Romanian artist Geta Brătescu’s (b.1926) vivid practice has comprised performance, textiles, collage, print-making, installation and film. Living and working in Bucharest throughout Ceauşescu’s totalitarian regime, Brătescu embraced the studio as an autonomous space, free from economic or political influences.
Concerned with identity and dematerialisation, Brătescu conjures questions of ethics and femininity through her longstanding curiosity in mythical and literary figures, including Aesop, Faust, Beckett and Medea. These concepts have underlain much of her work through experiments in material rearrangements, charting the movement of her hands, the disappearance or concealment of her own image, and performing to the camera through her photographic series and films.
Her exhibition will focus on this lifelong approach to the studio as a performative, contemplative and critical space to reflect on one’s own position in the world.
Geta Brătescu (b. 1926, Ploiesti, Romania) lives and works in Bucharest. She has had recent solo exhibitions at: Hamburger Kunsthalle (2016); Tate Liverpool (2015); CAM, St. Louis (2015); Berkeley Art Museum (2014); MUSAC, León (2013); and Salonul de Proiecte, Bukarest (2012). Her work has been featured in major group exhibitions such as: Construction to Transmission: Art in Eastern Europe and Latin America, 1960-1980, Museum of Modern Art, New York (2015); Straight to Camera: Performance for Film, Modern Art Oxford; 5th Moscow Biennale of Contemporary Art, Moscow (2013); Il Palazzo Enciclopedico, La Biennale di Venezia, Venice (2013); and A Bigger Splash: Painting After Performance Art, Tate Modern, London (2012); IntenseProximity, La Triennale Paris, Paris (2012); and Istanbul Biennial (2011). In 2008, she was awarded the title Doctor Honoris Causa from the National University of Arts, Bucharest, for her contribution to the advancement of contemporary Romanian art.
Supported by the Romanian Cultural Institute in London and the Geta Brătescu Exhibition Circle
Organised by Camden Arts Centre in association with Museum of Fine Arts, Ghent
With thanks to Candida Gertler, Ivan Gallery, Bucharest and Hauser and Wirth