Adrian Ghenie
Adrian Ghenie
Roman Campagna, 2026
oil on canvas
150 x 140 cm
Adrian Ghenie
Roman Campagna, 2026
oil on canvas
150 x 140 cm
Roman Campagna suggests a moment of rest and reflection amidst the antiquity of the Via Appia Antica, Rome, a landscape that has survived countless human catastrophes and historical upheavals. For centuries, artists have turned to this motif as a place where time becomes visible, from the classical landscapes of Claude Lorrain and Nicolas Poussin to later interpretations by J. M. W. Turner and Jean-Baptiste-Camille Corot. Adrian Ghenie revisits this tradition but transforms it into a fractured, contemporary vision in which past and present seem to merge. Seated in the Campagna Romana, the figure appears to pause within the ruins, as if contemplating the persistence of history and the fragile role of the individual within it. The mask-like head recalls the harlequin figures of James Ensor, whose use of masks exposed the hypocrisy and double-faced nature of society.
Adrian Ghenie, born 1977 in Baia Mare, Romania, lives and works in Berlin, Germany.
Solo exhibitions include: Capricci Romani, Istituto Centrale per la Grafica, Rome (2026); Roman Campagna. New Paintings and Drawings, Thaddaeus Ropac, Paris (2026); Cloud Fever, Galerie Judin, Berlin (2025); Shadow Paintings, Albertina Museum, Vienna (2024); Battleground Studio: Adrian Ghenie – Works on paper, Staatliche Kunstsammlungen, Dresden (2024); Adrian Ghenie, Galeria Plan B, Ber-lin (2023); Adrian Ghenie: The Impossible Body, Art Encounters Foundation, Timisoara, (2023); The Fear of NOW, Thaddaeus Ropac, London (2022); We Had Everything Before Us, Galerie Judin, Berlin (2021); The Hooligans, Pace Gallery, New York (2020); ‘I have turned my only face.’, The State Hermitage Museum, St. Petersburg (2019); The Battle between Carnival and Feast, Fondazione Giorgio Cini, Venice (2019); Jungles in Paris, Thaddaeus Ropac, Paris (2018); Nightscape, Plan B, Berlin (2017); Recent Paintings, Pace Gallery, New York (2017); Darwin’s Room, the Romanian Pavilion at the 56th Venice Bien-nale (2015); New Paintings, Thaddaeus Ropac, Paris (2015); Contemporary Art Center (CAC), Malaga (2014); On the Road to … Tarascon, Plan B, Berlin (2013, with Navid Nuur); Pie-Fights and Pathos, Museum for Contemporary Art, Denver (2012); S.M.A.K. Museum, Ghent (2010); The National Museum of Contemporary Art, Bucharest (2009).Previous group exhibitions include: Highlights of Modern Painting: Portraits of an Era, Global Sae-A Art Space, Seoul (2026-2027); Picture Universe #3. Leipzig in Dialogue, Museum der bildenden Künste, Leipzig (2026-2028); A Farewell to the Western World, Hall Art Foundation, Vermont (2026); A Thousand Times Berlin. The Collection Hamburger Bahnhof – Nationalgalerie der Gegenwart, Hamburger Bahnhof, Berlin (2026); Transylvanian Painting Today, curated by Jane Neal, Telegraph Gallery, Olomouc (2026); Roaming the Cosmos of the Heart-Infinite, H+ Art Museum, Suzhou (2025-2026); Shifting the Silence. Die Stille verschieben, Lenbachhaus, Munich (2025); IT’S NO CRIME TO TICKLE TIME 20 Years of Plan B, Plan B, Berlin (2025); The Seven Celestial Senses, Hôtel de la Marine, Paris (2025); One Eye Laughing, the Other Crying. Art From Romania. Ovidiu Șandor Collection, The International Cultural Centre, Krakow (2025); Hocus Focus, Conector / OFF-space, Cluj Napoca (2025); XXH – Exposition anniversaire, Fondation Francès, Paris (2024); DIX AND THE PRESENT, Deichtorhallen Hamburg, Hamburg (2023); Looking Anew and Beyond, Taubman Museum of Art, Roanoke (2023); Lost in the Moment That Follows, Ways of Collecting: Ovidiu Șandor Collection, Kunsthalle Praha, Prague (2023); Beating Around the Bush #7: False Flat, Bonnefanten Museum, Maastricht (2022); Diversity United. Contemporary European Art, Moscow. Berlin. Paris., Tretyakov Gallery, Moscow; Tempelhof Airport, Berlin; Palais de Tokyo, Paris (2021); Geta Bratescu, Adrian Ghenie, Ciprian Muresan, Serban Savu, Fondazione Nicola Del Roscio, Rome (2019); Niko Pirosmani, Fondation Vincent Van Gogh, Arles (2019); Une saison roumaine, Centre Pompidou, Paris (2018); Painting the Night, Centre Pompidou-Metz, Metz (2018); Très Traits, Fon-dation Vincent van Gogh, Arles (2016); Mapping Bucharest: Art, Memory and Revolution 1916 – 2016, MAK, Vienna (2015); I will go there, take me home, The Metropolitan Art Center, Belfast (2015); Six Lines of Flight, Museum of Modern Art (MOMA), San Francisco (2012); Painting Forever, Kunst-Werke Institute for Contemporary Art (KW), Berlin (2013); Francis Bacon and the Existential Condition in Contemporary Art, Palazzo Strozzi, Florence (2012).
Read LessSerban Savu
Serban Savu‘s paintings occupy a present that is never quite free of the past. His realist depictions of rural and urban life – figures performing vague tasks in open spaces, caught in what feels like Sisyphean repetition, between purpose and standstill – take a critical stance toward the historical style of propagandistic socialist realism. People appear small within their settings, their purposes ambiguous, their relationship to progress uncertain. As Savu himself describes it, his compositions are assembled from sketches, photographs, and found images — a process of reduction and recomposition that invites the viewer to see the present as though it were already the past.
The tensions his work generates are never resolved. Preservation and destruction become difficult to distinguish; artifacts and artworks raise the same questions about what history chooses to remember and what it allows to disappear. As critic Shana Nys Dambrot has written, his paintings “physically look and feel very old and very new at the same time — post-impressionist, post-classical, post-Soviet — but not Post-Modern,” repositioning “both sociopolitical history and art history as feedback loops, as weavings in which the threads can no longer be unraveled.” Filtered through historical memory yet emerging from close, almost neutral observation of contemporary reality, Savu’s works become simultaneously narrative and reflection — windows onto a present moment that remains, as he shows us, inseparable from the past that defines and confines it.
Serban Savu, born 1978 in Sighișoara, Romania, lives and works in Cluj, Romania.
Recent solo exhibitions include Golden Ages, Galeria Plan B, Berlin (2025); What Work Is, The Romanian National Pavilion at the 60th Venice Biennale, Giardini della Biennale, Venice (2024); Makeovers, National Museum of Contemporary Art (MNAC), Bucharest (2021); Serban Savu – Echinocțiu, Kunsthalle Bega, Timișoara (2020); Serban Savu – En dérive, Le Lait Centre d’Art Contemporain, Albi (2019); Heroes, Saints and Other Figures, Galeria Plan B, Berlin (2018); Serban Savu, Museo Pietro Canonica a Villa Borghese, Rome (2018).
Selected group exhibitions include: IT’S NO CRIME TO TICKLE TIME. 20 Years of Plan B, Galeria Plan B, Berlin (2025); One Eye Laughing, the Other Crying. Art From Romania. Ovidiu Șandor Collection, The International Cultural Centre, Krakow (2025); The Twist: Failing Empires, Triumphant Provinces, National Museum of Contemporary Art (MNAC), Bucharest (2024); Reenactment – Recostituire il passato, Galleria d’Arte Accademia di Romania, Rome (2024); Remembering Peace, Kyiv Biennial, Augarten Contemporary, Vienna (2023); Looking Anew and Beyond, Taubman Museum of Art, Roanoke (2023); Lost in the Moment That Follows, Ways of Collecting: Ovidiu Șandor Collection, Kunsthalle Praha, Prague (2023); The Influencing Machine, Ujazdowski Castle Centre for Contemporary Art, Warsaw (2022); Art and the City 1974–2021, Museum of Recent Art (MARe), Bucharest (2021); Geta Bratescu, Adrian Ghenie, Ciprian Muresan, Serban Savu, Fondazione Nicola Del Roscio, Rome (2019); Ciprian Muresan and Serban Savu, L’atelier sans fin, Atelier Brancusi, Centre Pompidou, Paris (2019); La Brique, the Brick, Caramida, La Kunsthalle, Mulhouse (2019); Ciprian Muresan and Serban Savu, L’entretien infini, Centre Pompidou, Paris (2018); Landscapes After Ruskin: Redefining the Sublime, Hall Art Foundation, New York (2016); Tracing Shadows, PLATEAU, Samsung Museum of Art, Seoul (2015); Defaced, Boulder Museum of Contemporary Art, Boulder (2014); Scènes Roumaines, Espace Culturel Louis Vuitton, Paris (2013).
Ciprian Muresan
Ciprian Muresan‘s practice interrogates the authority of art history and the instability of cultural memory, revisiting canonical works through translation and displacement. He treats his own work in the same way, returning to earlier pieces—some now held in collections such as Centre Pompidou and Tate—and reworking them in new materials and scales. His studio becomes a self-generated archive, reflecting an intimate, evolving canon rather than an institutional one. Through this recursive gesture, Muresan underscores how artworks remain contingent objects, open to reinterpretation and accompanying him across time.
The conceptual practice of Ciprian Muresan explores the relation between art and social history in drawings and sculptures that act as a plural questioning of the notions of value and authorship. Over the last years Ciprian Muresan’s work has been revolving around the idea of reconstructing and deconstructing, erasing and rewriting iconic symbols of the Western visual culture. This visual reservoir acts as an enormous accumulation of historical layers and images that the artist takes as raw material for his personal reading.
Ciprian Muresan, born 1977 in Dej, Romania, lives and works in Cluj, Romania.
Solo exhibitions include: Doppia Ombra, Central Institute for Graphics, Rome (2024); None of it is real, but it’s based on events that took place, Aluvial, Cluj-Napoca (2023); The Spectre, National Museum of Contemporary Art (MNAC), Bucharest (2021); Ciprian Muresan, Galeria Plan B, Berlin (2021); Ciprian Muresan, S.M.A.K. Museum, Ghent (2019); Incorrigible Believers, Plan B, Berlin (2018); Art Club 22: Ciprian Muresan, Accademia di Francia a Roma – Villa Medici, Rome (2018); Museo Pietro Canonica a Villa Borghese, Rome (2016); Your survival is guaranteed by treaty, Ludwig Museum, Budapest (2015); Recycled Playground, Contemporary Art Gallery, Vancouver (2013); Tate Modern, London (2012, with Anna Molska); Contemporary Art Center, Geneva (2012); FRAC Champagne-Ardenne, Reims (2011); Neuer Berliner Kunstverein, Berlin (2010).
Group exhibitions include: Play of Forms. The North-West Architecture Annual, Clădirea Minerul, Baia Mare (2026); Black Mirror. The Long Shadow of the Future, Ludwig Museum, Budapest (2026); Rhythmic Stress, /SAC, Bucharest (2026); IT’S NO CRIME TO TICKLE TIME. 20 Years of Plan B, Plan B, Berlin (2025); Global Fascisms, Haus der Kulturen der Welt, Berlin (2025); Enormement Bizarre, La collection Chatelus donation Antoine de Galbert, Centre Pompidou, Paris (2025); The Impermanent: Four takes on the collection, Museum of Modern Art, Warsaw (2025); One Eye Laughing, the Other Crying. Art From Romania. Ovidiu Șandor Collection, The International Cultural Centre, Krakow (2025); Acquisizioni Da Parmigianino a Kentridge, Central Institute for Graphics, Roma (2024); The Twist: Failing Empires, Triumphant Provinces, National Museum of Contemporary Art, MNAC Bucharest, Bucharest (2024); From Holbein to Trockel, Kunstmuseum Basel, Basel (2024); Don’t Dream Dreams, Works from the Art Collection Telekom, MG+ / Museum of Modern Art, Ljubljana (2023); Lost in the Moment That Follows, Ways of Collecting: Ovidiu Șandor Collection, Kunsthalle Prague, Prague (2023); Different Degrees of Freedom, Kunsthalle Bega, Timisoara (2023); My Rhino is not a Myth, Art Encounters Biennial, Art Encounters Foundation, Timisoara (2023); ‘Colliding Epistemes’, BOZAR Centre for Fine Arts, Brussels (2022); A Biography of Daphne, Australian Centre for Contemporary Art, Melbourne (2021); Beating around the bush # 6: Scenes from the Anthropocene, Bonnefanten Museum, Maastricht (2020); Perspectives, BOZAR Centre for Fine Arts, Brussels (2019); End of Future, SAPS La Tallera Museum, Cuernavaca (2019); Geta Bratescu, Adrian Ghenie, Ciprian Muresan, Serban Savu, Fondazione Nicola Del Roscio, Rome (2019); An Opera for Animals, Para Site, Hong Kong (2019); How We Live, Hudson Valley MOCA, Peekskill New York (2019); Ciprian Muresan and Serban Savu, L’entretien infini, Centre Pompidou, Paris (2018); The World on Paper, Deutsche Bank Collection, Berlin (2018); Viva Arte Viva, 57th Venice Biennale (2017); Freundschaftsspiel Istanbul: Freiburg, Museum für Neue Kunst, Freiburg (2016); Cher(e)s Ami(e)s. New presentation of works from the collection, Centre Pompidou, Paris (2016); Drawing Biennial 2015, Drawing Room, London (2015); Mapping Bucharest: Art, Memory and Revolution 1916 – 2016, MAK, Vienna (2015); Allegory of the Cave Painting, Extracity Kunsthalle, Museum Middelheim, Antwerp (2014); Analogital, Utah Museum of Contemporary Art, Salt Lake City (2013); Six Lines of Flight, Museum of Modern Art (MOMA), San Francisco (2012); Promises From the Past, Centre Pompidou, Paris (2010); Witte de With, Rotterdam (2010); The Seductiveness of the Interval, the Romanian Pavilion at the 53rd Venice Biennale (2009).
Read LessCornel Brudascu
Cornel Brudascu has developed an extensive oeuvre spanning from the 1960s to the present day, characterized by a masterful blend of traditional realism and modernist influences. His portraits, particularly of male figures, capture not only the physicality of his subjects but also convey a deep psychological complexity, remaining autonomous from their social context, bound instead by an intimate, meditative atmosphere.
Brudașcu’s fascination with dance and movement adds another layer to his visual language, drawing on the fluidity often associated with post-impressionist painting. His figures, painted in dimly lit oils, embody a delicate tension—pale bodies lying across richly colored fabrics seem to hover between states of rest and vulnerability, romance and tragedy. As Kristian Vistrup Madsen observes, Brudașcu’s works are “tinged with a distinct homoeroticism that is both tortured and tender,” capturing the quiet, dreamlike longing that sets his art apart from more overt expressions of social struggle.
“Inside Brudascu’s studio is another world, because without territory, sprawling and infinite, and yet sovereign; contained within itself and within every single individual canvas. Far from the ancient city of Cluj-Napoca and still nestled perfectly, effortlessly within it.
In this world, some of the beautiful boys – Greek noses, full mouths – are alert with interest, and yet remain apart in this separate sphere of theirs. Pointing to one of them, I asked the artist, ‘What is this look on his face, what does he feel?’. Seeming somewhat averse to putting words to his art, Brudascu told me nothing. ‘Suspicion, anticipation?’, I offered, ‘fear?’. ‘He’s focused’, he contended, finally, ‘he is a dancer’. Of course. Brudascu’s men belong to the stage. They are elevated; they are other. At least for a night, as long as the set stands, until the curtain falls. Captured in Brudascu’s painting is the face of a dancer, waiting in the wings, about to take off. It is the sort of moment that contains a lifetime; a moment that anticipates transformation. There is magic in transformation, in movement, the magic of beauty, as incidental and exclusive as genius; it makes princes of the ones who have it.”
(Excerpt from exhibition text by Kristian Vistrup Madsen at Plan B, Berlin)
Cornel Brudascu, born 1937, lives and works in Cluj. Selected exhibitions include: House of Nisaba. New Stories of Painting, Moderna Museet, Stockholm (2026); IT’S NO CRIME TO TICKLE TIME. 20 Years of Plan B, Plan B, Berlin (2025); Polyphonic Views, Funkhaus Berlin, Berlin (2025); Reunion, AYE Project Space, Hong Kong (2025); Hocus Focus, Conector / OFF-space, Cluj Napoca (2025); Last Night I Dreamt of Manderley, curated by Daniel Malarkey, Alison Jacques, London (2025); Cornel Brudascu, Plan B, Berlin (2024); Mirrors of the Portrait, Highlights of the Centre Pompidou Collection, Vol. III, West Bund Museum, Shanghai (2023); Looking Anew and Beyond, Taubman Museum of Art, Roanoke (2023); Stefan Bertalan, Cornel Brudascu, Mircea Spataru, Muzeul National de Arta al Moldovei, Chisinau (2023-2024); Desen / Laborator Personal, Galeria PARTER, Cluj-Napoca (2023); Cornel Brudascu, Stefan Bertalan, Galeria Parter, Cluj-Napoca (2023); Avangarda si Contemporaneitate, Muzeul Județean de Artă, Centrul Artistic Baia Mare, Baia Mare (2023); De leur temps (7), FRAC Grand Large – Hauts-de-France, Dunkirk (2023); YOU FEEL – AND DRIFT – AND SING, National Museum of Contemporary Art (MNAC), Bucharest (2021); Secret Wing, Timisoara Art Encounters Biennale 2021, Timisoara (2021); Collection display, Musée d’art moderne, Paris (2020); HABITER L’INTIME, Fondation Thalie, Brussels (2019); Flesh and Bone, PS120, Berlin (2019); Ex-East, past and recent stories of the Romanian Avant-Garde, Espace Niemeyer, Paris (2019); Une saison roumaine au Centre Pompidou, Centre Pompidou, Paris (2018); Life – A User’s Manual, ArtEncounters Biennale 2nd edition, Timisoara (2017); Cornel Brudascu, Plan B, Berlin (2017); Parfum 79, VNH Gallery, Paris (2017); The World Goes Pop, Tate Modern, London (2015); Burning Down the House, 10th Gwangju Biennale, Gwangju (2014); Salonul de vara, Plan B, Cluj (2012); East of Eden – Photorealism: Versions of Reality, Ludwig Museum of Contemporary Art, Budapest (2011); Romanian Cultural Resolution, Leipziger Baumwollspinnerei, Leipzig (2010); The Museum of Painting, The National Museum of Contemporary Art (MNAC), Bucharest (2005).
Read LessAchraf Touloub
Achraf Touloub creates paintings and drawings that blend reality and fantasy through a symbolic flow. From this imaginative space, a distinctive pattern emerges, allowing him to generate textures using juxtaposed lines and repeated comma-like strokes, as if punctuating the surface of the page. His practice explores the pitfalls of representation, questioning the gaze and the information that underpins images and their meanings. Touloub’s works on paper act like screens, where information swarms and eludes, encouraging viewers to feel rather than simply contemplate. Landscapes and bodies arise from the enigmas of his graphic vocabulary, offering immersive and symbolic experiences. His work reflects a belief that the times we live in stretch reality through multiplied parallel dimensions, redefining perception. For Touloub, these textures and compositions connect to primordial moments, when reality, dreams, and emotions were unified. His paintings are not just visual; they evoke deeper, pre-rational responses, designed to immerse the viewer in alternative realities. Achraf Touloub sees his works as autonomous entities, created with the chaos and precision of natural phenomena, more to be breathed in than read.
“What becomes of a living, branching thought when it sheds its words to advance, under cover, into the field of colors and forms? The philosophical or metaphysical treatise undergoes its metamorphosis and becomes a talisman, the other name for a painting when it retraces the soul’s initiatory path. There, thought crystallizes into cryptograms.
Line and touch unfold simultaneously from a double anchorage: the motif perceived by the eye, and the invisible flash of the idea. To paint, then, becomes a reflexive act: the painter’s gesture retraces the archaeology of the visible world, registering the emergence and the manifestations of the forces that constitute material reality, even as it expresses the meaning of that very operation. This is precisely what Achraf Touloub’s painting embodies.” (Extract from exhibition text Pleiades, by David Rosenberg)
Achraf Touloub, born 1986 in Casablanca, Morocco, lives and works in Paris. Solo exhibitions and projects include: Pleiades, Galeria Plan B, Berlin (2026); By a ciphered fall, Public Gallery, London (2025); Traité de Métamorphose, Parliament, Paris (2024); ‘Assabīya, Plan B, Berlin (2022); Les Arrivées, Centre d’art contemporain PASSERELLE, Brest (2021); Art Club #30 Achraf Touloub, Villa Medici, Rome (2019); European Night, Plan B, Berlin (2019); CONT’D, Plan B, Berlin (2016); standard condition, Galerie Albert Baronian, Brussels (2015); Latent, Plan B, Berlin (2014).
Group exhibitions include: The Enduring Line, Shin Gallery, New York (2026); Past through there, Maraya Art Center, Sharjah (2026); IT’S NO CRIME TO TICKLE TIME 20 Years of Plan B, Galeria Plan B, Berlin (2025); 00:00:01, Public Gallery, London (2025); Liquid life, Musee Departemental D’Art Contemporain Chateau De Rochechouart, Rochechouart (2024); Le retour, Musée régional d’art contemporain Occitanie (Mrac), Sérignan (2023); Es-senze, Museo di Palazzo Mocenigo, Venice (2022); Landscape in a Convex Mirror, Art Encounters Biennial, Timisoara (2021); Anticorps, Palais de Tokyo, Paris (2020); Iulia Nistor and Achraf Touloub. Space (Continuation and End), Rezidenta BRD Scena9, Bucharest (2019); Baltic Triennial 13: Give Up the Ghost, Tallinn (2018); The World on Paper, Deutsche Bank Collection, Berlin (2018); Night was paper and we were ink, Barjeel Art Foundation, Sharjah (2018); Auguries, Art space Geumcheon, Seoul (2017); Viva Arte Viva, 57th Venice Biennale (2017); 100 chefs-d’oeuvre de l’art moderne et contemporain arabe. La collection Barjeel, Institut du Monde Arabe, Paris (2017); Mutations-Creations / Imprimer le monde, Centre Pompidou, Paris (2017); Dissolve into a red dwarf, Island, Brussels (2017); Art Club #12/ Folies d’hiver, Villa Medici, Rome (2016); Cher(e)s Ami(e)s. New presentation of works from the collection, Centre Pompidou, Paris (2016); Kochi-Muziris Biennale, Kochi (2016); Club of Matinee Idolz, CO2, Turin (2015); Des hommes, des mondes, College des Bernardins, Paris (2014).
Read LessTincuta Marin
Tincuta Marin
Untitled, 2026
oil, oil pastel, crayon on canvas, polyurethane resin
224 x 355 x 12 cm
Tincuta Marin
Untitled, 2026
oil, oil pastel, crayon on canvas, polyurethane resin
224 x 355 x 12 cm
Tincuta Marin
Untitled, 2026
oil, oil pastel, crayon on canvas, polyurethane resin
224 x 355 x 12 cm
In her works, Tincuta Marin draws upon motifs from ancient cultures, rich with symbolism and the sublime. She is particularly inspired by Ancient Egyptian mythology, with its emphasis on creation, protection, and the divine. Picasso – both painter and sculptor – serves as a significant reference, connecting her work to the traditions of 20th-century art. The interplay bridges the ancient and the contemporary. The female figure, central to many ancient cultures, carries a supernatural and creative significance in her work.
Two new paintings take up the Weighing of the Heart, the final judgment of the deceased. Anubis weighed the heart against the feather of Maat, the goddess and principle of truth, justice, and cosmic order. A heart as light as the feather granted the soul entry to the Field of Reeds, the Egyptian paradise. A heavier heart was devoured by Ammit, and the deceased was annihilated. The ritual expressed the belief that moral integrity in life was the condition for eternal life.
In troubled times, marked by profound political and social crises, the reactivation of magical thinking – long intertwined with artistic expression – emerges as a form of protection, a symbolic threshold reminiscent of the sacred spaces of antiquity. Through drawing, painting, collage, and sculpture, Marin’s work moves fluidly between reality and fantasy, affirming the significance of myth today.
Tincuta Marin was born in 1995 in Galati, Romania. She lives and works in Cluj-Napoca.
Solo exhibitions include: Whiskers, White Cuib, Cluj-Napoca (2026); Gloaming, Galeria Plan B, Berlin (2025); Where the Sun Sleeps, Oratorio dei Crociferi, Venice (2024); Purring Figure, Ellen de Bruijne Projects, Amsterdam (2024); Line, Point, Form and Colour, CFHILL Stockholm (2023); Distant Realities, curated by Mark Gisbourne, Jecza Gallery, Timisoara (2023); Chapter IV, Double Q Gallery, Hong Kong (2022); Chapter III – When we enter the lair of Bigfoot, Gagafu and Dracovenie. Let’s hope we get out alive…, Jecza gallery at RKI Berlin (2022); EREWHON/NOHWERE, National Museum of Art Cluj-Napoca (2021); Dianthus Caryophyllus, Jecza Gallery, Timisoara (2021); Dinozaurii traiesc in cele sapte ceruri suprapuse, White Cuib Gallery, Cluj-Napoca (2019).
Selected group exhibitions: Transylvanian Painting Today, curated by Jane Neal, Telegraph Gallery, Olomouc (2026); Rhythmic Stress, /SAC, Bucharest (2026); IT’S NO CRIME TO TICKLE TIME. 20 Years of Plan B, Plan B, Berlin (2025); One Eye Laughing, the Other Crying. Art From Romania. Ovidiu Șandor Collection, The International Cultural Centre, Krakow (2025); Autoportret de parcurs, Galeria PARTER, Cluj-Napoca (2024), A Tower of Birds, Conector – On – Off, Cluj-Napoca (2024), State of Flux, Biju Gallery, Cluj-Napoca (2024), autoportret, Galeria Plan B, Berlin (2024), Kindred Visions, Secci Gallery, Florence (2023); The Picasso Effect, Museum of Recent Art / MARe & Picasso Museum, Bucharest (2023); Ghosts Whisper Loud and Clear, Zina Project Space, Cluj-Napoca (2023); Les Femmes du Feu, Sector 1 Gallery, Bucharest (2022); Dreams & Games, Tajan Gallery, Paris (2022); Stolen Moments, Vivid Dreams, David Kovats Gallery, London (2022); 1+2+3+4, Jecza Gallery, Timisoara (2021); XYZ, QContemporary, Budapest (2021); Romanian Contemporary Art, CFHILL, Stockholm (2021); Network Access, Funnel Contemporary, Belgrade (2021); Echoes beneath the waves, Art Museum, Cluj-Napoca (2020); The Night Watch, Art Museum, Cluj-Napoca (2019); Soon this body will be still, Matca Art Space, Cluj-Napoca (2019); A word for each of us, Richter FineArt Gallery, Rome (2018); Sottobosco, Art Museum, Cluj-Napoca (2018); Talking ‘bout my generation, Plan B Gallery, Cluj-Napoca (2018), Breaking Rules, Art Museum, Cluj-Napoca (2017).
Read LessDiana Cepleanu
In her works, Diana Cepleanu (*1957 Bucharest, Romania) processes impressions from her surroundings, reflecting on her subjects from a personal and intimate perspective. Yet, her paintings are powerful and convey a sense of timelessness that connects her with earlier moments in art history. Whether she is painting the portraits of her children, her self-portraits or elements from nature, Cepleanu acts with a sharp sense of observation, revealing the essence of people and things that surround her: from onions and cabbages, wild flowers or trees in her favourite corner of a Bucharest park to an empty plastic bag shaped by the wind. Her practice is marked by a persistent tension between abstraction and figuration: the image is corroded and undone, yet it always returns. What results is a painting of quiet intensity, driven by what the artist calls a hunger of the gaze.
Diana Cepleanu (*1957 in Bucharest, Romania) lives and works in Bucharest.
Selected exhibitions include: The Quiet, Yutaka Kikutake Gallery, Tokyo (2026); Late Summer Spritz, Museum of Recent Art / MARe, Bucharest (2026); Galeria Plan B, Berlin (solo exhibition, 2026); Salon, Lismore Castle Arts, Lismore (2026); Looking Back / The 16th White Columns Annual, White Columns, New York (2026); IT’S NO CRIME TO TICKLE TIME. 20 Years of Plan B, Galeria Plan B, Berlin (2025); Madeleine Moments, Union Pacific, London (2025); Now, kaufmann repetto, New York (2025); Denonce-Moi, dependance, Brussels (2025); There were times I wanted to change the world, Paltim Timisoara, Timisoara (2025); Reunion, AYE Project Space, Hong Kong (2025); Last Night I Dreamt of Manderley, curated by Daniel Malarkey, Alison Jacques, London (2025); snow falls over car hoods over david’s valley, Lutnita, Chisinau (2024); The Humming of Colors, Art Chosun Space, Seoul (2024); autoportret, Galeria Plan B, Berlin (2023); Lutnita, Chisinau (2023); Voyage dans la couleur (Journey in Color), Vila Magdalena, Nice (2020); Galeria Anticariat Curtea Veche, Bucharest (solo exhibitions, 2019 and 2014); Predelut 4, Arcus Cultural Center, Sf. Gheorghe (2019); Pentimento – 5th International Biennial of The Art of Miniature, Ruse (2015); Pictori olteni de ieri si de azi, Muzeul de Arta, Targu Jiu (2010); Volare (Fly), Desenzano del Garda (2010); EMOZIONI TRA CIELO E MARE (Emotions between sky and sea), Il Gazebo di Gaeta (2010); I ritrattisti (The Portraitists), Il Borgo Gallery, Milan (2009); Pictori peisagisti in gradina Palatului Cotroceni, Galeria Muzeului National Cotroceni, Bucharest (2007); Pictura ca murmur, Galeria Anticariat Curtea Veche, Bucharest (2007); Chipuri de pictori, Galeriile Artexpo, Bucharest (1996).
Read LessMarieta Chirulescu
Marieta Chirulescu
Untitled (Coat), 2026
UV print, inkjet print, gesso and silk on canvas
47 x 34 cm
Marieta Chirulescu
Untitled (Coat), 2026
UV print, inkjet print, gesso and silk on canvas
47 x 34 cm
Marieta Chirulescu works in the space where painting, photography, and fabric collage become genuinely difficult to tell apart – and where that difficulty is precisely the point. Her process is one of slow accretion: applications often begin on the back of unusually thin, almost translucent cotton supports, built up over years with fallow periods between layers, waiting, as Mark Prince has written, “for something to shift and something else to become possible.” The result is never a recipe. Scanned images are printed onto canvas; fabric is sliced into drawing; monochrome painting occludes photographic illusionism; clothing, in a quiet tautology, comes to clothe the canvas itself. Each medium absorbs and undermines the others, so that what is materially present and what is merely pictured as being present become impossible to separate.
This instability is not a formal game but a genuine inquiry. Chirulescu constructs her compositions around gaps, flaws, and the static noise of restrained color — intervening at the margins of what might otherwise appear as visual emptiness. The translucency of her supports is itself a clue: a surface that functions as a support and faintly suggests a window, but onto nothing beyond the wall. What her layering ultimately produces is a particular kind of abstraction — not the self-referential formalism of much contemporary abstract painting, but something more elusive. As Prince puts it, her works “do not allow us to escape their vehicles, but to intuit the possibility of doing so” — traps that turn seeing into seeing-into, without ever quite resolving into seeing-as.
Marieta Chirulescu, born 1974 in Sibiu, Romania, lives in Berlin, Germany.
Solo exhibitions include: Marieta Chirulescu, Plan B, Berlin (2026); Phase (with Fred Sandback), Galerie Thomas Schulte, Berlin (2026); Private Life (with Ana Botezatu), Foksal Gallery Foundation, Warsaw (2025); They Said So, Galeria Fonti, Napoli (2023); Marieta Chirulescu, Gregor Podnar, Berlin (2021); Marieta Chirulescu, Plan B, Berlin (2020); Foksal Gallery Foundation, Warsaw (2019); Pale Fire, Kurimanzutto, Mexico City (2016); CYTWOMBLY CYFONTI, Galeria Fonti, Napoli (2016); Marieta Chirulescu, Kunsthalle Lingen, Lingen (2014); Ileana, Micky Schubert, Berlin (2013); Marieta Chirulescu, White Cube Bermondsey, London (2011); Marieta Chirulescu, Kunstverein Nürnberg (2011); Werke aus der Sammlung Martin, Neues Museum, Nürnberg (2011); Marieta Chirulescu, Kunsthalle Basel, Basel (2010); Marieta Chirulescu, Kunsthalle Mainz, Mainz (2009); Marieta Chirulescu, Projektraum der Temporären Kunsthalle Berlin, (2009).
Group exhibitions include: 6th Art Encounters Biennial, Timișoara (2025); Pictorial Resonance, Galerie Thomas Schulte, Berlin (2024); Sediments. The Matter-Image, Salonul de proiecte, Bucharest (2023); Volume through Layers, curated by Ciprian Muresan, ‘U’ Baracks, Timisoara (2023); todos juntos (all together), Kurimanzutto, New York (2022); Parthenope, Lighea ed altre storie…, Villa Doria d’Angri, Napoli (2021); Local talent, curated by Thomas Demand, Sprüth Magers, Berlin (2020); Marieta Chirulescu & Thu van Tran, Galerie Joseph Tang, Paris (2017); THE GAP BETWEEN THE FRIDGE AND THE COOKER, The Modern Institute, Glasgow (2017); #12 / Folies d’hiver, Villa Medici, Rome (2017); Präsentation 2015 Villa Massimo, Martin Gropius Bau, Berlin (2016); Image Support, Bergen Kunsthall Bergen (2016); Mapping Bucharest. Art, Memory, and Revolution (1916 – 2016), Vienna Biennale, MAK Vienna (2015); Attention Economy, Kunsthalle Wien (2014); Space, Space, curated by Dora Maurer, Museum Vasarely, Budapest (2014); Painting Forever!, KW Institute for Contemporary Art, Berlin (2014); Nur was möglich ist ist möglich, Museum Folkwang, Essen (2014); Les ateliers de Rennes, Biennale d‘art Contemporain, Rennes (2012); Minimal Myth, Museum Boijmans Van Beuningen, Rotterdam (2012); Made In Germany Zwei, Sprengel Museum, Hannover (2012); La preuve concrète, Centre Européen d’Actions Artistiques Contemporaines, Strasbourg (2009); Against Interpretation, Studio Voltaire, London (2009); Nothing to say and I am saying it, Kunstverein Freiburg, Freiburg (2009); kettö/zwei, Goethe Institut, Budapest (2002).
Read LessIulia Nistor
Iulia Nistor’s new painting starts from her notebook, at the moments where writing behaves like drawing, where revisions, crossings-out, and changes of mind become traceable. Drawn onto the canvas, built up in relief and then buried under monochrome layers of acrylic, the writing returns only through sanding, so the image emerges by removal rather than addition. The edges of the image cut through the sentences, which keeps their content from becoming what the painting is about and holds reading and seeing in balance. As in her earlier text-works, the corrections do not convey a result but show thinking and doubt as a process.
Iulia Nistor’s artistic practice centers on exploring the conditions and boundaries of perception and representation. Through painting, text, and spatial interventions, she investigates how pre-existing concepts shape the way we perceive. Her works often manipulate the viewer’s experience, challenging assumptions about what is given and what is perceived.
In her series of Evidence-paintings, Nistor focuses on depicting the contingent properties of objects rather than the objects themselves. This approach avoids a common aesthetic, as the paintings aim to capture the elusive nature of these accidental properties, thereby challenging the expectations we have of their representation.
“Paint has been applied to wooden supports with a precision and formal variety that implies accuracy to ulterior subjects, which yet remain undefinable,” Mark Prince describes Nistor’s works “It is consistent with this cultivation of paradox that, although Nistor’s paintings are riddled with illusionism, they question its workings rather than attempting to conceal them.”
Instead of communicating specific content, her paintings serve as tools to observe the mental processes involved in representation.
Iulia Nistor (*1985, Bucharest) is a visual artist and philosopher, living and working in Berlin and São Paulo. Nistor graduated in philosophy and completed her doctorate at the University of Regensburg. She received a Meisterschüler in Fine Arts from Städelschule in Frankfurt am Main. She is participating in the 2024/25 Whitney Museum Independent Study Program (ISP).
Solo exhibitions include: paintings and propositions, Plan B, Berlin (2024); properties without object, Mendes Wood DM, New York (2023); Revenge of the Given, Plan B, Berlin (2019); Two Forward, Three Back, Mendes Wood DM, Brussels (2019); Eary Poise, Mendes Wood DM, São Paulo (2017); Canary in a coal mine, Plan B, Berlin (2017); Before Interpretation, Galeria Electroputere, Craiova (2015); …/…/…, Strabag Kunstforum, Vienna (2015); (i)… (ii)… (iii)… (iv)…, Aiurart Contemporary Art Space, Bucharest (2014).
Group exhibitions include: IT’S NO CRIME TO TICKLE TIME. 20 Years of Plan B, Plan B, Berlin (2025); Hocus Focus, Conector / OFF-space, Cluj Napoca (2025); Pictorial Resonance, Galerie Thomas Schulte, Berlin (2024); Linhas Tortas, Mendes Wood DM, Sao Paulo (2023); The 4th Mediterranean Biennale, Sakhnin Valley, Haifa (2021); Secret Wing, Timisoara Art Encounters Biennale 2021, Timisoara (2021); Rethinking the Image of the World – Projects and Sketches, Ianchelevici Museum, La Louviere (2019); Iulia Nistor și Achraf Touloub. Spațiu (Continuare și sfârșit), Rezidența BRD Scena9, Bucharest (2019); After Rubens, Städelmuseum, Frankfurt am Main (2017); Mobile Biennale, Club Electroputere, Moldavia (2017); Gardeners Digest – The Yew, Societas Horti (CCA), Tbilisi (2016); The Real Kiss, JOHAN, Frankfurt am Main (2016); Appearance and Essence, ArtEncounters 1st edition, Timișoara (2015); Preisträgerausstellung, Strabag Kunstforum, Vienna (2014); Escapes: Colony. Endocosmos. Ulysses. Unsent Postcards, Museo Guerra Junqueiro, Porto (2013).
Read LessMihai Olos
Mihai Olos built an entire world around a single form. The knot — rooted in the archaic joinery of wooden architecture from his native Maramureș and the spindle structures used to twist fibres — became for him a universal module: a shape that could bridge art and science, the physical and the philosophical, the individual and the collective. It appears across every medium and decade of his practice, from the geometric precision of his 1970s paintings to large-scale canvases, sculptures, ceramics, drawings, and land art. In Romanian, one word for knot is rost — meaning simultaneously a physical joint and, in the abstract, a sense of meaning or purpose — while the extended word rostire means utterance. For Olos, the knot was never merely a visual motif but a way of thinking: about modularity, about community, about how things and people hold together. This vision found its most expansive expression in the concept of Olospolis — a utopian project of modular communities in which members are knotted together in a harmonious, mutually sustaining way of living.
Mihai Olos (1940 – 2015), born in Arinis, Maramures, Romania, lived and worked in Romania and Germany.
Selected exhibitions include: Play of Forms. The North-West Architecture Annual, Clădirea Minerul, Baia Mare (2026); The Knot, Plan B, Berlin (2026); Între plan și infinit. Vásárhelyi – Olos, Muzeul Județean de Artă ‘Centrul Artistic Baia Mare’, Baia Mare (2025); Hocus Focus, Conector / OFF-space, Cluj Napoca (2025); The Twist: Failing Empires, Triumphant Provinces, National Museum of Contemporary Art, MNAC Bucharest (2024); 15, Take Ninagawa, Tokyo (2023); Lost in the Moment That Follows, Ways of Collecting: Ovidiu Șandor Collection, Kunsthalle Prague (2023); Monumental and ephemeral. Sculpted Memory, ‘U’ Baracks, Timisoara (2022); Building and Dreaming, BY ART MATTERS Museum, Hangzhou (2022); Art and The City 1974-2021, Museum of Recent Art, Bucharest (2021); Infinite Beings. Joseph Beuys, Horia Damian, Ana Lupas, Mihai Olos, Erika Verzutti, Plan B, Berlin (2021); When in Doubt, Go to a Museum. Works from the Ovidiu Sandor Collection, Lah Contemporary, Fondazione Sandretto Re Rebaudengo, Collection Laurent Fiévet, Thyssen-Bornemisza Art Contemporary Collection (TBA21), City Museum of Ljubljana (2021); Folklore, Centre Pompidou-Metz, Metz (2020); Perspectives, BOZAR Centre for Contemporary Art, Brussels (2019); SEEING HISTORY – 1947-2007. THE MNAC COLLECTION, The National Museum of Contemporary Art – MNAC, Bucharest (2019); Mihai Olos, Centre Pompidou – Atelier Brancusi, Paris (2018); The Ephemerist. A Mihai Olos Retrospective, The National Museum of Contemporary Art, Bucharest (2016); Olospolis, Plan B, Berlin (2016); Appearance and Essence, ArtEncounters 1st edition, Timisoara (2015); National Museum Brukenthal Sibiu, Romania (2010); Museum of Art, Baia Mare, Romania (2009); International Triennial of Small Sculpture, Murska Sobota, Slovenia (2001); City Art Gallery, Baia Mare, Romania (2000); Künstlerhaus Schloß Wiepersdorf, Germany (1993); Golden Tripod, Schaubühne, Berlin (1993); The 39th Venice Biennale, ‘Space Capital 1970-1977’ by Joseph Beuys (1980); Documenta 6, Kassel, in the framework of the Free International University of Joseph Beuys (1977); Mihai Olos, Maramures Museum, Sighet, Romania (1976); Art and the City, New Gallery, Bucharest (1974); Milan Triennial (1968).
Read LessRan Zhang
Since 2018, Ran Zhang has developed her eye floater motifs as an exploration of incremental change. She created the first generation by observing her own eye floaters through a microscope, noting how they merged with her subjects and caused distortion. Over time, each floater evolved into new configurations, adapting to its environment. These floaters are both biological debris and artistic material; their worm-like distortions become collaborators, merging scientific observation with bodily precarity. Their shifting size, thickness, and traits reflect a Darwinian pragmatism, adapting to the evolving ecosystem of her practice.
The works Dark Romance are part of her new series of “two-dimensional sculptures”, textured with dense organic micrographs and fragmented motifs of eye floaters, motor and visual proteins. These works create a tension between sensory experiences and scientific data, blurring the lines between symbols and patterns. They fracture functional scientific visualizations, blending biology, storytelling, and fiction into a hybrid form. Each object becomes a living entity, brimming with visual details that conjure a fictional personality and an imagined past.
In Dark Romance, Ran Zhang explores the connection between biological knowledge and personal experience, tracing how it moves beyond academic frameworks to permeate times of crisis or transformation in daily life. This interplay examines the sensory dissonance between what we know and what we feel — between the embodiment of knowledge and the personalization of science. Ran Zhang reimagines biological knowledge not as a fixed truth but as a mirror reflecting our complexities towards a form of romance — one that is rational yet emotional, universal yet intimate. By uncovering how crises destabilize and mutate scientific understanding, knowledge becomes less a doctrine and more a driving force.
Ran Zhang, born 1981, Tianjin, China, lives and works in Rotterdam, Netherlands, and Berlin, Germany.She was selected twice for the artist residency program at the Rijksakademie van Beeldende Kunsten in Amsterdam from 2011 to 2013. In 2008, Zhang received the Gold and Bronze Prizes from the Danfoss Art Award. In 2014, she was awarded the Amsterdam Fonds voor de Kunst Ontwikkelbudget and the Mondriaan Fonds Werkbijdrage Jong Talent.
Recent solo exhibitions include: Eventsight, CLC Gallery, Beijing (2026); Dark Romance, Plan B, Berlin (2025); Jiggly Motions, FRAC Occitanie Montpellier (2022); Enantiomers and traces, Galeria Plan B, Berlin (2021); Resolution of Traits, L’ahah, Paris (2021); Natritine Gaze 2, M4 Gastatelier, Amsterdam (2016).
Recent group exhibitions include: Weirder, Taller, Uglier, Louder – Feral Possible, Bärenzwinger, Berlin, (2026); I Know This Script By Heart, transmediale, Berlin (2026); Am Seegarten, Kirchmöser, Brandeburg (2023); Atlas of Affinities: Vol. 2, Scores for Movement, HUA International, Berlin (2023); Aliens are temporary – eine mutierende Erzählung, Kunstraum Kreuzberg, Berlin (2022); Convidados, Galería Vilaseco, A Coruña (2022); WIE ES EUCH GEFÄLLT UND WAS WIR SIND, Knust Kunz, Munich (2021); Werethings, Galeria Plan B, Berlin (2019); Home Sequence, Amsterdam (2019); The Hazenstraat Biennale, Galerie Martin van Zomeren, Amsterdam (2018); I Ikigai, Juliette Jongma, Amsterdam (2017); My Respects to Madame Bernard, Momart, Amsterdam (2015); Double Vision-Culture China, Hexiangning Museum, Shengzhen (2014).
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