Skin of the Shapeshifter II in Timisoara
Location: Pavilion ISHO, Take Ionescu, 46C, Timișoara
We are thrilled to announce the continuation of our Bucharest show Skin of the Shapeshifter in Timisoara, organised in partnership with Art Encounters. The group exhibition assembles multiple perspectives on womanhood, queerness, and the body, featuring 6 contemporary artists from Romania, Germany, the Netherlands, and Poland.
Born and raised in Romania in the 1990s, Andreea Anghel currently lives and works in Wrocław, Poland. She received an MA from the Eugeniusz Geppert Academy of Art and Design, Wrocław, Poland. Her work mixes ready-mades, found pieces of mid-century furniture, assemblage as a writing technique, with newly built elements and curiosity cabinets that involve durational and emotional labour. Inspired by situations and elements that at first glance may seem common, Anghel’s artistic language reverts that easiness and brings forth uncanniness in a sensibility that channels both care and irony.
Lorena Cocioni (b. 1995) lives and works in Bucharest. She received an MA from the University of Art and Design Cluj-Napoca, Romania. In her practice, she often uses the body senses and the ritual component of everyday actions, such as washing, combing hair, (un)dressing and taking care of the body. From the use of delicate pink hues, feathers, toiletry soaps to glass and metal shapes, she brings together different materials alongside her ceramics. She plays with them creating apparently fragile, yet very consistent works that resemble an almost ancient past, as well as a blurred future.
Peles Duo (formerly Peles Empire) is a collaboration between artists Katharina Stöver (*1982 in Gießen, Germany) and Barbara Wolff (*1980 in Făgăraș, Romania) and was founded during their studies at Städelschule in Frankfurt with Wolfgang Tillmans and Michael Krebber. In 2017, Peles Duo was featured in Skulptur Projekte, Münster, a citywide sculpture exhibition held every ten years in the city of Münster. In the same year, they were also featured in the exhibition Produktion. Made in Germany Drei at Sprengel Museum, Kestner Gesellschaft and Kunstverein Hannover, a comprehensive group exhibition taking place every five years in these three institutions in the city of Hanover. In 2021, Peles Duo received the Peter Jacobi Foundation for Art and Design Grant.
Hadassah Emmerich (b. 1974 in Heerlen, NL), lives and works in Brussels. She received her Master degree in Fine Art at Goldsmiths College, London (2005). Body and identity, the sensory and the sensual, the commodification of the erotic and the exotic: these are frequently recurring themes in Emmerich’s work. The sensuality of her painting resides not only on the surface of the (erotic) image, but also in her refined use of colour and technical execution. Since 2016, Emmerich has worked with a new painting technique, using stencils cut from vinyl flooring, which she covers with ink and then impresses onto canvas, paper or a wall. (Text by Nina Folkersma)
Øleg&Kaska is a collective superorganism founded in the summer of 2018. They graduated from The University of The Arts in Poznań (Poland) in 2020 (MFA). Øleg&Kaśka create multi-layered installations, working with different mediums such as painting, sculpture, video or fragrance to create immersive environments in which the audience may dwell and reflect. They challenge the classic understanding of the artist as an individual by the figure of the quasi-artist, androgynous Øleg&Kaśka. Their works have been exhibited at Zacheta National Gallery of Art, Warsaw (PL), MoMA, Warsaw (PL), :SKALA Gallery, Poznan (PL), Gdansk City Gallery, Gdansk (PL), Belinskej Model, Prague (CZ), Spread Museum, Entrevaux (FR), Sonneundsolche, Düsseldorf (DE), and others.
Kristin Wenzel (b. in 1983 in Gotha, East Germany) lives and works in Bucharest and Gotha. She received an MA from the Kunstakademie Düsseldorf in 2013. Drawn to micro-architecture, such as kiosks, vitrines and flower shops, the visual scanning and mapping of places and buildings is an ongoing process undertaken by the artist. She tackles the implications of public architecture as both ‘memory foam’ – inscribed with its particular history – and open structure – allowing it to be strayed from its original design. The notion of transformation, be it conceptual or material, permeates her entire practice and connects the past and present through processes of collecting and reinterpreting.
𝘛𝘩𝘪𝘴 𝘱𝘳𝘰𝘫𝘦𝘤𝘵 𝘪𝘴 𝘧𝘪𝘯𝘢𝘯𝘤𝘦𝘥 𝘸𝘪𝘵𝘩 𝘵𝘩𝘦 𝘴𝘶𝘱𝘱𝘰𝘳𝘵 𝘰𝘧 𝘌𝘌𝘈 𝘎𝘳𝘢𝘯𝘵𝘴 2014-2021 𝘸𝘪𝘵𝘩𝘪𝘯 𝘵𝘩𝘦 𝘙𝘖-𝘊𝘜𝘓𝘛𝘜𝘙𝘌 𝘗𝘳𝘰𝘨𝘳𝘢𝘮.