Visually organized into two distinct and successive typologies, seen as a biographical consequence, the melancholic void of the Transylvanian hilly landscape, and the lush and isotropic vegetation of the exotic south in Bali or Togo, the paintings are charged with an anxious intensity.

Circular hills or claustrophobic vertical tropical forests are organized in the image plane through contrasts of complementary colors, ensuring a chromatic tension in the image. With a true horror vacui organizational approach, Ioan de Moisa seeks a unified notation that can be used regardless of the integrated background images, where it is easy for us to sort the pairs of complementary colors that structure it, thus making the composition vibrate and extend the visual field, ordering our gaze to never stop at a fixed point, like the logic of a camera.

 

[…] Petrichor is a patented term in the English language, in the field of chemistry, which, starting from the Greek “the blood of stones,” designates the smell released in the air by the rain falling on dry ground. It is produced by a molecule called “geosmin.” I bring up this element because I believe it is intimately linked to the nature of the two proposed landscape typologies – the Transylvanian autumn rain and the sun-drenched dry soil of the exotic south – as...

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An exhibition about the swelling of human sensitivity, about the lack of compassion and empathy, about the mutilation, annihilation, and obliteration of the neighbor, just because the neighbor is different from ourselves.

Karambol proposes an eclectic exhibition route that captures a wide spectrum of the harmful consequences of violence, starting from the martyrdom of bodies, crossing the inner martyrdom of post-traumatic psychoses and ending with a major focus on gender-based hatred – an acute and dangerous phenomenon for Central and Eastern Europe, for spaces and cultures heavily influenced by religious customs. We aim to translate to the public the miserable, primitive and fatal violence for the continuity of the human species. Karambol speaks to us about the swelling of human sensibility, the lack of compassion and empathy, the mutilation and annihilation of others, simply because they are different from ourselves. The stated purpose of the event is to translate into direct, eloquent imaginary content, the dramatic consequences of inhumane behaviors that unfortunately are frequent in our country, a country where one in three women is a victim of some form of physical or psychological abuse, a country where sexual orientation and gender diversity are still taboo and stigmatized.

Illustrating and defining the world and the worldly as a wound of the divine,...

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Autumn, the artisan of silver mists, inspired us. We collected intricate lines and ghostly spots for Spectre, a group show about nostalgia, anxiety, journeys through the world, but above all, about detachment. The word “spectre” carries a range of meanings, some simple, others exuberant or bizarre. Touched by light, physical eyes, accomplices of the human mind and creative hands, transpose colored geographies of states, colors, and shapes onto external surfaces.

SPECTRUM, spectrum, n. 1. The set of physical values that a given quantity can take under specific conditions; the ensemble of images obtained by decomposing complex electromagnetic radiation with an optical instrument; the totality of fluid lines in motion, the field lines of a magnet; the totality of electromagnetic radiations of a celestial body, arranged according to their wavelength or frequency. 2. Phantom, ghost. ♦ Fig. An uncertain form that produces concern, fear, imminent danger. – From French spectre, German Spektrum.

The word “spectrum” carries with it a range of meanings, some simple, others exuberant or bizarre. Touched by light, the physical eyes, accomplices of the human mind and skilled hands, transpose onto external surfaces colorful geographies of states of colors and forms – fluid, dense, firm, moving, clear, or diffuse.

These uncertain maps of the sensible are carefully articulated and...

Crises, whether long or short, of any nature, are often meaningful. This pertains to smell, gaze, feelings—everything, really. We own the senses, but do we own the world?

Crises, long or short, of any nature, are often meaningful.

It is something good regarding smell, regarding gaze, regarding feelings, regarding everything actually.

We own the senses. But do we own the world ?

When there’s no concept, only your intuition, how do you understand freedom?

What can you do when there is nothing to relate to, but the act of creation that bursts violently and flawlessly out of you?

Follow your intuition! Close your eyes, your mouth. Do! Suffer! Do!

There is no concept! Only your intuition.

The Engrame exhibition presents a curated collection of visual artists Radu Băieș, Alin Bozbiciu,Fekete Robert, and Marcel Rusu, all distinguished members of the Cluj School. These artists, with notable international recognition, express their ideas and emotions through various sophisticated painting techniques. Their artistic repertoire includes intricate methods such as oil brush painting, mixed media utilising acrylic and oil paints, as well as photorealist airbrush painting. The selection of artworks comprises landscapes, fantastic landscapes, and genre scenes, showcasing a diverse range of subjects and styles.

Radu Băieș, Alin Bozbiciu, Fekete Robert, and Marcel Rusu are known for their mastery in capturing emotions, thoughts, and concepts within their art. Their international presence underscores the significance and impact of their work within the contemporary art scene.

The exhibition explores the intersection of art, neuroscience, and human emotions. The artists—Radu Băieș, Alin Bozbiciu, Fekete Robert, and Marcel Rusu—present artworks that delve into  the concept of engrams, the traces left by stimuli on the nervous system. Their artworks, employing various techniques like oil brush painting, mixed media with acrylic and oil paints, and photorealist airbrush painting, appear to reflect landscapes, fantastic landscapes, and genre scenes. These creations evoke a spectrum of emotions, emotional memories and...

When we talk about creation, we are talking about Us and about the premises of our choices.

The exhibition brings together large-sized objects and object installations, which the artist has conceived and processed using a wide range of plastic expression and rendering means such as EPS, PUR, polyurethane, water, oats, wheat, and resins, complemented by sounds and lights.

The exhibition route has been articulated into four frames proposing an itinerary meant to provoke the audience to reflect on the notions of oscillation, choices, consequences, balance, and commitment. Our choices are translated into facts, into actions. It is necessary to interrogate the nature and premises of these choices, to understand the course of actions stemming from them, and above all, to meditate on the effects of our individual and collective actions, which summed up result in the reality we experience.

The installation “Beyond (Our Origin)” opens the exhibition route and represents, on a scale, a blue whale calf, the largest mammal of the biosphere and also one of the oldest species, whose appearance dates back to the Pleistocene (1.5-1.25 million years ago). The central object is suspended above a basin of black water, on the surface of which float the debris of the moment – plastic bottles, masks, surgical gloves, etc. The second frame titled “Year Two” is signed by Florin Adrian Marc, Toma Bărbulescu, and Adelina...

Nests are not simple volumetrically defined spaces where we grow and from which, at a certain point, we project our existences into other new nests, perhaps more fitting or larger, brighter, or more colorful. Nests are moment-spaces, whose non-physical components are strongly imprinted by our inner experiences. Thus, the nest becomes an extension of the soul it harbors. Vibrations, engrams, and ideas migrate from the soul to the nest and vice versa. We carry traces and experiences from old nests into new ones, with us, every time, with each departure, in a continuum of individual evolutions.

With a certain degree of uncertainty, we could say that one way or another, we’re all gravitating around the concept of the comfort zone.This might be our first unaware attempt to build and have one, or a conscious attempt to leave from an other: there’s a certain degree of mutual initiation in departing from one’s comfort zone and finding another. A common topos of these exhibits could be this concept: the ritualized space for secure growth and the momentum of it, the physical and the non physical loci of this process.

Strained through our artist’s filters Felicia Cotoman, Lisa Marie Schmitt & Alexandru Mihai Budes and Bandi Daniel David, the different remnants of their preoccupation with this topic are shown here and await discovery.

For Felicia Cotoman’s installation, we...

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The series brings together twelve mixed media works (painting, graphics, stencil), conceived and realized throughout the years 2020 and 2021—a period exclusively dedicated by the artist to the reconfiguration of internal generative flows.

Twelve instances of visual representation serve as standalone radiographs, capturing the essence of experiences over the course of twelve calendar months. The surface of representation holds a dual significance, acting as a catalyst for the psyche’s reactions and as a locus for the overflow of thoughts and emotions born, sifted, fermented, and (re)integrated during this intense and challenging interval.

Don`t Leave Me At The Seaside reclaims interior landscapes, organizing them into a narrative continuum presented to the viewer as a journal of transformative and liberating states. Each page represents a milestone, a boundary transcended in the intimate process of self-discovery of creative potential and maturation.

Explore the echoes of this introspective journey, where the pages of transformation and liberation were unveiled. Thank you for joining us in experiencing Laurențiu Zbîrcea’s artistic odyssey into the...

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