Tell us about Anca Poterașu.
Anca Poterașu Gallery is a contemporary art gallery established in 2011, Bucharest, aiming to support contemporary Romanian artists. The gallery shows both well established and young artists, active in various media – painting, drawing, art-objects, installation, photography and video-art. The exhibition programme is centered on curatorial practices that encourages collaborations with art practitioners from across the country and from all over the world. In 2015, the gallery initiated an international exhibition residency programme – Plantelor 58 – for artists and curators from around the world, establishing a sustainable platform for cooperation. Anca Poterasu Gallery aims to further develop the international visibility of its artists through cooperation with other xgalleries and institutions. Based on the previous success of the curatorial project space programme, run between 2018-2019 in the Spinnerei, Leipzig, the gallery continues to develop the concept of the “nomad gallery”, intending to open different project spaces around Europe.
What do you have upcoming?
At Anca Poterașu Gallery, we are presenting Fragments of Poetic Nature, a solo exhibition by Iulian Bisericaru, curated by Seolhui Lee. The exhibition features a new series of charcoal drawings focused on Gold Corporation and its operations around Roșia Montană, Romania. Bisericaru’s artistic practice has long explored the intersections of ecology, architecture, and the transformation of landscapes. In this new body of work, he introduces a more poetic approach, where fragility, erosion, and traces of human intervention coexist with the political tensions embedded in this contested territory. Through delicate yet powerful imagery, the drawings evoke nostalgia and collective memory while inviting viewers to reflect on environmental histories, economic interests, and the symbolic meanings carried by nature. Fragments of Poetic Nature offers a nuanced perspective on the complex relationship between landscape, memory, and power.
