New Genres

"FRAGMENTUM CAELI", a lyrical neo-expressionist exploration

July 18, 2024 | Cosmina Marcela OLTEAN ArtPage

A new art project by Romanian artist MIRELA IORDACHE will soon be on display at the Evangelical Church in Herina, Bistrița-Năsăud, Romania. It might seem like an unusual place to display contemporary art, but certainly an interesting initiative. The artist was looking for something new and a binder for several elements.

We will learn more about the concept and the artistic searches, from the artist's words below.

"In search of an authentic artistic experience, I felt the need to exhibit in a unique space where the elements of the environment, atmosphere, and architecture intertwine harmoniously.

This long-standing desire, this artistic need, found its fulfillment with the project SUSPENDARE (Suspention) which was exhibited in September 2023, marking a moment of essential revelation in my artistic journey. And now, in FRAGMENTUM CAELI.

Because SUSPENDARE was the source of inspiration for FRAGMENTUM CAELI it led me to the decision to exhibit in a space that offers perfect harmony between the surrounding environment, distinct atmosphere, and unique architecture.

Thus, I am launching a new direction in my artistic journey through which I explore a unique perspective that emphasizes the subtle interaction between creation and place, in an effort to offer the public an unprecedented artistic experience.

FRAGMENTUM CAELI aims to highlight local elements through an unconventional artistic approach, whose central element is wooden shingles, a symbol rich in local history and tradition.

Choosing this local element brings to the forefront not only aesthetic beauty but also the historical and cultural roots of the place. The cathedral itself, through the absence of stained glass windows, becomes a canvas awaiting my creation.

Through this pictorial project, I want to highlight this chromatic absence, accentuate the space, and create a symbiosis between past and present. The suspended installation, inspired by the tunic of the Teutonic knight (a fragment of chain mail), adds a narrative dimension and deepens the connection between art and history, between past and present. This experience is not just an artistic act, but also a form of dialogue with the cathedral and the community, with both the present and the past.

In a sacred space, exploration through the lyrical neo-expressionist manner of work becomes a means of communicating deep emotions and ideas, without compromising the spiritual integrity of the place."

Photo credits - Mirela Iordache

antonio berni

Malba brings together Antonio Berni and the Mondongo collective

July 17, 2024 | nadiaevangelina

Malba presented “Manifestación”, a monumental tempera on sackcloth by Antonio Berni reinterpreted by the Mondongo collective, a reference in contemporary Argentine art. “Manifestación” by Antonio Berni is the founding work of New Realism in Argentina (1934), a crude portrait of the infamous decade. The contemporary reinterpretation painfully points out the similarities between the periods. Both works bring to the present the painful social and economic situation of Argentina, from the 1930s to the present.

"Manifestación" by Antonio Berni

“Manifestación” has a metaphysical significance for Malba, an institution dedicated to Latin American art. In the 1930s, Berni opened a new horizon for Argentine art with the New Realism. This theoretical support sustains and links “Manifestación” to a large part of the works exhibited in this museum. In Paris, Berni had found a personal style within surrealism. He was only 25 when he returned to Argentina and discovered the crisis, unemployment, and misery. He then rethought his position as an artist. The dramatic experience induced him to found the New Realism, a movement connected to social events.

Ninety years after the first public appearance of Antonio Berni's “Manifestación”, the Mondongo duo presented a remake in plasticine, together with a tondo and a site-specific installation. It is a tondo de la Villa II, a circular piece, also in plasticine, two meters in diameter that deals with scenes from the suburbs of Buenos Aires, Dharavi (Bombay, India), and Rio de Janeiro. To reach the works, first, you can cross or go around a site-specific installation, which recreates the aesthetics of precarious housing, made of sheet metal and wood, more in the style of emergency settlements like those that today are built in the land seizures than in a villa, but in this case, they refer to the houses that were built in the first half of the twentieth century.

"Manifestación" by Mondongo

Installation by Mondongo

"Villa II" by Mondongo

This decision of aesthetic proposal does not go unnoticed and is proposed as an invitation to debate. The fact that it takes place in a private museum and not in a public one, in one of the most expensive areas of Buenos Aires, will be an argument for both sides because while some will see it as a dispiriting gesture at a time of enormous social injustice, for others it will be precisely these characteristics that make it the ideal space to highlight an inescapable reality.

This exhibition goes beyond the commemorative, as it once again brings into discussion the role that art can play. The theme of Manifestación continues to be valid, and that is beyond discussion. One only needs to go out in the street, be attentive to the news, or even scroll through that construct of subjectivities that are the social networks, to understand that the piece was extended in national history until the present. And this remake of Mondongo, at this moment in history, proves it. Due to the cyclical nature of Argentina, the reversion of the duo formed by Juliana Laffitte and Manuel Mendanha, made in high relief format, is presented in a social context with points in common with the original: with half of the country under the poverty line, protests and violence in front of Congress, to name a few.

"Manifestación"

Location: Malba, Junín 1930, Av. Pres. Figueroa Alcorta 3415, C1425CLA CABA, Buenos Aires (Argentina)

Opening Date: 14th June 2024

End Date:23th September 2024

Working hours: Wednesday-Monday: 12pm to 8pm

Official website:

https://www.malba.org.ar/

https://www.instagram.com/museomalba/

Mentioned Artists:

Mondongo

artistry

World Press Photo, the 2024 edition

July 06, 2024 | Cosmina Marcela OLTEAN ArtPage

World Press Photo provides an overview of global reality every year, each time targeting the most sensitive points. By means of documentary photographs with artistic valences, we are presented with scenes of great visual and emotional impact through the tragedy of the moment, objectivity (controlled only in terms of the artistry of the frame) and truth.

The 67th edition of the annual international exhibition World Press Photo is ongoing in Amsterdam, but also in other capitals, as part of the world tour. It was also exhibited in Bucharest's University Square.

May 18 was the date on which the global winners of the most prestigious photojournalism competition were announced, the one that always directs our attention to the stories of the moment, the ones that matter now, all visually translated into photographs that have both journalistic and artistic valences of the highest level.

The 146 photographs in the World Press Photo 2024 exhibition focus on the war in Gaza and Ukraine, migration, family and mental health, demonstrating the importance of photojournalism as a tool to inform, raise awareness and anchor what is happening now. The concept of reality varies in forms and meanings, because the reality of the moment is different for each region of the globe. We hear stories from multiple realities unfolding simultaneously, to which we can only position ourselves as observers from a distance, which is why most of the time we do not understand them in depth. Photojournalism brings clarity through impact and emotion.

Four of the best photos of 2024

Photo of the Year "A Palestinian Woman Embraces the Body of Her Niece" belongs to Reuters News Agency contributor Mohammed Salem. The photographer describes his image as a "powerful and sad moment that sums up the broader meaning of what was happening in the Gaza Strip." He found Inas squatting on the ground, embracing the child, at the Nasser Hospital morgue, where residents were going to search for missing relatives. Inas had raced to the family home when she heard that it had been hit, and then on to the morgue.

The jury's comment

"The jury was deeply moved by the way this image evokes an emotional reflection in each viewer. Composed with care and respect, it simultaneously offers a metaphorical and literal glimpse of unimaginable loss. Set in a geographically distant medical setting, it resonates globally, urging us to confront the desensitization of the consequences of human conflict. The image is multi-layered, representing the loss of a child, the struggle of the Palestinian people and the 31,000 dead in Palestine. Symbolic of the impact of conflict, the image makes a statement about the futility of all wars."

The jury acknowledged that this photographer was awarded for the same subject almost a decade ago, underscoring the ongoing struggle for recognition of such a pressing issue. The conflict in Gaza has a history of 75 years now.

The Story of the Year award was won by Lee-Ann Olwage for "Valim-Babena" which tells the story of a grandfather suffering from dementia who prepares to go to church with his niece. The photo draws attention to the spread of this disease globally. The story illustrates the Malagasy principle of valim-babena, meaning the duty of children to help their parents.

According to the World Health Organization, approximately 55 million people worldwide suffer from dementia, more than 60% of whom live in low- and middle-income countries. In Madagascar, the WHO estimates that around 40,000 people are living with Alzheimer's. A lack of public awareness of dementia means that people with symptoms of memory loss are often stigmatised. Many consider the symptoms to be signs of witchcraft, demonic possession, or "madness."

Another award-winning photo is "The Two Walls" by Alejandro Cegarra, which captures an emigrant walking on top of a freight train known as "The Beast" in Piedras Negras, Mexico. Immigrants often use freight trains to reach the US border. Thus thousands of Mexicans died or were maimed, falling on the railway. But this is not the sure danger to which they are exposed.

"War Is Personal", by Julia Kochetova, draws attention to the situation in Ukraine and invites us to imagine what it feels like when war becomes your daily reality.

All winning photos and their stories can be seen here - https://www.worldpressphoto.org/collection/photocontest/2024/winners

worldpressphoto.org ; eidosfoundation.org

Argentina

Jazmín Berakha: Between Thread and Modernity

June 30, 2024 | nadiaevangelina

"Odaraia" is the solo exhibition of Argentine artist Jazmín Berakha held in Room 5 of the Centro Cultural Recoleta, curated by Javier Villa. The exhibition is dominated by tapestries, drawings, and collages, and is part of the new program of the cultural center that brings together four artists who explore in depth the representation of the body in contemporaneity. By allocating several rooms to the visual arts, these exhibitions seek to generate a dialogue and an opening to the imagination between the bodies present and those represented.

Berakha is one of the pioneer artists in the contemporary reworking of disciplines such as embroidery, tapestry, or patchwork, techniques that had been relegated to the domestic sphere. "Odaraia is a prehistoric animal that by chance did not evolve and I took that name because in my work there is also evidence, of incomplete bodies," explained Berakha. Her compositions intermingle geometric abstraction, anthropology, and fashion, to reimagine the body and femininity from elastic figurations permeable to constant variation. As if with her hands she sought to test new models of evolution; tests of unpublished entities that, like Odaraia, were possible but fell by the wayside.

The abstraction can be a background, the plot of a body, or a face; a shoe with a heel can become the protagonist, just a detail or the engine of an action; while the faces go from the ritual mask to the makeup, they are simply floating mouths and eyes. What Berakha always sustains is a manual, time-consuming labor that seeks both the precision required to gestate a new entity and the freshness of always testing and rehearsing on the same fertile ground of its existence.

Berakha has managed to transcend the traditional boundaries of embroidery, transforming it from a craft technique into a powerful tool for artistic expression. From her earliest works, Berakha has shown a deep respect and appreciation for traditional embroidery techniques, learned in part from her family. However, her work is not limited to the repetition of inherited patterns; instead, she reinterprets and recontextualizes them, creating pieces that dialogue with the present and reflect on identity, memory, and visual culture.

Berakha's art is characterized by his meticulous attention to detail and his ability to merge the ancient with the modern. Her works often feature vibrant, geometric compositions that evoke both pre-Columbian textile art and contemporary graphic design. In her hands, the thread becomes a versatile medium capable of conveying complex visual narratives.

"Odaraia" is a celebration of Berakha's work, an artist who has found in embroidery a language of her own, using thread and needle to weave not only images but also ideas and emotions. Her work is a testament to the power of art to connect past and present, and a celebration of creativity and tradition in an ever-changing world.

"Odaraia"

Location: Recoleta Cultural Center, Junín 1930, C1113 CABA, Buenos Aires (Argentina)

Opening Date: 19th March 2024

End Date: 19th June 2024

Working hours: Tuesday-Friday: 1.30pm to 10pm

Saturday-Sunday: 11.15am to 10pm

Official website:

http://www.centroculturalrecoleta.org/

https://www.instagram.com/elrecoleta/

Artist:
Jazmín Berakha

Contemporary Art

Dan Perjovschi: "Muzeu / Múzeum / Museum"

June 11, 2024 | Cosmina Marcela OLTEAN ArtPage

The Art Department of the Mureş County Museum is currently hosting the exhibition "Muzeu / Múzeum / Museum" by contemporary artist Dan Perjovschi.

We learn about the art project from its curator, Eliodor Moldovan:

<<The unambiguous title leads us straight into the subject of Dan Perjovschi’s exhibition. A sharp commentator on social, cultural and political tensions and disruptions, Perjovschi takes up and amplifies a recurring theme of his art: the contemporary museum.

Connected for over 30 years to the global network of major art museums, Dan Perjovschi could not ignore this first layer of his immediate reality in order to comment on, illustrate, question and sometimes directly criticize it.

The institution we all want to be “open to the public, accessible and inclusive, fostering diversity and sustainability” (excerpt from the latest I.C.O.M. definition of the museum, 2022) has often been, for many years and on many meridians, in various crises, increasingly subject to financial, political, ideological and other pressures, to which we add a series of indigenous deficiencies.

The book “Radical Museology” by British author Claire Bishop, illustrated by Dan Perjovschi with sharp drawings that comment on the international museum context, serves as reference point for the exhibition now showing at the Palace of Culture. The exhibition is aimed at the Romanian and local museum scene alike, which are in obvious need of reinvention and adaptation. It is dedicated, above all, to the general public, to those who love this micro-universe which is meant to encapsulate “material and spiritual testimonies to the existence and evolution of human communities”.>>

"Muzeu / Múzeum / Museum" benefits from the generous contribution of several major European museums (where the artist developed some of his projects) which have offered art publications and catalogues of their permanent or temporary reference exhibitions. These are now available to the public within this exhibition.

Visitors are invited to leave their own contribution in terms of needs, understanding, criticism or empathy with the museum.

This is the first exhibition in a series called "Museum in the Mirror" which the artist is proposing in order to address (self-)critically the stasis and dynamics of the museum network.

About the artist

Dan Perjovschi lives and works in Bucharest and Sibiu. In the past he worked as a museographer at the Art Department of the Cris Country Museum in Oradea. In the first years after the fall of communism he worked at the Youth (and later Art) Department of the Ministry of Culture and organized the first international exhibitions of the young art scene. Since 1990 he has been collaborating with Revista 22 magazine, where he still works today. [“Even today the subject of my drawings is political, social and cultural. The same way 22 is structured”].

He began drawing “directly on architecture” in 1995 at Franklin Furnace in New York, and his first famous project was drawing on the floor of the pavilion at the 1999 Venice Biennale.
In 35 years of artistic career he participated in over a hundred solo and group exhibitions in modern and contemporary art museums around the world (Tate Modern, MoMA New York, Centre Pompidou, Ludwig Köln, MOT Tokyo, National Gallery Ljubljana) and has participated in the most important art biennials (Venice, Sydney, Lyon, Sao Paolo, Jakarta, Off Biennale Budapest, Periferic Iasi, Art Encounters Timisoara).

Now he is doing what he has always dreamed of - travelling the world and drawing it.

Here you will find a short video tour of the exhibition: https://www.facebook.com/watch/?v=1380832585919483

- - -
"Muzeu / Múzeum / Museum"
at Târgu Mureş Palace of Culture, 2nd floor - temporary exhibition hall
Visiting period: 31.05 - 14.07.2024
Curator: Eliodor Moldovan

Argentina

Modern and MetaModern: 300 exhibited works from the heritage of the Museo de Arte Moderno de Buenos Aires

June 06, 2024 | nadiaevangelina

“Modern and MetaModern” is the mega-exhibition that brings together 300 of the greatest works from the heritage of the Museum of Modern Art of Buenos Aires, Argentina. In an ambitious setting, the exhibition offers an artistic panorama of the last sixty years and proposes to trace the history of the institution, which has more than 900 pieces in its patrimony. It took the curators more than two years of work, but the result is more than achieved and the public has at its disposal some works that were frequently exhibited in recent times (Greco, some Leon Ferrari, some Minujin), or young emerging artists such as Chola Poblete), but also jewels that due to volume or requirements have not been exhibited for a long time, such as an important installation by Liliana Maresca dedicated to the conquest of the American continent.

In almost all the works there is a QR code that leads to different portals and minisites of the museum where you can get more information. This is thanks to the fact that in recent years, the museum began the process of cataloging and digitizing the documents linked to its historical exhibitions and made the results of this work available to the public on its website. “Modern and MetaModern” unfolds as a meta-exhibition where each work or set of works exhibited, literally opens as a portal to information about the museum's historical exhibitions in which each piece or artist participated or about the research carried out and captured in books and audiovisual records. Through these QRs, you can also access different research carried out over the years by the institution's team of curators and researchers. The museum emphasized that the idea of this year is to consider art as a vehicle for knowledge about reality and about ourselves, and imagination as an engine for human and educational development.

Of the rooms, the central one is dedicated to the two movements that the Modern houses with more zeal: abstract art and informalism. The exhibition does not have a chronological criterion, since the idea is to show that both these movements and others are important because they occurred almost in parallel. The central idea is to represent a powerful local art scene and a reflection on a city that grows by creating and whose artists spoke on an equal footing with the rest of the planet. According to the museum's director, art is produced today with the same vigor as in times past and she wonders if more support is needed. For this reason, the Museum of Modern Art took on the challenge of gathering 700 portfolios of top artists in just three weeks.

Modern and MetaModern is an excuse to also exhibit some of the Museum's most recent acquisitions. Some of them come as a corollary of other exhibitions of the past, “completing” them, in a certain way and a posteriori, with the acquisition of works or their donation by the artists or their relatives, a sample of how the institution built its link with art.

"Modern and MetaModern"

Location: Museum of Modern Art of Buenos Aires, Argentina, Av. San Juan 350, C1147 AAO, Buenos Aires (Argentina)

Opening Date: April 2024

End Date:January 2026

Working hours: Monday: 11am to 7pm

Wednesday-Friday: 11am to 7pm

Saturday-Sunday: 11am to 8pm

Official website:

https://museomoderno.org/

https://www.instagram.com/modernoba/

Participating Artists:

Susi Aczel, Roberto Aizenberg, Julián Althabe, Nicanor Aráoz, Carmelo Arden Quin, Pompeyo Audivert, Sergio Avello, Mercedes Azpilicueta, Elba Bairon, Ernesto Ballesteros, Daniel Basso, Carlota Beltrame, Antonio Berni, Martín Blaszko, Inés Blumencweig, Sofía Böhtlingk, Ricardo Carpani, Juan Cavallero, Luis Centurión, Laura Códega, Eugenia Crenovich (Yente), Washington Cucurto, Flavia Da Rin, Jorge de la Vega, Sergio De Loof, Ernesto Deira, Juan Del Prete, Hugo Demarco, Germaine Derbecq, Mirtha Dermisache, Noemí Di Benedetto, Juan Carlos Distéfano, Matías Duville, Ana Eckell, Marcelo Epstein, Noemí Escandell, León Ferrari, Arnoldo Gaite, Ana Gallardo, Ricardo Garabito, Santiago García Sáenz, Nicolás García Uriburu, Noemí Gerstein, Edgardo Giménez, Alberto Goldenstein, Guillermo González Ruiz, Alberto Greco, Graciela Hasper, Alberto Heredia, Alfredo Hlito, Enio Iommi, Kenneth Kemble, Guillermo Kuitca, David Lamelas, Julio Le Parc, Martín Legón, Reinaldo Leiro, Catalina León, Valentina Liernur, Lucrecia Lionti, Alfredo Londaibere, Raúl Lozza, Eduardo Mac Entyre, Rómulo Macció, Víctor Magariños, Jorge Gumier Maier, Tomás Maldonado, Liliana Maresca, María Martorell, Juan Melé, Gian Paolo Minelli, Marta Minujín, Jorge Miño, Oski, Eduardo Painceira, César Paternosto, Luis Pazos, Máximo Pedraza, Martha Peluffo, La Chola Poblete, Rogelio Polesello, Alfredo Prior, Emilio Renart, Juan Pablo Renzi, Juan Carlos Romero, Rubén Santantonín, Eduardo Serón, Aldo Sessa, Carlos Silva, Pablo Siquier, Oscar Smoje, Juan Stoppani, Pablo Suárez, Luis Terán, Luis Tomasello, Silvia Torras, Gabriel Valansi, Georges Vantongerloo, Gregorio Vardánega, Miguel Ángel Vidal, Edgardo Antonio Vigo, Sesostris Vitullo, Luis Alberto Wells, Horacio Zabala, Pablo Ziccarello and Rosario Zorraquín.

artistic research

PROJECTION_03 by Matei Bejenaru, at Switch Studio in Bucharest

May 23, 2024 | Cosmina Marcela OLTEAN ArtPage

The exhibition PROJECTION_03 by visual artist Matei Bejenaru was on display between 16-19 May, at Switch Studio in Bucharest.

The artist states that the project is "a continuation of the artistic research regarding the materiality of the photographic medium through the archaeological investigation of its history. Since the projection itself is immaterial, an accumulation of shadows and lights visible on the screen, I turned my research to the material devices that make the image possible, the slide projector and the screen. Analyzing the photographic device, I creatively introduced a new element called a photographic instrument that has the function of obturating a portion of the projection in order to be able to project a new image in that area.

By studying the geometry of image projections, I identified the possibility of building a 'mathematical tool' that would have the function of a shutter, according to the same principle as in cameras. The photographic projection device involves geometric calculations resulting in the shape and positioning of this tool in space. By superimposing two slide projections I found a spatial perception of the composite image due to the shadow cast by the shutter.

Another direction of research has focused on how we attribute complex meanings to images that are the basis for the creation of new imaginary or knowledge spaces".

" 'Projection' presents the results of the last stage of the long-term research project focused on the photographic environment, initiated by Matei Bejenaru in 2018 and previously materialized through the exhibitions Diapozitiv (Switchlab, Bucharest, 2020) and Print (Artep, Iași, 2021). As in previous exhibitions, the artist’s attention is mainly focused on the manner of representation and less on the subject of the representation. Likewise, he explores the photographic language, as well as the ways of looking at the photographic image determined by the photographic device. But, this time, the cultural history of projection as an optical device is evoked. This history is associated with the progress of physics in early European modernity, as well as with the Enlightenment as a cultural period dominated by the ideal of scientific rationality – features that the artist considers to be endangered today, under the spell of mysticism and the irrational.

For this exhibition, Matei Bejenaru built a multi-layered and bicephalic device of aesthetic reception, in which the photomontage is obtained by blocking and overlapping the rays of light generated by the slide-projector. The postmodern quotes are accompanied by a series of examples of photographic genres in which projection often becomes not only the vehicle of representation, but also its subject. The artist’s workshop – another important topos of the exhibition – metaphorically becomes the geometric place of experiment and introspection, the point of convergence of the photographed subjects and the document of a recent period in his own creation. In an indirect way, the series of slides dedicated to the photographic studio thus becomes a subtle and sober self-portrait of the artist" - curator Cristian Nae.

https://icma.arteiasi.ro/portfolio-items/matei-bejenaru-proiectie/

Photo credits - Switch Studio & Matei Bejenaru

Argentina

“Private Function”: performance and painting of lonely people

May 22, 2024 | nadiaevangelina

“Private Function” is the exhibition of Argentine artist Bruno Gruppalli, curated by Javier Villa at the Centro Cultural Recoleta. The artist exhibits large-format paintings starring solitary characters seated at the table of a café concert, where he experiments with new protocols of use and perception of pictorial space. The exhibition is part of a renovation proposal for the cultural center that is based on a series of individual exhibitions of mid-career artists and tributes that recover their past. In its refurbished rooms, it seeks to integrate a wider and more diverse public.

Gruppalli, who has previously worked with other media such as performance and sculpture, proposes a kind of novelty as he reveals to a wide public his recent facet as a painter. The artist brings together portraits and still lifes with (not so) veiled references to the world of art and counterculture in a room with a café concert atmosphere that includes a stage. The audience of “Private Function” is invited to step onto a stage while the characters created by Gruppalli watch from their respective tables, each one decorated with flowers and objects that evoke the history of art.

Around a series of self-portraits and compositions with seated characters, the artist builds a café concert scene that puts into play the pose and the relationships we build with objects. Bananas, shoes, vases, small busts, and record covers create somewhat encrypted surfaces of pleasure, which indicate a world of references linked to the history of art and counterculture of the twentieth century, where Picasso, Buñuel, Brancusi or Andy Warhol cross with some local icons such as Virus, Los Redondos or Rosario Bléfari. According to the artist, the interesting thing is the dialogue between a countercultural record like “Oktubre” by Patricio Rey y sus Redonditos de Ricota, which is printed on many T-shirts, and the most canonized art.

In “Función Privada”, the painting has not been confined to the wall but is presented as part of the construction of a scene; essential to the meaningful articulation of the space where the bodies of the spectators can relate to the bodies represented in the territories of the night. They are spaces in which the penumbra counts at the time of constructing sensations and senses. Each character enigmatically represented in a corner or seated at a table is waiting for the beginning of the show in front of an empty stage. The atmosphere is very surreal, something that is affirmed by the sum of references that also operate as winks to the spectator. These are key to deciphering quotes from the history of art or popular music.

According to the curators, the Recoleta Cultural Center's 2024 program begins with four artists who explore in depth the representation of the body in contemporary times. The selection was based on a search for empathy with the bodies that have been present at the cultural center in recent times, through urban dance experiences, shared workspaces, and recreational activities. By allocating several rooms for the visual arts, these first exhibitions seek to generate a dialogue and an opening to the imagination between the bodies present and those represented.

"Private Function”

Location: Recoleta Cultural Center, Junín 1930, C1113 CABA, Buenos Aires (Argentina)

Opening Date: 19th March 2024

End Date: 19th June 2024

Working hours: Tuesday-Friday: 1.30pm to 10pm

Saturday-Sunday: 11.15am to 10pm

Official website:

http://www.centroculturalrecoleta.org/

https://www.instagram.com/elrecoleta/

art talk

Ecology of the After Life

May 10, 2024 | Cosmina Marcela OLTEAN ArtPage

At Anca Poterasu Gallery in Bucharest (RO) is now ongoing the group exhibition "Ecology of the After Life", on display until 1st of July, curated by William Ewing, including artworks by the great comtemporary artists Matei Bejenaru, Ioana Cîrlig, Aurora Király, Iosif Király and Delia Popa.

The opening included a AFAR Talk, a discussion about photography with curator William Ewing in dialogue with artist Iosif Király, followed by the opening of the group exhibition.

"The curator-artist discussion focused on photography - its rich past, turbulent present and uncertain future(s). The dialogue was followed by the opening of the group exhibition 'Ecology of the After Life', a project that revolves around recurrent and obsessive questions regarding human existence, science, nature's resilience, and the echoes of our actions" - the gallery informs.

"The exhibition serves as a metaphor for the regeneration of life as a whole, exploring not only human existence but also the intricate connections between organisms that sustain life on Earth. From Aurora Király's landscapes to Delia Popa's introspective reflections, Iosif Király's blurring of reality and fantasy, Ioana Cîrlig's documentation of coal miners, and Matei Bejenaru's chronicles of forgotten spaces, Ecology of the After Life contemplates the interconnectedness of living beings." - curator William Ewing

Artwork: Matei Bejenaru, Between Two Worlds_ICMET Craiova_03, chromogenic print, Diasec, 120x175cm, 2019, Ed.1/5+2AP.

The talk was organized by ARAC and Goethe-Institut Bucharest in the framework of AFAR Network project.

Artists for Artists Residency Network (AFAR) is an EU co-funded project and residency program, aiming to improve the mobility of contemporary visual artists and curators in Romania, Germany, Croatia, and Austria.

The project is led by the Romanian Association for Contemporary Art (ARAC) with its three consortium partners – Goethe Institute Network, Croatian Association of Fine Artists, and Künstlerhaus Vienna. www.afarnetwork.com

Artwork: Aurora Király, Ecology of the After Life, 70 x 105 cm, 2024.

Artwork: Aurora Király, Ecology of the After Life, pigment print on hahnemühle photo rag ultra smooth paper, 70 x 105 cm, 2022-2024.

Photo credits - Anca Poterasu Gallery

"FRAGMENTUM CAELI", a lyrical neo-expressionist exploration

Malba brings together Antonio Berni and the Mondongo collective

World Press Photo, the 2024 edition

Jazmín Berakha: Between Thread and Modernity

Dan Perjovschi: "Muzeu / Múzeum / Museum"

Modern and MetaModern: 300 exhibited works from the heritage of the Museo de Arte Moderno de Buenos Aires

PROJECTION_03 by Matei Bejenaru, at Switch Studio in Bucharest

“Private Function”: performance and painting of lonely people

Ecology of the After Life

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