Anca Poterașu Gallery is a space dedicated to recent and contemporary art, and focuses on supporting and promoting art-related initiatives and the Romanian curators' projects.
Starting in 2009 the Little Yellow Studio alternative project area in order to give a personal touch to the thematic and group exhibitions, the performances and the interactive dialogues, Anca Poterașu marked, in May 2011, the moment of transition from an alternative formula, to an official one, from a studio project, to a gallery.
Currently, the gallery has a portfolio of 11 artists: Adriana Jebeleanu, Dan Raul Pintea, Donald Simionoiu, Eeva Kukoonen, Florin Mitroi, Gheorghe Rasovszky, Lea Rasovszky, Irina Botea, Nicu Ilfoveanu, Teodor Graur, Zoltan Bela and aims to introduce them in the international art circuit.
Anca Poteraşu Gallery aims to be active on the international stage to increase the visibility and accessibility of Romanian contemporary art in international art markets, and to encourage cultural cooperation and intercultural dialogue.
Nicu Ilfoveanu / Working title 1: Valerica – Eau de vie, Working title 2: Jurgis Lemaire vs Christophe Baltrusaitis20:00 - 04:00
Artist: Nicu Ilfoveanu
Curator: Anca Mihulet
At the beginning of a text written in 1995 about the Swiss
participation of the duo Fischli & Weiss in the Venice Biennale, Bice
Curiger was talking about the children born on Sundays (Sonntagskinder) and the
welfare state that characterizes them ever since they were born; for them,
things seem simpler and calmer, the same they found them while arriving on this
planet, an unchanged condition for as long as they live. And us, “the weekday
people”, with all our wishes and daily hindrances, are condemned to endure the
existential, almost unexplainable easiness of the “Sunday people”.
Several years ago, Nicu Ilfoveanu started to photograph Valerica, a biased character, that can easily be introduced in the bestiary of the rural world in
When talking about the Romanic bestiary, the Lithuanian art historian Jurgis Baltrusaitis imagined the way in which the genius appears in a confused environment, when the elements that are usually ignored are caught together. There is a secret union of forces, that when it collaborates, it generates unexpected images, demonstrating that the transfer happens through small objects, without a special significance.
ValericÄƒ is the representant of an intimate situation, that for some is social, for others is a world’s spectacle, which derives from the need of identification, of tracing the similarities between what is inside and what is outside, between the self and the other, of recapturing oneself in a mental space of attraction, where there are no rules, and if they exist, they must be broken. The criticality of the identitary discourse reduced to silence many visual manifestations, which were usually minimalized in order to justify the over-imposed canon.
I am not talking here about aestheticizing the rural or the primitive, or about a politically correct trial for abstractizing the human content, more about an ideological permutation based on the imago mundi theory. In order to assert the demonstration, Nicu Ilfoveanu prepared a succession of slides, that combine 15th century history of art fragments - like Botticelli’s masterpiece “The Birth of Venus” or Titian’s portrait of an anonymous - with ValericÄƒ’s Sunday attitude. For Venera, Valerica is an unknown man, a bit shy, but having returned from a bloody battle; for Valerica, Venera can be just a beautiful woman, that is floating, undressed, on a giant shell. But there is something in their look that makes you think they were born on a Sunday. And it is so good, because they are not at all boring.
The backyard20:00 - 04:00
Artist: Iulian Bisericaru
Curator – Irina Toma
Iulian Bisericaru’s works offer a negligent perspective that the human eye willingly avoids. Ironic and playful at the same time, the artist demands the observer to take a critical position towards the remains of the industrial society, consciously protecting the esthetic side.
The environment, suffocated by toxic waste, is being brought to life by the estethic experience, thus ensuring the survival of the meanings.
The story of the abandoned industrial spaces begins before the artist was born. It’s ending is uncertain. Uncertain, because restructuring the spaces implies, at the same time, destruction and modernization. Rather it is a reflection between the compliance of social, economic and administrative requirements, on one hand, and the aspirations of those who create them, on the other hand. Iulian Bisericaru’s works illustrate the ambiguous process of resurrecting the industrial space.
Edward Soja, the celebrated American urban geographer, proposed adapting the space to present times, through searching the harmony between it’s history, the current social context and a specific reinterpretation of the possibilities to continue this history. Built around this ideal, the exhibit “The Backyard” wishes to reificate this utopia by reassigning new functions to an abandoned space. Not only the structures destined for the heavy industry are crushed by the history of abandonment, but also the intimacy of private spaces.
Vasile’s house, located in the same yard as Anca Poterașu Gallery, is a broken home, abandoned by his wife and children. Eventually, even the owner gave up living here. Turning this space into an expozitional one emphazises the critique Bisericaru makes regarding our carelessness towards the environment.Here, the imaginary engendered by Iulian Bisericaru will perform through its presence in this space a reinterpretation of the functionality it can have by bringing it again into social reality.
If compozitional elements constitute the epilogue of a somewhat known death of these spaces, these also recreate a new utility for them. “The Backyard” confronts the viewer with a leisure area that can be born from a grey postindustrial landscape. The toxicity of this enviroment is merely suggested through neon brushes, from pink to toxic waste green. Their alternation with shapeless spaces, merely lined by stains of paint, focuses on the contrasting dynamics of the artificial and the natural. By so doing, Iulian Bisericaru’s works are autonomous, almost abstract, structures.
The postindustrial landscapes are the memoire of a utopical history, that invented the productivity and sustainability of massive industrial expansion, without any consideration to the morfology of the urban and natural environments involved. The abandonment of these spaces fosters an actual defeat of this ideal through their degrading state. This is not to say that their functionality cannot be reinterpreted. This is possible, though the social critique favored by artistic means. Ideally, this history finds its continuity in the configuration of the impact humans have on the objects they create, individually and socially.
Irina Toma (n. 1989) lives and works in Bucharest. She graduated of the Faculty of Philosophy, Bucharest, presently master in the History and Development of Philosophical Ideas, Faculty of Philosophy, Bucharest.
Iulian Bisericaru (b. 1987) lives and work in Sibiu, Romania. He graduated from the University of Arts and Design, Cluj-Napoca (RO), Department of Painting where presently is a PhD candidate. Selection exhibitions: „Startpoint Prize Romania”, Victoria Art Center, Bucharest, (RO) 2012, Expotransilvania, Cluj, (RO), 2012, „Girl Talk”, Galeria Casa Matei, Cluj-Napoca, (RO) 2012, Galeria „Mirionima”, Macerata, (IT), 2009, Galeria „Del Fuorni”, Macerata, (IT), 2009. „Omul”, Galeria „ X-Future”, Sibiu, (RO) 2007. Prizes: „Startpoint Prize” Romania, 2012 and jury prize Expomaraton at the University of Art and Design Cluj-Napoca, 2012.