Ioana Nemeș transformed her journal into a calibrated, almost scientific instrument.

Ioana Nemeș’s ironic, even satirical discourse is socially engaged, critical of religious rituals and dogmas, bigots, and homophobes.

Installation, as a medium of expression, is not a new form of sculpture, nor even an exclusive continuation of it, but a genre and a continuation of all the others.

This gesture of “mapping friendship” recovers works, but also relationships, and invites viewers to reflect on how personal and political histories intertwine.

A historiographical metafiction, a politically engaged fairy tale, (literally) a trip.

These sculptures carry what might be called a totemic quality in that they seem to inhabit the space rather than merely occupy it.

As in a true 17th-century painting, in Bercea’s works it is life itself that we deal with—not life in the abstract, vitalist sense, but biographical, everyday life as we all know it.

What forms do inner transformation and healing strategies take today, within art and culture?

Two bodies of water with distinct histories, but interconnected by the flows of memory, ecology and social change.

The exhibition was set between the two major focal points of current affairs – the increasingly clear ecological threats and the resurgence of armed conflicts.