Sector 1 Gallery in Bucharest presents artist Gyárfás Oláh’s first solo show with the gallery, titled "Vertical Expression of Horizontal Desire", opened at the end of October.Gyárfás Oláh studied textile arts and fashion design at the West University in Timisoara/Romania. In 2000 he received a scholarship of the University of Applied Arts in Budapest/Hungary. After his studies Gyarfas Olah worked as a fashion designer for Heretique and Wanguardia, Bucharest/Romania (2004). Since 2006 Gyarfas Olah has been part of the fashion label Rozalb de Mura that recently changed into the art and fashion collective Apparatus 22.„Taking as starting point the process of creation within a certain material - be it hemp, recycled fibers, self-made clay, wood, or a combination of all the above, the artist challenges us to explore a transitional space between different worlds” - curator Cristina Bută about Gyárfás Oláh’s work.

Photos by Darius Iova

𝘗𝘢𝘴𝘴𝘪𝘰𝘯 𝘍𝘳𝘶𝘪𝘵, 2024 / hay, wood

Heart, 2020 / stone

𝘔𝘉𝘐𝘙𝘐 𝘗𝘈𝘈𝘙𝘋𝘌𝘚𝘛𝘈𝘈𝘙𝘛𝘌𝘕, 2022 / mixed-media installation: hemp, cotton, linen, Gyárfás Oláh                               (@gyarfol) in collaboration with Melinda-Mária András (textile master)

DIO, 2024 / wood, textile, clay, plants, plaster, glue

The exhibition “Los Incas. Más allá de un imperio" (The Incas. Beyond an Empire), at PROA Foundation in Buenos Aires, offers a comprehensive look at the Inca civilization, highlighting its political organization, cosmovision, and cultural legacy. Curated with an interdisciplinary approach, the exhibition brings together textiles, ceramics, metallurgy, and ritual objects, accompanied by explanations of their historical context and symbolic meanings.

The ”UNAGE IASI ART RESIDENCY” program, based in Iasi town, Romania, it is focusing on intercultural exchange with international artists from painting area, since 2018. The Painting Department from the Faculty of Fine Arts and Design within “George Enescu” National University of Arts supports the residency.The project in context - The concept behind the installation:
Globos de Cantoya

Colectivo Cherani shares the ideas behind the installation, which are linked to a tradition from Mexico:

"Mexico is a country full of traditions. Due to the cultural diversity that characterizes us, communities have different and attractive ways of celebrating the most representative festivities. One tradition is the Cantoya balloons. 

The name comes from Joaquín de la Cantoya y Rico, a Mexican aerostatics enthusiast who, during the second half of the 19^th century, developed and built a balloon nearly 10 meters tall. His fame was such that he was requested at almost every religious celebration in the region to launch his creations.

                                                                     Proyecto en Sitio 2019 - Umecuaro, Michoacán, México 

“The Piranesi Effect” puts into dialogue the prison projects that Argentine artist Horacio Zabala realized in 1973 with Piranesi's famous monumental prisons of the 18th century. The exhibition takes place at the National Museum of Fine Arts and gathers more than thirty works made since the beginning of the seventies, together with 16 engravings that the Italian artist and architect Giovanni Battista Piranesi dedicated in the 18th century to the prison theme; and that are part of the huge set of prints of the author incorporated to the patrimony of the MNBA at the beginning of the 20th century.

The Art Museum in Brașov (RO) invites the public to discover the exhibition "Touch me", a fascinating exploration of kinetic sculpture signed by contemporary artist Horia Hudubeț, a project curated by Andreea Pocol. The exhibition offers the public a unique interactive experience, allowing visitors to be directly involved in shaping the works, inviting them to become co-creators and explore deep themes of consciousness, self-knowledge and human connection.

"Abyss"

"Confused"

Cooperativa FIR, with the support of AFCN, in partnership with The Goethe-Institut Bucharest and Sector 1 Gallery, presents "Monuments In Time” - LIVING MONUMENTS, a two-part exhibition focusing on the work of visual artist Aurelia Mihai.

Alex Goldschwartz's exhibition “Venus is the Promised Land” at PalermoH Gallery highlights a bold blend of styles that fuses the baroque with pop, creating a unique visual language. Through this fusion, Goldschwartz builds a dialogue between the monumental, exuberant, and ornate of the baroque with the vibrant and accessible aesthetics of pop art, generating an attractive tension between the ancient and the modern.
The proposal invites us on a reflective and, simultaneously, expansive journey toward the representation of the body and its landscapes, framed in a critique of the myths of beauty and fertility associated with the female figure. From the title, Goldschwartz establishes a provocative parallelism between Venus, the classical deity of beauty, and the earth, in its most literal and symbolic sense, as a space of creation, transformation, and struggle.

Upon entering, the visitor encounters large canvases dominated by warm tones and dense textures, combining abstract forms and recognizable fragments of human anatomy. The baroque is manifested in the visual saturation that dominates the room. The female bodies, often in contorted poses or overloaded with ornaments, seem to evoke sacred or mythological figures, but always from a contemporary and provocative perspective. The use of a palette of deep golds and reds in many works reinforces this association with the baroque, evoking a sense of opulence and historical weight.

However, this visual density is balanced and contrasted with distinctly pop elements. The use of neon and synthetic textures, combined with the dramatic compositions and themes of corporeality and female fertility, creates a visual clash that not only celebrates excess but reinterprets it in a contemporary light.

The exhibition “Aída Carballo: An Open Door to the Infinite” celebrates the legacy of the Argentine artist, known especially for the unique style of her engravings in which she combines elements of everyday life with a deep social commitment, as well as her teaching role. The proposal, held at the Museum of La Cárcova, is curated by Lucía Laumann, author of the book “Aída Carballo, teacher: Graphic Production and Institutional Paths in Buenos Aires in the Second Half of the 20th Century”.The exhibition brings together engravings, drawings, documents, ceramics, and photographs, organized into three sections: “La Cárcova”, which focuses on her time at the Ernesto de la Cárcova School of Fine Arts; “The Soul of the City”, which shows her ways of inhabiting urbanity that, in some way, was reflected in her work, and “Between the classrooms and the workshop”, dedicated to her job as a teacher.

The Museum of La Cárcova previously functioned as the Ernesto de la Cárcova School of Fine Arts, a key training instance for the artist. Hence, the exhibition space becomes a key player in her artistic career. This takes on greater importance in the “La Cárcova” nucleus, focusing on the artist's training since her youth.