Exhibition Category: Past Exhibitions

“Starting from the techniques used by students during manual work in communism, Mihaela Moldovan puts on view in this solo show a visual concept with several binary pairs. The paper weaving in black and white unveils from a feminist perspective the relationship between applied arts and ‘major’ arts, between lived reality and imagined reality, between everyday rhythm and domestic rhythm, between utilitarian time and creative time, or between personal time and time dedicated to others. At the same time, the selection revisits identity perspectives from the local topos that lie at the intersection of personal introspection and social memory, respectively between common experience and breaking the mold through the act of creation. Whether she weaves narratives in textile thread (like installations resembling oversized milieus) or in paper (like the works presented here), Mihaela Moldovan’s current artistic practice focuses on repetitive gestures that can be claimed anthropologically or ideologically, in the sense of a subtle-subversive feminism.” – Ana Daniela Sultana

Mihaela Moldovan (Vezentan) is one of the visual artists who form the community of Atelierele Malmaison and also a member of Group ~28, a collective dedicated to exploring representations and experiences of women in art. A graduate of UNArte Bucharest, with a degree in Textile Arts and Textile Design and a master’s degree in Visual Arts, Mihaela Moldovan positions her artistic practice in the area of experimental textiles, using old embroidery/lace techniques while employing new materials from the industrial field (ropes, cables, hoses, etc.) as well as cut paper techniques inspired by the manual workshops of her childhood. She exhibited solo and group exhibitions at Anca Poterașu Gallery, the National Museum of Romanian History, Scena 9, Art Safari, the National Museum of Contemporary Art, and WHITECUIB Gallery in Cluj.

Ana Daniela Sultana is a curator and columnist, who graduated from the University of Applied Arts in Vienna. Her articles appear in ARTA magazine, Romanian-Italian Cultural Horizons and on agentiadecarte.ro. She collaborates with institutions such as creart – the Center for Creation, Art and Tradition of Bucharest, the International Cultural Centre in Krakow, the Romanian Cultural Institute in Istanbul, the Romanian Cultural Institute in Vienna, the Romanian Cultural Institute in Venice, the Austrian Cultural Forum in Bucharest, the Museum of Bucharest, the Literature Museum in Bucharest, the Art Museum of Timișoara, Kunsthalle Feldbach, Aluniș Art Center and with various contemporary art galleries.

Photo credit: Răzvan Năstase

Impressed by the unbridled freedom of expression inherent in children, or perhaps capitalizing on their candid and uninhibited approach, artists such as Jean Dubuffet and Jean-Michel Basquiat cultivated their distinctive styles of painting, drawing inspiration from the artistic language of children, thereby securing their respective places in art history. The paper airplanes and boats in Tudor Stancu’s installation allude to this very aesthetic and to the artist’s imagination, who discovers inspiration through reconnecting with playfulness, through the unrestrained exploration of the canvas or the exhibition space, unfettered by rules or preconceptions. The solo show borrows its title from Tudor Stancu’s eponymous work, bearing the motto/explanatory note: “Repurposing childhood dreams into art using materials from the toys of adulthood.” In this selection, we observe an uncensored dialogue between forms and textures, between subjective geometries and objects discharged from the subconscious. The bridge between the virtual and the structures that take shape and liberating meaning is crossed either with architectural solutions, or with playful ingenuity. – Ana Daniela Sultana

Tudor Stancu is a visual artist of multiple mediums: painting, graphic design, graffiti, and tattooing, to name a few. A graduate of the National University of Arts in Bucharest, Department of Graphic Design, he is also an active member of the HOPC (House of Paints Crew), a collective celebrated for its proficiency in mural and street art. He also holds the position of technical draughtsman at the B23T architectural office. He participated both in group and solo exhibitions within NAG, MOBU, and at Galateca Gallery. His artistic practice intertwines his architectural background, a passion for lettering, and elements of Lowbrow art, depending on each project.

Ana Daniela Sultana is a curator and columnist, who graduated from the University of Applied Arts in Vienna. Her articles appear in ARTA magazine, Romanian-Italian Cultural Horizons and on agentiadecarte.ro. She collaborates with institutions such as creart – the Center for Creation, Art and Tradition of Bucharest, the International Cultural Centre in Krakow, the Romanian Cultural Institute in Istanbul, the Romanian Cultural Institute in Vienna, the Austrian Cultural Forum in Bucharest, the Museum of Bucharest, the Literature Museum in Bucharest, the Art Museum of Timișoara, Kunsthalle Feldbach, Aluniș Art Center and with various contemporary art galleries.

Photo credit: Răzvan Năstase

‘The Earth as territory can alter its identity with each passing century (or even more frequently), reshaping its borders, names, and forms of societal organization, among other aspects. Foucault considers that ‘it is highly probable that every human group, regardless of its nature, carves out within the space it occupies, in which it genuinely lives and works, certain utopian places […]’ In our country, an ancient custom (dating back to the time of the Dacians, as local inhabitants themselves assert) is preserved in some areas — the ‘pițărit’ ritual on Christmas Eve. Mircea Modreanu thematizes this local tradition in his current solo exhibition at CREART Gallery through the lens of his connection and belonging to the community of ‘momârlani’ in Petroșani, the city where he was raised and where he participated in this custom as a child. The exhibition titled ‘Masks of Pițărăi’ follows a previous self-referential project of his, the solo exhibition at MNTRplusC called ‘About Oneself, Crosses, and Others’, a sculptural installation inspired by the momârlan crosses of the Jiu Valley. Floral symbols and other traditional Romanian motifs that appear on the Romanian Blouse for example or on artisanal ceramics are brought into contemporary relevance by Mircea Modreanu on the black-and-white masks of pițărăi, crafted after the facial features of his acquaintances. The visual and anthropological research the artist provides thus invites us to reflect on those utopian places mentioned by Foucault, highlighting individual and collective identities that emerge during winter holidays.’ – Ana Daniela Sultana

Mircea Modreanu is a visual artist, cultural project manager, and gallery owner. He pursued his studies at the Faculty of Fine Arts and Design in Cluj and, shortly after completing his bachelor’s degree, redirected his path towards Bucharest. In 2014, he attained a master’s degree from the graphic department of UNArte, and a year later, he established an NGO, marking his debut as cultural manager. Since the opening of E T A J artist-run space in 2018, he has curated exhibitions at the venue located at 43 George Enescu Street in Bucharest, hosting over 200 shows to date. During the lockdown, as a means of documentation and archiving, he began filming interviews with artists, which he uploaded to the ETAJ TV YouTube channel; he also serves as the coordinator for the E T A J magazine, a publication launched with the intent of promoting contemporary art and local artists. Since 2021, he has represented the Romanian artist-run scene internationally, participating in art fairs for independent initiatives in Aarhus, Stockholm, Budapest, Madrid, Milan, Los Angeles, and Mexico City.

Ana Daniela Sultana is a curator and columnist, who graduated from the University of Applied Arts in Vienna. Her articles appear in ARTA magazine, Romanian-Italian Cultural Horizons and on agentiadecarte.ro. She collaborates with institutions such as creart – the Center for Creation, Art and Tradition of Bucharest, the International Cultural Centre in Krakow, the Romanian Cultural Institute in Istanbul, the Romanian Cultural Institute in Vienna, the Austrian Cultural Forum in Bucharest, the Museum of Bucharest, the Literature Museum in Bucharest, the Art Museum of Timișoara, Kunsthalle Feldbach, Aluniș Art Center and with various contemporary art galleries.

Photo credit: Răzvan Năstase

“The recent technological evolution, particularly the emergence of artificial intelligence, finds its applications extending even to painters, as various apps currently enable the placement of their artworks within minimalist or exotic domestic settings, according to individual preferences, through the so-called ‘room mockups’. The trend of providing virtual exhibition space is not entirely novel, considering the online art fairs during the pandemic and their ‘online (private) viewing rooms’, virtual reality exhibitions, or other immersive platforms presenting artworks online. Furthermore, when taking into account the frenzy sparked by NFTs in their beginnings, one can consider the journey of an artwork from the artist’s studio to the collector (be it public or private), via exhibitions, biennials, or international art fairs, at least as captivating as the topic of the work itself. The context in which a painting appears, from the moment it leaves the artist’s studio, is therefore, the subject that the current exhibition explores through the selection of works by Francisc Chiuariu, a constant presence in exhibitions, biennials, and international art fairs, and one who also serves as a witness to this recent paradigm shift in contemporary art. His works, previously exhibited at major events, are now showcased in an institutional gallery that typically functions as a classic white cube, but, on this occasion, adopts a setup inspired by the aesthetics of virtual spaces resembling room mockups or viewing rooms.” – Ana Daniela Sultana

Francisc Chiuariu (b. 1966) is a graduate of UNArte Bucharest, where he also taught between 1993 and 2000. In 2000, he distanced himself from the rebel neo-expressionist group Crinul, of which he had been a member since 1996, redirecting his focus towards an individual path in painting. His favored themes encompass the city, networks, and the human figure. He has exhibited at the Moscow Biennale, Art Vienna, the Liverpool Biennial, MoBU, as well as in group shows and art fairs in Paris and Tel Aviv. A big supporter of the NGO Hospice of Hope, he donates art works annually to benefit the organization’s charity auctions. Since 2012, he has been represented by AnnArt Gallery in Bucharest. Originally from Sibiu, he currently lives and works in Bucharest.

Ana Daniela Sultana is a curator and columnist, who graduated from the University of Applied Arts in Vienna. Her articles appear in ARTA magazine, Romanian-Italian Cultural Horizons and on agentiadecarte.ro. She collaborates with institutions such as creart – the Center for Creation, Art and Tradition of Bucharest, the International Cultural Centre in Krakow, the Romanian Cultural Institute in Istanbul, the Romanian Cultural Institute in Vienna, the Austrian Cultural Forum in Bucharest, the Museum of Bucharest, the Literature Museum in Bucharest, the Art Museum of Timișoara, Kunsthalle Feldbach, Aluniș Art Center and with various contemporary art galleries.

Photo credit: Cătălina Flămînzeanu

Apparently contradictory areas of interest, ecology and mode (not just in the strict sense of fashion, but in its broader sense, which may also lead to planned obsolescence) are two reference points that enhance each other in the artistic practice of Sergiu Chihaia, independently of the creative period he’s in. Each of his creative period lasts around five years. A decade ago, Sergiu Chihaia was making those arctic figures, the paper penguins, five years ago he started using mainly plastic in his conceptual installations (some of these projects were commissioned by major local brands) and now, with this solo show and other recent exhibitions, he is entering a new creative era, dedicated to wood. Acquisitive collector of wooden branches with high ecological aesthetic value, Sergiu Chihaia is especially interested in the shape of the limb and the way he can use it in his works. From the nut tree that grew in the courtyard of the National University of Arts in Bucharest, which he exhibited at Mogoșoaia during the pandemic, to the wood he brought from Mexico while he was part of a group show or the one that he found and polished during these summer holydays by the sea, Sergiu Chihaia has a close relationship with this material. Positioned at the intersection between Eco Art and Arte Povera, having in fact several other references and influences, the “ECESIS” installation addresses the same kind of message that celebrities such as David Attenborough or Sebastião Salgado try to get to the world, that of becoming aware of the ecological impact we have. Ecesis is the process by which a plant becomes established in a new habitat. – Ana Daniela Sultana

Sergiu Chihaia (b. 1982), graduated National University of Arts, currently is titular lecturer at the Fashion department, within the same institution. Lives and works in Bucharest. Participates with his work at national and international exhibitions (Bucharest, Constanta, London and Venice). Has artworks in private collections in England, Italy and Romania. In 2014 wins UAP prize for Decorative – Textile Arts at the 5th edition of ”Arts in Bucharest”. Sculptor, designer, textile artist and stage designer. As a scenographer his goal is to recreate the history of the mankind as a stage, an exhibition space for humanities dramas, joys and victories.

Ana Daniela Sultana is a curator and columnist, who graduated from the University of Applied Arts in Vienna. Her articles appear in ARTA magazine, Romanian-Italian Cultural Horizons and on agentiadecarte.ro. She collaborates with institutions such as creart – the Center for Creation, Art and Tradition of Bucharest, the International Cultural Centre in Krakow, the Romanian Cultural Institute in Istanbul, the Romanian Cultural Institute in Vienna, the Austrian Cultural Forum in Bucharest, the Museum of Bucharest, the Literature Museum in Bucharest, the Art Museum of Timișoara, Kunsthalle Feldbach, Aluniș Art Center and with various contemporary art galleries.

Photo credit: Mihai Theodor Sava

Between September 19^th and October 6^th, 2024, CREART – The Centre for Creation, Art and Tradition of Bucharest Municipality is partner of the 11^th BUCHAREST BIENNALE – Bucharest International Biennial for Contemporary Art taking place in several venues in Bucharest.

Creart Gallery (Lahovari sq. 7) is among these exhibition spaces.

“By implementing a distinctive, raw democratic selection process, “Democracy’s Uncharted Territories” departs from conventional curatorial practices. Inspired by the intricacies of Romanian democracy, the project explores the conflicts between public participation and the constraints of representative systems. The basis of the curatorial approach is the concept of participatory democracy, which emphasises the involvement of citizens in decision-making processes (Smith, 2009). This framework challenges the traditional role of the curator as the sole arbiter of artistic merit, promoting a more inclusive and collaborative environment. However, it acknowledges the limitations of direct democracy, where every citizen has an equal say in every decision. At the same time, it examines the use of the concept by Romanian cultural actors when and where there is a direct interest, revealing the potential shortcomings of pure participation.” Daniel Roșca, BB11 Director

Featured artists: Timothy Joseph Anderson (US), Andrei Argeșeanu (RO), Raul Bratu (RO), Ezgi Böttger (TR/DE), Baran Caginli (TR/FL), Mircea Ciutu (RO/DE), Regina Costa (PT), Iknur Demirkoparan (TR/US), Alessandro Di Massimo (IT), Gritsku Evghenia (UKR/RO/PL), Cristina Negrariu (RO), Kevin Pawlak (DE), Adrian Piorescu (RO), Oana Popa (RO/CH), Silvia Sarsano (IT), Andrei Tudoran (RO), Alexandra Tudosia (RO/DE), Vangjush Vellahu (AL/DE).

Photos by Răzvan Năstase

The symbol of the heart appears recurrently in the artistic practice of Otto Constantin both in his paintings and in his installations. It is depicted directly, as the heart of the city or as slot machine icon, but also indirectly, for example by choosing the couple as the subject in some of his works. Either way, regardless if there are couples, hearts or cities, there is always a Balkan touch to his works. Essentially, this selection is made of pieces from his long-term project Liberté, égalité, anxiété, that was on view last year in Cluj, and pieces from his latest series titled Emotional Pollution, which is somehow related to this long-term project, but can function independently. Otto Constantin works mainly conceptually thus titles are of great importance to him as they often constitute the starting point in his artistic production. This is also the case of Emotional Pollution – the series and the exhibition. Through this solo show we get the opportunity to discover the style of Otto Constantin (for those who are unfamiliar with the artist) or to see his latest works (for those who already know his artistic journey). – Ana Daniela Sultana

The heart is a symbol of life and emotions. In our attempt to warm up and create a comfortable space or even heal, we can contaminate those around us with our moods and actions. I believe we are responsible for the feelings that we show on the outside. The series Emotional Pollution is about this kind of awareness, about our responsibility towards the way we affect others through our state of being. – Otto Constantin

Otto Constantin (b. 1990) is originally from Constanța. In 2009 he graduated from Queen Mary National Highschool from Constanța and in 2012 from The National University of Art from Bucharest, Painting Department. He exhibited in group and solo shows held at Accademia di Romania a Roma, The National Museum of Contemporary Art from Bucharest, The Romanian Cultural Institute in Lisbon, Via Pontica Festival in Balcic, Street Delivery Bucharest and Street Art International Festival from Sibiu. His most recent exhibitions are a solo show held at La Cave Gallery from the Franch Institute in Cluj (2023) and a group show held at the Gallery from The Atatürk Cultural Center in Istanbul (2023).

Ana Daniela Sultana is a curator and columnist, who graduated from the University of Applied Arts in Vienna. Her articles appear in ARTA magazine, Romanian-Italian Cultural Horizons and on agentiadecarte.ro. She collaborates with institutions such as creart – the Center for Creation, Art and Tradition of Bucharest, the International Cultural Centre in Krakow, the Romanian Cultural Institute in Istanbul, the Romanian Cultural Institute in Vienna, the Austrian Cultural Forum in Bucharest, the Museum of Bucharest, the Literature Museum in Bucharest, the Art Museum of Timișoara, Kunsthalle Feldbach, Aluniș Art Center and with various contemporary art galleries.

Part of RDW Design GO! within Romanian Design Week 2024

The solo show “Chimeșa. The Old Blouse” brings together fashion, textile installation, and cultural heritage in a concept proposed by Dorin Negrău, a remarkable internationally renowned Romanian designer, a constant presence at New York Fashion Week, and founder of The Traditional Center for Connection to the Simple Life, an artistic residency programme promoting traditional crafts in the north of the country. Literally and figuratively, the exhibition follows a red thread telling the story of the Romanian Blouse – often known simply as “chimeșă” or “spăcel” – from a perspective reuniting tradition and innovation, contemporary art and the mastery of old craftsmen, applied arts and visual arts, past and present. (Ana Daniela Sultana)

Dorin Negrău is a Romanian designer regularly invited to top fashion events in New York, Paris, Moskow, Düsseldorf, and Saudi Arabia. Besides his contribution to the world of fashion, Dorin Negrău is also active in the world of beauty, launching the line of products called CLONA. After the “Visions” fashion show, which took place on a building site in the Old Town, on Lipscani street, Dorin Negrău, launched the spring-summer collection called “LOST”, in 2013, at the National Library in Bucharest. The collection was inspired by the traditional costume from Crișul Negru, Bihor County, made by his grandmother 50 years ago, a piece which always represented for him the feminine beauty ideal. In 2023, Dorin Negrău initiated a valuable travel exhibition titled “From Bihor to New York”, presenting his works together with costumes from the collection of the Museum of Criș Country.

Ana Daniela Sultana is a curator and columnist, who graduated from the University of Applied Arts in Vienna. Her articles appear in ARTA magazine, Romanian-Italian Cultural Horizons and on agentiadecarte.ro. She collaborates with institutions such as creart – the Center for Creation, Art and Tradition of Bucharest, the International Cultural Centre in Krakow, the Romanian Cultural Institute in Istanbul, the Romanian Cultural Institute in Vienna, the Austrian Cultural Forum in Bucharest, the Museum of Bucharest, the Literature Museum in Bucharest, the Art Museum of Timișoara, Kunsthalle Feldbach, Aluniș Art Center and with various contemporary art galleries.

“Ever more refined and conceptual, the artistic practice of Eugen Raportoru, who oscillates with versatility between painting and installation, surprises this time through minimalism and monochrome, without, however, leaving even the smallest detail outside of a true metaphorical structure. The opening of his solo show takes place on a Friday, the exhibition period is between the Catholic and Orthodox Easters, and the selection of works consists only of three large paintings, each representing a cross. While his famous previous installations ‘Childhood Room’ (MNAC), ‘On the road’ (ICR London) or ‘The Abduction from the Seraglio’ (Venice Biennale) abound in clichés and component elements, in ‘Resurrection’ Eugen Raportoru comes with an exuberant simplicity, austere and overwhelming to convey an artistic message similar to a paschal blessing. Of course, the interpretations can vary if we think for example about one’s own cross (with the meaning of destiny) that everyone carries, even Eugen Raportoru. An exhibition/installation in which the characteristic colors, with abundant variations of gray – already a signature for the artist – together with subtle elements, such as frankincense scent, stand for a complex internationally recognized artistic personality. ‘Resurrection’ is, thus, both a stylistic formula destined for the visual exploration of the mystery of the Cross, as well as a kind of artistic therapy liberating us from all the greyness of the day.” Ana Daniela Sultana

Eugen Raportoru (b. 1961, Bucharest) is a Romanian artist decorated by the President of Romania, Klaus Iohannis, with the Order of Cultural Merit, Knight rank, C category – Visual Arts. He graduated from the National University of Arts in Bucharest, Painting Department (with a BA in 2009 and a MA in 2011). Since 2010 he is a member of the Fine Arts Union (UAP) from which he received multiple awards. His work has been exhibited in various solo and group shows, but also in biennials, salons, and art fairs both locally and internationally. His artistic practice focuses mainly on two directions: painting and installation. In 2020, his installation titled “Childhood Room” was purchased by The National Museum of Contemporary Art of Romania. In 2022, his exhibition “The Abduction from the Seraglio”, commissioned by ERIAC, was a collateral event of the 59th edition of the Venice Art Biennial and the same year he also opened his exhibition titled „Gelem, Gelem, Samudaripen” about the deportation of Roma people. In 2023 he opened yet another memorable solo show, “Eugen Raportoru – Heritage” at the Marble Hall from The National Museum of Contemporary Art of Romania. Besides, he exhibited at The Romanian Cultural Institute in London, The Royal Academy of Arts in London, the Vatican, under the aegis of UNESCO, at The Ethnic Museum in Oslo and Stockholm, and in several museums all over the country (The Museum of Bucharest, The Literature Museum in Bucharest, The “Pavel Șușară” Museum of Modern and Contemporary Art, The Brukenthal National Museum from Sibiu, The Bistrița-Năsăud Museum Complex, The Galați Museum of Fine Arts, The Art Museum in Constanța, The „Alexandru Ștefulescu” Museum of Gorj County, etc.), as well as in many galleries and art centers.

Ana Daniela Sultana is a curator and columnist, who graduated from the University of Applied Arts in Vienna. Her articles appear in ARTA magazine, Romanian-Italian Cultural Horizons and on agentiadecarte.ro. She collaborates with institutions such as creart – the Center for Creation, Art and Tradition of Bucharest, the International Cultural Centre in Krakow, the Romanian Cultural Institute in Istanbul, the Romanian Cultural Institute in Vienna, the Austrian Cultural Forum in Bucharest, the Museum of Bucharest, the Literature Museum in Bucharest, the Art Museum of Timișoara, Kunsthalle Feldbach, Aluniș Art Center and with various contemporary art galleries.

”To become” and „to unlearn” are two verbs trying to substitute, in the posthumanism era, tense facets of gender identity, within a title inspired from “the benchmark of modern feminism”, “The Second Sex” by Simone de Beauvoir, published in 1949, by Gallimard. This starting point gives us the perfect occasion for an exquisite excursion into the creative universe of Liliana Basarab. The period of the exhibition isn’t, of course, random: it’s “the women’s month”, when little pieces of ceramics, coloured and modelled in various forms and shapes are offered as traditional gifts between the 1st and the 8th of March, invoking and activating archetypes and symbols. In her recent series of works, Liliana Basarab explores the art of becoming and unlearning through feminine perspectives and approaches, from chimeras and other mythological creatures, representative for her artistic practice, to self-portrait, in which the hair (from the work chosen for the exhibition poster) develops even more on the interpretation spectrum, including also the woman in the Islamic world. With great subtility and stylistic ability, Liliana Basarab expands in this sense connotations and mental images about the (self)portrait of the woman artist, but also about releasing/unlearning, reminding us, at the same time about the becoming of a branch of applied arts – ceramics – whose emancipation towards major arts overlaps with the evolution of modern feminism. (Ana Daniela Sultana)

Liliana Basarab (b. 1979) is a visual artist working in Bucharest, that started her career in Iași, in the early 2000s. Her art practice is socially engaged and often functions as a reflection on representation. She is interested in gender issues and works within various mediums like ceramics, sculpture, textiles, drawings, performance, workshops, video. She is part of the collective who organize the Sofia Nădejde – prize for literature written by women. Her works were shown in solo and group exhibitions like – My heart sits on my tongue (solo) at Sandwich Bucharest, RO, Ex-east – The past and present stories of the Romanian avant- garde, Oscar Niemeyer building, Paris, FR, Garage sale, Sandwich, RO and Beijing Konditorei, C5CNM Beijing, CN in 2019; Life a User’s Manual, ArtEncounters Biennial, Timișoara, RO in 2017; Talent is not democratic, art is not luxury, Borderline Art Space (solo), Iași, RO in 2016; In times of hope and unrest. Critical art from Iași, Museum of Contemporary Art Bucharest, RO in 2015.

Ana Daniela Sultana is a curator and columnist, who graduated from the University of Applied Arts in Vienna. Her articles appear in ARTA magazine, Romanian-Italian Cultural Horizons and on agentiadecarte.ro. She collaborates with institutions such as creart – the Center for Creation, Art and Tradition of Bucharest, the International Cultural Centre in Krakow, the Romanian Cultural Institute in Istanbul, the Romanian Cultural Institute in Vienna, the Austrian Cultural Forum in Bucharest, the Museum of Bucharest, the Literature Museum in Bucharest, the Art Museum of Timișoara, Kunsthalle Feldbach, Aluniș Art Center and with various contemporary art galleries.