a view so detailed, as if seen through a microscope of sorts. This opens up a whole new world offering a glimpse into the very fabric of the image. A world that is completely taken out of any original context but which, specifically because of that, becomes strong enough to be fascinating on its own. As for the viewers this in-depth view brings by an opportunity for meditation that abstract works don’t often supply. Abstraction generally falls in one of two categories – either they are enjoyed as visual objects or the enjoyment is found in the search for finding a meaning. In this situation neither truly applies and the meditation is on the process and the concept rather than in trying to “figure them out”.
Text by: Voica Puscasiu.
Drops and oceans too, solo show, between 23. Nov – 26. Nov.
Featuring works by: Gabriel Stoian / RO.
This exhibition encompasses a selection of recent works…
Thick, shiny, dens, vibrant, energetic would be a way to describe Gabi Stoian’s new oil on wood panels. An installation made out of color fields that recreate a hypnotizing landscape. An exploration of paint layers that strips through meaning and touches your senses. As if the artist was using emotions to describe a place rather than map, relying on the viewer’s perception to get there. Setting aside the reason for making them, the only coordinates for understanding these works is their size, color, thickness and proximity to one another.
Ein Pool Voller Garten, solo show, between 11. Oct – 28. Oct.
Featuring works by: Julika Geissler / DE.
Curated by: Gabriel Stoian.
In her current work series, Julika Geisler illustrates enclosed paradisiac gardens referring to the middle age period, hortus conclusus – a Latin term which translates as “enclosed garden”.
All gardens are by definition enclosed or bounded spaces, but the enclosure in this case may consist in an intimate, yet powerful display of the subject. The artist adopts single forms from the works of old masters and transforms them by replacing the former protagonists, with her perception of a bordered paradise.
Every Artist is a Cannibal, group show, between 29.June – 29.July
Featuring works by: Andreea Anghel / RO.
Goekhan Erdogan / DE.
Doplle Kim / SK.
Gabriel Stoian / RO.
Michal Plata / PL.
Franz Pappelbaum / DE.
Curated by: Gabriel Stoian.
…To live alone, you need to be either an animal or a god” – Aristotle
What about a third option to Aristotle saying, an animal, a god or an artist?
In the present there are different degrees of loneliness, even if one is part of a society, he or she can still fell alone, while there are more clear cases of reclusion in which individuals chose to become a hermit or a Tibetan monk, artists are easily and by default associated with loneliness. In order to be understood, artists form micro communities in which they act, on a theoretical and practical level. Fueled by the belief that one day their ideas would get a more universal, wider audience. Till then the artist has to be supported in order to focus on it creative process.
The concept of the exhibition is to challenge the general perception that conditions the artist’s interdependence in society. If we were to regard art as an isolated activity by a single individual we risk endangering and cannibalizing this figure. In this case the stand alone artist would start to consume other artists just so he can justify his occupation. Very often cannibalization takes place, on an intellectual level of course, thus we are not talking about the cannibal as a being that eats its coequal. A first step towards solving this situation would be to reconfigure art as a beneficial activity for all, in collectively of humans.
To be continued…
Gabi Stoian 2018.
Blackout, solo show, between 24.May. – 5.June
Featuring works by Ada Muntean.
Blackout. [Follow The White Rabbit] constitutes itself as an exercise in imagining justice and freedom in an idealistic and at the same time ironic manner opposite the social and political reality of the last years, especially in the fragile democracies of Eastern Europe, and not only.
The deep permeation of corruption in today’s society, the lack of moral values and the promotion of imposture with the purpose of control become key-elements which progressively destroy societies and endanger the future of generations. When justice becomes discretionary and power becomes abusive – all people all equal but some are more equal than others. Daily reality becomes a mental prison for the ordinary man, and the physical prison the only legitimate place for those who make their own law. All these actions bring to the contemporary man an experience which I see similar to a blackout. This blackout appears a as a disconnection from normality, like a short circuit in the life you were prepared to live, having learned the difference between good and evil, right and wrong. Follow The White Rabbit (with a link to the Matrix) is the only possible action after waking up from the blackout, namely a search for an intuitive escape from the matrix that holds you prisoner. One acts organically, listening to one’s intuition and following the signs which will get you out of regression and decline.
Blackout. [Follow The White Rabbit] starts conceptually from the most important events of my natal country – Romania in the last 30 years, (but not only), outlining the premises of a society caught at its boiling point in which social inequalities push people towards civic acts of rebellion. The exhibition is constituted as a space of reflection about freedom, truth, peace, war, death, life and last but not least the history that seems to repeat itself.
The pictures that reflect the Romanian Revolution of 1989 are made by Nicu Cherciu and Răzvan Rotta.
The pictures that illustrate the protests of Bucharest January 2018 belong to Euronews.
The music that accompanies this project was composed especially for the Blackout exhibition by Răzvan Apostol (SCUZE).
Curatorial text by Ada Muntean, 2018.
Turpentine, double feature, between 25.Apr. – 05.May.
Featuring works by Gabriel Stoian and Federico Rosa.
In our days, general perception about the imminent apocalyptic future is explained through, and as a consequence of a multicultural issue. The link between multiculturalism and apocalypse has to do with us realizing that while we are so egocentric in placing the human as a measure of all things, everything around us is dying. The so called vast majority of humans seem convinced that the neoliberal globalization process of hegemonic multiculturalism has failed. What if we were to look at the future from a multi-natural perspective instead? Hence, what is multi-natural? An easy answer would be the opposite of multiculturalism: The ancient belief that most existing entities are supposed to share a similar inferiority while being different in body. And the guy who came up with all this is the Brazilian anthropologist, Eduardo Viveiros de Castro, who made this hypothesis when he encapsulated indigenous conceptions that were already present in a range of Amerindian people from the Lowland South. Modernity was possible through genocide, not only on the indigenous human population, but also plants, animals and entire ecosystems that were extinct by the carbon cannibalism, fracking, radioactive spills and many other “revolutionary” actions. As it is, emancipation of our species equals solitary supremacy, and it is not making anyone happy anymore. After all, is turpentine that far away from gin?
The works presented in this show by the two distinct artists, Gabi Stoian – Romania and Federico Rosa – Honduras, find common ground in the attempt to outgrow contemporary aesthetic trends. Going as far away from the understanding of art through art history, and following the belief that the future art can no longer be referential, it has to be free from the chains of logic and the never-ending ties to modernity. This exhibition offers a downgrading perspective over things to come rather than an elevation of humanity. However this display is not intended to be seen as negative or solipsistic, just skeptical, a focus on positive conditions required for constructing new perspectives.
– Curatorial text 2018.
Wayfarer Collection, solo show, between 1-15 Feb. 2018.
Featuring works by: Julian Riedel.
Coming from afar, and approaching the work of Julian Riedel with caution, how can one find his way around a ravel of emotions, experiences, perceptions and problematic confessions? How does one clarify the tension that emanates from all this? In this body of works there are no clear messages; here the images are located more or less precisely. These canvasses could not be more intimate as if they were part a voyeur’s journal. For a better understanding you could imagine a person who travels from place to place usually by walking and has accumulated certain nostalgia and that can be depicted in this show. The paintings are not provocative they are more alluring, magically inviting you in. Raging from specific sites that the painter has endeared himself being, to limitless abstract contemplations over the freedom to act, travel and observe. Wayfarer collection refers to a unity that we have to traverse, to understand by inventing a method to orientate ourselves. The artist only offers a multitude of singular pieces leaving the general intellect to do his job.
Text by: Gabriel Stoian 2018.
A Robot’s hand in a supermarket, solo show, between 16-26 Nov. 2017.
Featuring works by: Andreea Victoria Anghel.
‘You haven’t had that dream in which you go on holiday to Kepler since you were a kid. Doesn’t matter, you wouldn’t have the time or the money to go anywhere. You’re too busy hating on thy neighbor anyway. You lower your eyes in shame at times when buying supplements at the shop when you see that robot’s hand with a golden ring on its finger. Does it have an on/off switch, you desperately wonder?’ So, are we going to admit that those starry-eyed dreams from the Space Race were misled from the beginning, because they failed to take into consideration humanity’s intrinsic shittiness? I mean, we had, and still have, far right extremists for fuck’s sake, on the streets, in our friends’ lists. Are we just going to dance our worries away or go to the opera like the little pretentious art pricks we claim to be?
For the past recent months I’ve been thinking incessantly about a couple of cult classics: Blade Runner and Ghost in The Shell, both films which I’ve only watched for the first time this year on purpose. Call it female intuition, but with some movies I feel when the time is right to finally experience them. We tend to focus so much on futurisms; accelerationism and devouring ourselves that we fail to see how blind we are. How can you possibly move forward and build when you can’t seem to notice the ruins around you? Notions of feminism, human rights, the anthropocene and the likes are thrown around in a feed, glanced at for 5 seconds and processed on the spot; no introspection, no soul-searching; maybe that’s why religion is both on the rise and crumbling at the same time: ain’t nobody got time for dat.
Text by Andreea Anghel, 2017.
People before clouds, group show, between 12-22 Oct. 2017.
Featuring works by: Gabi Stoian, Gh. Naum, Gh. Gh. Naum.
If we were to experience our recent past in reference to our virtual identity what would that be like? A blur, content not found, a cloud, a friend, a random image of us taken by somebody else, a redirect, a deadline or just a 404. Is the name windows, operating system by Microsoft a metaphor that allures the idea of openness to new horizons or it is more likely a mirror were we see how superficial we become. Are social networks as Facebook, Instagram or Twitter taking over our memories?
This project is an invitation to a more incisive journey in to the past, one in which the presence of the artist has been recorded trough drawing in different moments of time since almost the beginning of 20th century, until and even further than today. The show is offering a glimpse of what it would be if we where to appropriate the past and the future space trough images. By bringing these entities together (past and future), will that give us the present? Or the present will be overlooked as in most cases.
The exhibition compiles together three different generations of artists that were born in the same town (Braila, Ro.). Their practice evolved in separate directions although sharing a common feature such as using drawing as a primary way to capture the conversations of their time. The material that made this event possible comes from a private collection, the works; most of which are drawings on paper and canvas are being attributed to the following: Gheorghe Naum (1907-1968) Ro; Gheorghe Gh. Naum (1946-1998) Ro; Gabriel Stoian (1985) Ro;
Text by: Gabriel Stoian, 2017.