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While the initial gallery programme, under the name Eastwards Prospectus, focused on artistic practices from the South-Eastern part of Europe, gaep's programme is an extension towards the international scene, as a result of the connections we established over time with the international milieu of contemporary art. Thus, the current programme includes artistic practices that reflect various sociopolitical contexts and different generational positions, in an attempt to transcend established borders and circulate artworks and ideas in new ways.

How to Disappear


Tip eveniment
Perioada Expozitie
18.09.2019 - 09.11.2019
  • 19:00 - Deschidere
  • 03:00 - Inchidere
Raluca Popa’s work crosses a diversity of expressions, from image to moving image, from written text to personal archive, from drawing to performance. Nevertheless, her approach always crosses the boundaries of the medium by reassembling the material in expressive forms to be sent anew into the public sphere. The artist’s inaugural exhibition with Gaep can be read in two ways. Firstly, in relation to the “specifics and demands” of the venue, it defines her main formal and conceptual interests and acts as an introduction to a long-term collaboration with the gallery and its public. Secondly, and more importantly, How to Disappear is further evidence for Popa’s constant goal to reexamine her works in relation to space and its context, and to shun the usual narrative. As a result of the artist’s wish to avoid exhibition rooms opening in various directions, her site-responsive intervention on the upper floor of the gallery creates a passage that guides visitors in a clearly established direction. Thus transformed, the main exhibition space juxtaposes a new film, Magician, and two series of works on paper, After Tuttle and False Start, that are connected by two actions: to (not) see and to (not) do. The exhibition continues in the chambers at the basement, where Popa's main intervention is the reconfiguration of the space as an “echo” to the upper floor. The artist spatially connects the two exhibition spaces, but makes an unmistakable conceptual distinction. Works “inhabiting” the basement of the gallery relate to Popa's engagement with animation, which is an integral part of her artistic activity, while also suggesting what her real social, political and economic space is.