A tall dark stranger, group show, between 10-24 October.
Featuring works by: Daniel Kiss, Siggi Sekira, Martin Maeller, Malte Zenses.
Curated by Haris Giannouras.
X once walked into a dive bar on the dark side of the moon rocking a long wool trimmed winter coat in a pale shade of blue over his shoulders, black sunglasses and a pair of neon green underpants. He took a seat at the right side of the bar counter, strategically located between the exit door, the ladies’ room and the AC-unit, ordered a drink – jack on the rocks with coke – and a small bag of chips and got himself ready to enjoy the show. The blue alien lady slowly made her way to the center of the stage and started reciting the aria from the cult classic The Fifth Element. She screamed and whispered, screeched and mumbled, whipping her long purple braids back and forth while the crowd burst into tears, giving her a well-deserved standing ovation; all three of them Bill, Robert and X, who in the meantime was struggling to maintain his composure. As a military man showing any form of emotions was highly frowned upon, since it was seen as a sign compromising his Christianity, a sinful path he wasn’t willing to go down again. After settling his tab, which took a while, as he had to pay by card because cash, of course, was still particularly hard to come by, he went on with his night. The lengthy payment process had something to do with that dreadful incident that occurred last summer,when the renowned and, up until that point, well-respected ATM’s ran away with the vacuum cleaners from the moon colonies, but he was not quite sure how it all played out and didn’t want to attract any more attention or cause any trouble by sticking his nose into other people’s business. He kept his mouth shut and just used his squeaky plastic money like everybody else. X got his receipt, signed his precious little name and left the bar at around 4 am. After a brief stop at the dry cleaners to pick up his spacesuit and force himself to socialize more by attempting to engage in a flirting ritual with the frog-lady working at the register, he found himself back in his hotel room. It was one of those establishments of the old days, the time of front desks, greetings and “How may I be at your service ma’am?” that had already sunk deep into shabbiness.
He laid on the bed, gazed at the pale yellow afternoon sky that was starting to peek through the blinds and made himself another drink, just to take the edge off. As he was looking for the right kind of ice cube, his mind wandered back to his cyber-opera adventures. It is a wonderful thing to be able to drift away into one’s dream lands. With his eyes glistening at the thought of hearing the blue lady singing once again, X searched for his lighter, an 80 to 90 cm piece of machinery his father gave him on his graduation day. He reached deep inside his left coat pocket to find his trusted old friend, a wrinkled piece of orange paper, some gum, a condom and the receipt he signed a couple of hours ago. As he lit a foot-long cigar, he took a random look at the wrinkled paper before tossing it in the bin and grinned at the site of a condom, since he was a virgin for as long as he could remember and therefore had no clue as to how, or why, such a piece of jewelry found its way into the abyss of his coat pocket. Lastly, he checked the bar receipt with his signature. His eyes stopped. His breathing became heavier and his heart skipped a beat. X’s ears turned bright red, his palms became sweatier than ever and his voice ran away. He’d never felt more embarrassed in his entire life. He put out his cigar, took a sip of his drink and rushed to the bathroom.
The mirror is a cunning friend with a sharp tongue and should not be trusted, X thought to himself. After blowing his brains out while staring at his reflection, pink blood dripped everywhere, covering every single surface. There is no way of knowing if the mirror was staring back at X the moment it happened, if he blinked or held his breath before the crowd’s applause at that dirty little dive bar on the dark of the moon, where a blue alien lady sings the blues, came to an end. His precious little name laid right there on the bottom right corner of the bar receipt. Misspelled. Police declared the incident a clear case of misspelling paranoia, a side effect of mispronunciation syndrome. The body was disposed of according to protocol.
“The whisper of a heart is tethered to stardust” the pink bear said. I’m still trying to catch the mirror’s eye.
Inmedio noctis viam suam lux exerit, solo show, between 16-30 August.
Featuring works by: Gabriel Stoian.
A lot of unexplained things have happened to me lately, and those experiences seem to speak to me, poetically about my life. However, I think that any attempt to address this issue in a literary way would be impossible. The only option is to confront it trough figuration. The title for this project comes from Latin and it translates to: In the middle of the darkness your presence enlightens my way. I came across this saying from reading a book: The Letters of Vincent van Gogh, a collection of 903 surviving letters written or received by Vincent van Gogh. More than 650 of these were from Vincent to his brother Theo. It is there were Vincent mentions for the first time this saying, claiming that he first saw this paragraph written below one of Rembrandt prints. However this fact was never verified, experts found no such thing. What made him say these words then? The answer to this question marks the objective of this project. How can one describe an experience that has left him speechless? As an artist you do not confess, you allure the truth trough images by putting them together as parts of a puzzle. This exhibition consists of five pieces, two sculptures and three paintings, all of them where done recently but not belonging to the same body of work. The curatorial decision to put them in the same show was due to the tension they seem to emanate as a group of works. Just like the artist would say all the words from an incantation so the viewer could walk in the exhibition room as in a dream.
Gabriel Stoian, 2019. Frankfurt am Main
Inside the sun, duo show, between 08-11 August.
Featuring works by: Gabriel Stoian and Goekhan Erdogan.
Curated by: Rebecca Herlemann.
Die Sonne, das Zentrum unseres Sonnensystems, besteht aus zahlreichen sehr unterschiedlich beschaffenen Ebenen und Zonen, die den alles bestimmenden Kern umgeben. Von hier entspringt die Kraft, die diesen Stern antreibt und zusammenhält, eine unvorstellbare Hitze beherrscht die Situation. Kein Leben kann hier stattfinden, kein Mensch sich je aufhalten. So müssen wir uns auf unsere Fantasie verlassen, um uns vorzustellen, wie es im Inneren der Sonne wohl aussieht. Ein schrecklich unwirtlicher Ort muss das sein, beklemmend und Angst einflößend.
“Inside the sun“ als der Titel der Ausstellung von Gabriel Stoian und Goekhan Erdogan beschreibt hier einen Zustand der Imagination, der Selbstreflexion und auch der Sorge. Und doch wird mit Betreten des Ausstellungsraumes klar, dass diese negativen Gefühle abstrakt und innerlich sind, nach außen gekehrt wird davon wenig. So zieht uns die gleichnamige Malerei von Gabriel Stoian im Gegenteil mit ihren leuchtenden, warmen Farben in den Bann. Wir erblicken eine farbige Landschaft, wie einen Wolkenhimmel – Blicken wir nun auf die Sonne oder aus ihr heraus? –, deren Oberfläche eine wunderbare Stofflichkeit hat.
„From what I can remember“ bringt uns dann der Person des Künstlers näher. Vier Zeichnungen des gleichen Formates bilden Szenen verschiedener Erinnerungen ab. Eine der Zeichnungen sticht heraus. Sie ist mit hellen Farben geschaffen, eine perfekte Darstellung zweier Papageien auf einem Zweig. Die anderen Zeichnungen sind wilder, fast wie von einem Amateur gemacht. Sie zeigen Landschaften, Stillleben oder kleine Erzählungen. Alles zusammen jedoch fügt sich beinahe zu einem Porträt des Künstlers. Hier kriegen wir Schlaglichter in sein Leben zu sehen, es bildet sich ein Panorama seiner Assoziationen. Er gewährt uns einen Einblick in seine Gefühlslage und diese scheint eine bedrohliche zu sein. Inside the sun ist es unmöglich zu leben.
Auch die Arbeit von Goekhan Erdogan ist bei genauerem Hinsehen eine höchst persönliche. Der Künstler arbeitet mit seinem eigenen Abbild, das er in langwierigen Prozessen verformt, verändert und schließlich zerschneidet. Wie ein aggressiver Akt mutet das an und wie verloren wirken die einzelnen Teile, wenn sie wild verstreut auf dem Boden liegen. Das Passfoto, das die Grundlage für seine Arbeit bildet, ist kaum mehr als solches erkennbar. So wird aus einem Identifikationsmerkmal eine neue Form; der offizielle Rahmen, der das Bild hervorgebracht hat, zerfließt in Abstraktion. Ist auch das ein Kommentar darauf, wie der Künstler sich in der Gesellschaft verortet sieht?
Schicht um Schicht seines eigenen Bildes trägt er auf und entfernt sich damit immer weiter von der vorgefassten, als wahr und aussagekräftig empfundenen Ausgangslage. Dass er hier nicht allein drinhängt, beweist die Miniaturabbildung seines Kollegen Gabriel Stoian, die dem Selbstbildnis zur Seite gestellt ist. Wie ein kleines Echo erscheint sie gegenüber den monumentalen Ausmaßen des Selbstporträts von Erdogan. Es scheint die beiden Künstler befinden sich in der gleichen Situation. Ihre Arbeiten ergeben fragmentierte Einblicke zu ihren Personen, reflektieren die Bedingungen, die sie umgeben. Die Frage, die sich schließlich jeder in dieser Ausstellung stellen muss, lautet: Wie fühlt es sich an im Innern der Sonne?
The presence of the dim planet, group show, between 02 – 04 August.
Featuring works by: Antonia Rodrian, Pia Krajewski, Antonia Freisburger.
Paintings of wobbling objects and floating structures. Ambiguous spaces and alluring surfaces.Close up and far away. Zoom in and zoom out to find your absence right in the center. Dim planets and day planners. Organic matter with infrared sensors. Body parts that find themselves by looking for something else. Alluding shadows in unknown places. Balance provided by the community and movements of orbiting stars.”
Ghost Sensation, group show, between 04 July – 11 July.
Featuring works by: Alicia King, Kimberley Pace, Suska Bastian, Mia Becun, Wagehe Raufi, Luisa Hansal, Debbie Prior, Ursula Kuiper.
The artists in this exhibition approach conceptions of a ghost sensation in their work as witnesses, visual anthropologists and makers of the intangible into physical form. Taking at times a lighthearted approach this exhibition balances several subjects that blur the line between human logic and the imperceptibility. Taboos, belief, science and the corporeal self are all classifications that are
not easy to pin down; however, these subjects all come together in beginning to find an aesthetic for a concept that resists physical form. Art’s aesthetic for the immaterial leaves viewers to draw on
their own reference points as Ghost sensations is a reminder that art can categorize the limits of belief.
Curated by Ursula Kuiper.
East Sapphires, group show, between 19 June – 24 June.
Featuring works by: Ada Muntean /RO, Xandra Popescu /RO-DE, Larisa Crunteanu / RO-PL, Alexandra Mocan / RO, Mihai Iepure Gorski / RO, Michal Plata PL-DE, Gabriel Stoian / RO-DE.
The exhibition East Sapphires is part of a collaborative exchange between Ventolin Art Space and NEWNOW Art Space.
A collection of stories told by natives of east European countries.
East in this project stands for the eastern part of the European continent. There is no consensus on the precise area it covers, mostly because the term has a wide range of geopolitical, geographical, cultural, and socioeconomic connotations. There are “almost as many definitions of Eastern Europe as there are scholars of the region”. A related United Nations paper adds that “every assessment of spatial identities is essentially a social and cultural construct”.
Arguably the most referred meaning was created during the Cold War and used more or less synonymously with the term Eastern Bloc. A similar definition names the formerly communist European states outside the Soviet Union as Eastern Europe. Majority of historians and social scientists view such definitions as outdated or relegated, but they are still sometimes used for statistical purposes.
This exhibition brings together a group of artists born or living in countries such as Romania, Poland, etc. associated with the term of east European. Displaying a fresh outlook on what the east stands for today, seven video pieces made by seven emergent artists more or less belonging to the same generation: Michal Plata, Gabriel Stoian, Larisa Crunteanu, Xandra Popescu, Alexandra Mocan, Mihai Iepure Gorski and Ada Muntean. The videos present in this selection document certain stereotypical background while others are ironical interpretations depicting a high temporal contrast or just simple observations over current times. All the pieces sum up to offer a glimpse on what East Europe is about. A raw insight or just hello form the other side where things did not go as planned…
Curated by Gabriel Stoian
Tai-Ming Dynasty, dou show, between 09 May – 23 May.
Featuring works by: Anita Mikas / PL, DE. & Markus Liehr / DE.
This exhibition is a part of a project about Taiwan. We visited the island last year for few weeks. It is a place where old tradition plaits with new tech and mass production. The selected works represent a reaction to this extraordinary juxtaposition of cultures. Tai-Mingh Dynasty stands for a new order, precisely how old crafts have changed into means of low cost manufacture of fake products. The art market has been affected by fake artifacts since Song Dynasty (11th century). It started with counterfeiting traditional artworks to making fake popular foreign articles in 70’s and 80’s. Nowadays the borders of this illegal practice have gone even further. There seem to be no rules at all. You can find not only fake products but new designed things labelled with well known logos. The word original has no meaning at all. In this case everything is accepted. Products are labelled not only with one, but with two different logos. Sometimes they even combine multiple logos in a bizarre sign. It does not matter if the statement on t-shirts it is grammatically correct or not. As a consequence of this counterfeiting phenomenon a multitude of absurd products generated a new kind of aesthetic. Impressed by this phenomenon we created a series of new original works. In which the term original means nothing of course.
Anita & Markus.
Codec Romantic, duo show, between 22 Mar – 5 Apr.
Featuring works by: Christian Baer / DE. & Manuel Schneidewind / DE.
Every now and then, duo show, between 8 Feb – 22 Feb.
Featuring works by: Matthias Esch / DE. & Thilo Jenssen / DE.
Every now and then I fall apart
Every now and then
I fall apart
Every now and then
I get a little bit angry
Every now and then
I get a little bit terrified
But now I’m only falling apart
Every now and then I fall apart
Every now and then I fall apart
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.