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Scars from Soft Blades is the most recent body of work by the artist Ada Muntean, bringing together graphic and painted compositions conceived especially for Himera gallery. The project acts formally and conceptually as an intersection between imagined universes, memory and the subconscious. The title functions as a self-conscious oxymoron: blades – associated with cutting and destruction – are reconfigured as soft, fragile, almost affectionate. In this approach, the wound no longer signifies just pain but becomes an instrument of memory, a place of metamorphosis and transformation. 

The fragments that give rise to orientations of perspective and convergent ideas may be characterized by elements that anticipate a play of oscillation, most often defined through the prism of a shared affinity, almost imperceptible at first encounter. Once identified, however, these elements become strategies of correlation around which, beyond previously mentioned accumulations, new modes of thought begin to coagulate. In turn, these activate the trajectory of the whole, propelling it toward new directions.

The logic of gardening most often involves processes of preparation, organization, arrangement, maintenance, and harvesting. In perfect symmetry with artistic practices, studio work, and the conceptual play inherent in creation, these actions transform the exhibition space into an organic complex, one that captures the viewer’s curiosity through its abundance and multifaceted nature.

The present moment is marked by a profound sense of flux. The familiar structures that once seemed immutable now appear permeable, and the line between what we understand and what remains elusive grows increasingly indistinct. This state of transition, this in-between space, is not new to the human experience, but its intensity in our time demands careful consideration, a consideration that informs the work of artist Ileana Moro.

At the beginning of the 20th century, metaphysical painting proposed a new visual typology based on allusions and illusions from Antiquity and the Renaissance, as well as an enigma. As Giorgio de Chirico defined it, the enigma was the epiphany you get from contact with reality, as if it were seen for the first time. We can extrapolate by suggesting that all art is an enigma in this sense, a way of producing the revelation of pure gaze.

At the beginning of the 20th century, metaphysical painting proposed a new visual typology based on allusions and illusions from Antiquity and the Renaissance, as well as an enigma. As Giorgio de Chirico defined it, the enigma was the epiphany you get from contact with reality, as if it were seen for the first time. We can extrapolate by suggesting that all art is an enigma in this sense, a way of producing the revelation of pure gaze.

‘caldarâm – picioare – în plin’ is the firing order with live ammunition used in December 1989 in Timișoara. The streets bridges and parks were full of people. Radu Grindei was always on the streets. He photographed and wrote so that no moment would be forgotten. He photographed people streets houses trees flags the sky fear silence the sound of gunshots and he wrote about everything.

Unveiling the traces of my own shadow presents a well curated collection of visual artists such as Ana Maria Ștefan, Szidonia Bandi , Cristina Chirila, Cristina Dimuș, Diana Oană, Moldovan Paul Darius, Luana Cloșca, Diana Popuț & Tania Șimonca each of whom, through painting, graphics, photography, sculpture and ceramics, embody the play of the „absent present”. 

In the current exhibition, this logic materializes in a new generation of artists who, through their practice, relate to the recent or distant history of art. The generational constancy through which a continuous flow of contemporary art, or, as it is now called, “super-contemporary” art, is produced, seems to be unstable, amplifying the palimpsest-like space of art. Thus, the fragment extracted from this “historical document” for the show contains the names of five emerging artists: Mihaela Coandă, Iulia Pușcașu, Kit Szász, Daniel Semenciuc, and Codruț Zele.

In preparation for Robert Andacs’ solo exhibition, I find myself thinking of Fernando Pessoa’s “Book of Disquiet”, essentially a collection of thoughts and reflections on life, often introspective in nature and focused heavily on solitude as refuge.

On view from December 22nd to February 26th 2023. The art featured in this exhibition draws us into the complex landscapes of human experience, guiding us through the intricate paths and struggles that shape our understanding of self. From the initial moments of self-awareness to the relentless pursuit of self-acceptance, the human journey unfolds in a constantly shifting array of forms. Bodies, with their diverse contours, reflect the intricate stories etched into our minds. Each curve, line, and mark bears witness to the multitude of challenges, victories, and transformations encountered on our individual paths.

Curated by Norbert Filep. On view from August 5th to September 12th 2023.. In an astronomical time, distant from any human conception, intangible and incomprehensible in the blueness of temporality, a point “floats” with its obsessive swiftness. Microscopic in appearance, extraordinarily hot and dense, it sneaks with a colossal speed that eludes any curiosity. The point contains the conglomerate for something new, fresh, with effervescent or enduring possibilities, with expandable valences and fragilities in a paradox controlled by a hidden force, stable and unstable, destructive and creative, constant and variable, white and black, material or anti-material.