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MARIA COSTAKE

MARIA COSTAKE

Romanian, b. 1996 2024 June Exhibition “Femininity Garden- Renaissance Garden” 2024 November launch of “Renaissance by Maria Costake” silk scarf, a colaboration with Renaissance Art Gallery and jewelry brand SHIR Original botanical works and silk scarves available for sale: click on Maria Costake website  if…

IULIA TOADER: „Late Flowers” PAINTING – 16 – 30 Octombrie 2024 ground floor SKY Tower Office building- Calea Floreasca, Bucharest, near Promenada Mall

IULIA TOADER: „Late Flowers” PAINTING – 16 – 30 Octombrie 2024 ground floor SKY Tower Office building- Calea Floreasca, Bucharest, near Promenada Mall

The painting collection suggestively titled “Late Flowers” – LATE FLOWERS by the artist Iulia Toader exhibited in October 2024 on the ground floor of the Sky Tower office building in Bucharest Calea Floreasca, had its OPENING on October 15, 2024. This autumn, after a hot…

FEMININITY GARDEN- RENAISSANCE GARDEN BY MARIA COSTAKE, RENAISSANCE ART GALLERY, 11 JUNE 2024

FEMININITY GARDEN- RENAISSANCE GARDEN BY MARIA COSTAKE, RENAISSANCE ART GALLERY, 11 JUNE 2024

Exhibited works at Renaissance Art Gallery part of exhibition Femininity Garden- Renaissance Garden by Maria Costake- botanical artist :11 June 2024 -25 September 2024

“Femininity Garden- Renaissance Garden” by Maria Costake botanical artist and designer of silk scarves, including the silk scarf Renaissance by Maria Costake , a collaboration between Renaissance Art Gallery, Maria Costake and the jewelry brand SHIR

curatorial speech by Dr. Arh. , designer, curator, artist Iulia Toader- Founder of Fundatia Juxta

at Renaissance Art Gallery

Romania Bucharest- Voluntari, 11.06.2024

The curator of the exhibition chooses this poem that was recited by my IWA member ( International Woman Association) and my new friend, Dr. Constantina Kass, a licensed nationally certified school psychologist, teacher, and an internationally certified coach, with over 20 years of clinical experience. She offers in person therapy to residents in Romania-being available at Family Clinic in Pipera Voluntari area and also she will offer starting September 2024 workshops at Renaissance Art Gallery.

Emily Dickinson  –  Poems

VII

WITH A FLOWER

I hide myself within my flower

That wearing on your breast

You, unsuspecting, wear me too –

And Angels know the rest.

I hide myself within my flower

That fading from your vase

You, unsuspecting, feel for me

Almost a loneliness.

Garden of Secrets

Curatorial speech by Dr. Arch. Iulia Toader.

I asked Maria Costake why she had chosen flowers as a language for her ideas, and she explained with her characteristic tenderness that flowers actually speak about the world in a different way than words but with the same meaning. She talked about femininity as a state of mind and, thus, as a first layer of interpretation of her graphic decision. But when asked if she has had other subjects in her works, he showed me a collection of images in which urban architecture is actually swallowed up by a lush green vegetation, crying out to be perceived as the main character. The combination with architecture is what attracts me, Maria being a graphics arts graduate at UAR in 2018, she made me question the problem of metabolizing reality in the act of creation. Architecture metabolizes the inner Reality of the architect and changes the real world, establishing itself in the latter. (Maria’s) art metabolises physical reality to change the viewer’s inner world, establishing itself there. This difference between architecture and art was most powerfully explained to me in a discussion by the curator Erwin Kessler who pointed out that while architecture’s primary purpose is not to fall on man, art aims precisely to “fall” on man, over the one who perceives it. A significant difference where it is not a matter of a gravitational fall but, rather, of falling back into a garden of spirituality, of inner heaven. A garden of secrets.

It’s a wonder how, floating through Maria Costake’s artistic universe, we won’t realize if we’re falling back into this secret garden of juicy and tender heaven, or if a shower of fresh spring flowers isn’t falling over us, a lacy vegetal deluge, kaleidoscopic, with shifted colors, metabolised by the artist’s sensitivity to shades that have supernatural, dreamlike references.

The search for meaning is the very artistic experience itself. Sometimes a small lilac flower is extracted from the graphic lacework and exposed intentionally, as a visual center, the counterpoint of the abundance of flowers, at the same time the abundance itself, a small flower in which the perfection of creation shines, simplicity and complexity coexisting, in a work whose architect is supreme. Sometimes an element of architecture, a window, is invaded by ivy and made to speak like a flower, receptor of light filtered by a created, planned structure. Both are evidence for the demonstration of the teleological theory of the universe as intelligent design (see Paley’s watchmaker analogy argument).

We wonder if the thorough, extremely complicated unfolding of the graphic line has anything to do with the dream world, and if we could, in accordance with Jung, establish causes and effects for the rigor and perseverance with which the artist marks the thick Hahnemuehle paper, as would be the anchoring of one’s own reality in a dream of perfect, accepted femininity, springing from the meanderings of the vegetative nervous system, of the kind we find in Emily Dickinson’s poems in which nature is, likewise, an external alter ego of the poet:

Ample make this Bed -/ Make this Bed with Awe -/  In it wait till Judgment break/  Excellent and Fair. / Be it’s Mattress straight – / Be it’s Pillow round – / Let no Sunrise’ yellow noise, Interrupt this Ground –

a sleep that becomes a metaphor for the vegetative state that all this greenery obstinately exposed to the gaze evokes, an incipient state of the physical world in which the individual had not yet appeared, and all was one, an occult reality nourished by the sap of deathless life. The vegetative dream.

But in the same logic of cause and effect, we find the fascination of flowers as a Gothic symbol for impermanence and death. In their perfect, archetypal beauty, each flower is a reproduction of the archetype of the perfect flower: thousands of peonies, each different, yet conforming to the archetype of the peony flower idea. The flowers, as a whole, each unique, but consistent with the idea of ​​a flower: a symbol of passing. A poetic insinuation of the death and resurrection of the same flower idea, in another physical form, different but still the same. There is no more beautiful poem about death and rebirth (Renaissance) than the image of a flower.

And then, a final layer of meaning, perhaps the deepest. The one where subjectivity and objectivity shape our reality: we remember the koan of the shower of flowers. A monk was sitting under a blossoming tree. The gods tell him that they like the monk’s speech about the notion of emptiness – void, absence, sunnyata. The monk answers them that he didn’t talk about emptiness. The gods answer: you didn’t talk about the void, we didn’t hear about the void, this is the true emptiness – This is the true emptiness. And the flowers of the tree fell upon the monk like rain. The depth of the concept of emptiness, of absolute absence, is given by another Zen idea in which we are thought that “Form is emptiness and emptiness is form” and that existence is born from emptiness. So we can look for the empty space between the words or the empty space between the flowers of the artist, there, in the absence of painstakingly drawn flowers, we will find the gentle gaze of a goddess who created the model of the ideal flower, who lives in all flowers, be they natural or drawn, but which no flower is perfect enough to touch. All flowers fall and decay to a rebirth of flowers. Void for the gods.

It is also important that the artist chose to print her flowers on this ethereal material – silk, so linked to femininity – silk scarves, silk evening dresses, silk underwear, silk curtains, silk tights , silk robes. The secret of silk was kept for thousands of years in China, where only women, with their finest hands, could spin and weave the precious threads that ensured the well-being of communities and trade with the west. It is interesting that after countless attempts to spy and buy the secret of silk threads, a monopoly so well guarded by China for thousands of years, legend has it that it was a young princess who smuggled silkworm donuts into Khotan for the precious garments without which she could not live, leaving for her wedding with the chosen prince. Historical reality would tell us that the secret of silk was bought with heavy gold by the Byzantine emperor Justinian from some monks who stole the silkworms hidden in bamboo sticks, the craft of sericulture being deepened and then brought to the Venetian weavers. Silk, then, seems the quintessentially feminine support on which to unfold Maria Costake’s secret garden. Whether we resort to psychoanalysis or not, the repetitiveness of flowers, their weaving into intricate patterns and the emphasis on flowers and sometimes fruit with a calm plasticity, is strongly linked to feminine sensuality, to reproduction, to the ever-reviving, fractal beauty of the living world , a drop of life in a flower-universe. The flowers of the secret garden are looking for us, each of them has a favorite viewer already chosen, predestined, and the light of our eyes will see in Maria’s art more than a flower, exquisitely painted after nature, a moment of life suspended for careful research . We will see that primordial, perfect flower, that flower of all flowers, the absolute idea of ​​the flower: life, death and rebirth.

AMMAR’s GARDEN- RENAISSANCE GARDEN, RENAISSANCE ART GALLERY, 25 APRIL 2024

AMMAR’s GARDEN- RENAISSANCE GARDEN, RENAISSANCE ART GALLERY, 25 APRIL 2024

Exhibited artworks at Renaissance Art Gallery part of exhibition Ammar’s Garden- Renaissance Garden :25 April 2024-10 June 2024 Ammar’s Garden- Renaissance Garden curating by Dr. Arhitect, designer, curator & artist- Founder of Juxta Foundation at RENAISSANCE ART GALLERY Bucharest, 25.04.2024 Video curating exhibition & musical…

IULIA TOADER: “MAYDAY”- “SALVARE” PAINTING – MAY 16, 2023 OPENING OF MIHAI EMINESCU CULTURAL CENTER BUCHAREST, OCTOBER 2023- APRIL 2024 RENAISSANCE ART GALLERY NEW SPACE IN PIPERA

IULIA TOADER: “MAYDAY”- “SALVARE” PAINTING – MAY 16, 2023 OPENING OF MIHAI EMINESCU CULTURAL CENTER BUCHAREST, OCTOBER 2023- APRIL 2024 RENAISSANCE ART GALLERY NEW SPACE IN PIPERA

The name of the exhibition MAYDAY has several meanings given by the ETYMOLOGY OF THE WORD MAYDAY: Phonetic spelling of French m’aidez = help me. * zi de Mai – May Day * MayDay … MayDay … MayDay Mayday is an emergency procedure word used…

Maria Cismaru

Maria Cismaru

Romanian, b. 1975

MY ART

I am finally home, the home of my soul. From Here I paint. I trustfully open for the flow of creation to take place and I play. 

This is the motto of a person who has by 2023 28 years of painting and her both parents were painters and studied with the famous Corneliu Baba.

Her father, Mihai Cismaru,  was part of Romania’s golden generation of painters together with Câltia, Sorin Ilfoveanu and Mirel Zamfirescu. 

Maria graduated  in Bucharest Romania the Art University ‘Nicolae Tonitza’ under the supervision of professors and renowned artists Sorin Ilfoveanu ( also her Christening God Father) and Marin Gherasim! 

As her father she sells all her oil paintings even before they dry out both in Romania and Germany, where she lived 7 years in Dresda near Berlin and now, under the collaboration with Renaissance Art Gallery who will approve her as an Artsy artist, she hopes to be collected by other European and US collectors and, why not, Asian, Indian, Latin American and Russian collectors! 

She is herself a Globe trotter, traveling to China, Mongolia, Kazahstan, Peru, Brazil, India & Nepal her paintings being inspired by all her personal experiences, including meditation,samanism, windsurfing and, in the last 7 years she also became a paraglider pilot. 

She exhibited in Romania ( Bucharest) and had many exhibitions in Germany (Dresda, Berlin, Frankfurt), her art being in private collections all over the world!

Since 2019 she collaborates with Renaissance Art Gallery.

Solo shows

2020

Spring Awakening, Renaissance Art Gallery

2013

Conscious Dreams, Studioart Gallery

2012

Cosmic Game, Georgia Berlin Galerie

Cosmic Games, Orizont Gallery

Below are her works available for SALE.

LUST BY FREYA – FIRST EDITION took place at REPER BY ESS – BUCHAREST on 20 OCTOBER 2023

LUST BY FREYA – FIRST EDITION took place at REPER BY ESS – BUCHAREST on 20 OCTOBER 2023

 Lust by Freya first edition was a big succes. It took place on 20 October 2023 at  Reper by ESS and we sold over 200 tickets on LIVETICKETS & iTICKET or at entrance. Participants were transported into a world where inhibitions disappears! At the entrance, when the ticket barcode was…

MIHAI RAUȚĂ

MIHAI RAUȚĂ

Exhibition “XeX LIBRIS” Mihai is a conceptual artist who uses photography as meditation. Trained as a chemical engineer but always an artist, explorer, and entrepreneur at heart, he began his creative journey experimenting with, developing and publishing short science fiction stories with one of the…

MIHAI RAUȚĂ: „XEX LIBRIS” PHOTO ALBUM, 3 March 2023

MIHAI RAUȚĂ: „XEX LIBRIS” PHOTO ALBUM, 3 March 2023

EVENTS

3 March 2023 – ” XEX LIBRIS” LAUNCH AT “MUZEUL DE ARTA RECENTA” – MARe, BUCHAREST

20 OCTOBER 2023-“LUST BY FREYA” PRESENTATION OF PHOTOGRAPHS PART OF “XEX LIBRIS ” ALBUM AT REPER BUCHAREST starting 7PM

The images are part of a unique photo story, captured in the aftermath of a nightclub fire in Bucharest, Romania. All images were captured as they were found—marked and imprinted by fire, rain, wind, hobos, thieves or metal scrappers.

This story is an ode to Baudelaire’s “Fleurs du Mal”Bukowski’s “Love for $17.50” and Bradbury’s “Fahrenheit 451”. It is also about people living their lives somewhere between the club and the “un-club.” 

Strange. Bizarre. Beautiful. Fetish. Sex. Open.

Published in 2022, the “Xex Libris” photo story is a documentation of the death of our culture while at the same time serving as its ode. It is a dedication to three influential writers. 

What do the books “Fahrenheit 451” by Ray Bradbury (1953), “Love for $ 17.50” by Charles Bukowski (1972)and “Fleurs du Mal” by Baudelaire (1857) share in common?

The convergence of these three texts existed only for 3 months within the ashes of a Bucharest Night Club destroyed by fire. Haunted by the millions of words in the books nailed on the walls for decor and by the shadows of the carbonized showroom dummies, the spirit of the place searched for a listener to listen to its stories, and it implored a daily return, like a Scheherazade.

Hundreds of photos, of pages leafed through, of books read, of searches and meditative moments over a two-year period were needed to give life to the ashes and to interpret what was speechlessly told only to the eyes of the beholder.

Life is full of signs and different meanings that each person can read in their own unique language only when the photography, the image, no longer has borders.

One can order fine art print photography Limited Edition

All photos listed below, part of XeX Libris Photostory album are #Untitled – they are numbered from 1 to 51, only nr. 15 is titled, being called “Stella

Prints will be on :Photo Rag Bright White Paper 310g, 100% cotton

Only 5 copies for each

90×60 cm 750 EUR

90×90 cm 850 EUR

Each copy includes the first published edition of the XeX Libris Photostory album (2022) with a dedication by author. 

Funds resulted from the sale of the fine art print edition will be donated to Prof. Dr. Gheorghe Parnuta Non Profit Association, aiming to support scholars with excellent school results but coming from lower income families in the Rucar village, Arges County , which is the place of birth of the Romanian education historian Prof Dr Gheorghe Parnuta ( 1915-2009). (https://ro.wikipedia.org/wiki/Gheorghe_Pârnuță)