Catinca Tabacaru Gallery is thrilled to announce Catinca Malaimare's participation in the 20th Pančevo Biennial opening tonight with a live performance work her "Best Boy Electric."

CATINCA MALAIMARE 20TH BIENNIAL OF ART PANČEVO 2022 raphinerymonastery Opening TONIGHT May 27, 2022 | 17:30-20:00 Live performance by Catinca Malaimare| @ 19:30 SK 12 Building Dr. Svetislava Kasapinovicá 12, Pančevo, SERBIA CURATED BY: MAJA ĆIRIĆ Through June 27, 2022 Catinca Tabacaru Gallery is thrilled to announce Catinca Malaimare's participation in the 20th Pančevo Biennial opening tonight with Malaimare's live performance work Best Boy Electric. - How did you find the concept of your work for the Biennale? I titled the work in the Biennial Best Boy Electric as a way of framing the encounter with the celestial machines and the complexities that arise with an infinite incarnation of technologies as our objects of attraction. Machines are very interested in watching and observing, but they are not discreet. Our encounters are more like confrontations and these dynamics keep getting exercised in my work. While with machines, we tend to realise how much the human sympathy for technology follows the formula of “like knows like.” We are capable of understanding them only through subjecting them to anthropomorphism or, in turn, we tend to technologise ourselves. There’s a lot of grey area I like to fill. This sense of kinship and sympathy, the sex appeal of the inorganic, is going to be present and playful.  - Catinca Malaimare Read Full Interview

GALERIA CATINCA TABACARU Calea Giulești 14, etaj 3, Bucharest +40 (0) 722 430 430 #catincatabacrugallery#fineartmagazine#summerartfun

The CTG Collective, Sandwich and Catinca Tabacaru Gallery extend the exhibition through February, 12, 2022

a project by CTG Collective, Sandwich and Catinca Tabacaru Gallery EXTENDED THROUGH FEBRUARY 12, 2022 Wednesdays to Saturdays | 12-6PM Galeria Catinca Tabacaru Strada Mexic 1, Bucharest   Fridays and Saturdays | 3-7PM Sandwich Offspace Malmaison Studios, 2nd floor Calea Plevnei 137C, Bucharest Walk Through and Artists' Talk Thursday, January 27, 18:00 - 20:00 @ Galeria Catinca Tabacaru In both English and Romanian, artists Daniela Pălimariu, Ana Pascu, Ioana Stanca, and Ana-Maria Ștefan will lead tours through the Exhibition offering insight into each of their works. Afterwards, the artists will join Catinca Tabacaru who will moderate a discussion addressing the themes taken up by the Staycation symposium Summer 2021 in Bucharest including the state of control on movement and travel, and the human and ecological consequences of the current pandemic era, motherhood in the art-world context, living and working within “the center” or its periphery, and the holy balance between leisure and work. Please RSVP at ioana@catincatabacaru.com as space is limited due to Covid restrictions. Curatorial Tour Saturday, 29 January, 14:00 - 16:00 @ Sandwich Offspace Daniela Pălimariu and Catinca Tabacaru host a curatorial tour of the Staycation Exhibition at Sandwich Offspace, offering insights into collaborative creation, building space as meeting point for art and community, and working within an all-women context. Please RSVP at maria@sandwichgallery.ro. Staycation Zoom Thursday, 3 February, 18:30 @ Register Here to receive Zoom link Join the non-Bucharest-based Staycation artists for an in-depth discussion of their experiences with the Staycation Symposium and Exhibition. They will tackle issues surrounding visiting and working in Bucharest from an outsider eye's perspective, trans-national collaborations (especially during the current pandemic), and the unique experience created by an all-women gathering.  CATALOG with pricing and availability For more info: hello@sandwichgallery.ro + info@catincatabacaru.com Pictured above: Lexia Hachtmann, Catinca Malaimare, Ana Pascu, Lera Kelemen, Yen Chun Lin, Ioana Stanca, Catinca Tabacaru, Daniela Pălimariu, Ana-Maria Ștefan, Bethan Hughes, Isabella Fürnkäs, Barbara Lüdde #staycation#gallerycatincatabcaru#fineartmagazine

Catinca Tabacaru New York/ Harare: Feb. 1-March 21, 2020.

XAVIER ROBLES DE MEDINA Faya Lobi PRAZ DELAVALLADE PARIS February 1 - March 21, 2020 5 rue des Haudriettes Vernissage February 1, 5-8pm Faya Lobi means fiery love, or love of fire.   In Suriname, it is the Sranan(1) given name for its national flower, the Ixori coccinea, a flowering plant of South-Indian, Bangladeshi, and Sri Lankan origins. Other names it is known by are jungle geranium, flame of the woods, or jungle flame. The faya lobi grows abundantly in Suriname, producing flowers all year, as it does in South Asia. In Suriname, faya lobi became a symbol for love, long lasting and ardent passion. There is a fiery love that burns in the deep heart of the South American jungles. This fire is different from the fires that have burned down and deforested the Amazon(2) – it exists intrinsically, and is passed down to those born in the lineage of resistance. In the northeast Amazon basin, a fiery love welcomed the Ndyuka, now descendants of marooned slaves who for four centuries continuously build resistance and sanctuaries(3). A fiery love– young, revolutionary, resistant, urgent, educated, communal, organized, and united– was living in the bodies of fifteen men(4) who opposed the military dictatorship of Suriname in the 1980s. On December 7, 8 and 9, 1982 in Paramaribo, Suriname, these fifteen men were captured by the militarized forces of the dictatorship, and taken to Fort Zeelandia in Paramaribo, where they were tortured and killed for opposing the military regime. A statue of Queen Wilhelmina of the Netherlands stands in front of Fort Zeelandia; in 1974, she was moved away where she used to stand in front of the Governor’s Palace (now the Presidential Palace), and was replaced with a sculpture of Jopie Pengel by Stuart Robles de Medina. In the archive of the Surinaams Museum exists a photograph of Stuart and a colleague guiding the rope-bound sculpture of Queen Wilhelmina down into her present resting place4. The Queen and Fort Zeelandia mark the land– here lies the brutal failure of empire. Violent structures we deem to be permanent are often rotting and fragile inside, and they can be easily torn down, moved away from the center, if we mobilize and tend to our fiery love. In Xavier Robles de Medina’s exhibition, Faya Lobi, there is a drawing of this photograph of his grandfather and his colleague while the statue of Queen Wilhelmina is being placed in front of Fort Zeelandia. Xavier’s work is a slow excavation, or rather: a conjuring, a resuscitation, a long and extended dedication. I have seen Xavier working; his drawing process is slow and determined. In our conversations, he says he is mostly erasing away. From seeing the way the images progress, it feels like coming upon a clearing after a long dim-lit path. There is a trust in the process, a love for the subject, faith that eventually all will be revealed. I think of the ways we honor and carry our ancestors. We carry (knowingly or not) their promises and efforts to the land, the weights they carried and lifted for us, the paths they cleared for our eventual existence. Sometimes, serendipitously, we will find ourselves tracing their steps and continuing their legacy. It takes love to excavate our history with kindness. To transform our relationship with a ground that has witnessed so much violence. To kiss the earth and swear devotion to a longevity that lasts beyond our lifetime.  With a fiery love, Paula Pinho Martins Nacif

1 Creole language spoken in Suriname. 2 Most recently, the Amazon rainforest burned for two weeks in August 2019. 3 “In these villages ‘obeah shrines like those in Guinea can be seen, ceremonial dances are performed that could take place in Ghana, and the people talk with drums, which are made like Ashanti drums.’», Philip Reno, The Ordeal of British Guiana cited in Eduardo Galeano, Open Veins of Latin America (New York: Monthly Review Press, 1997), 83. 4 John Baboeram, Bram Behr, Cyrill Dvaal, Kenneth Gonçalves, Eddy Hoost, André Kamperveen, Gerard Leckie, Sugrim Oemrawsingh, Lesley Rahman, Surendre Rambocus, Harold Riedewald, Jiwansingh Sheombar, Jozef Slagveer, Robby Sohansingh, and Frank Wijngaarde. Image: Xavier Robles de Medina, Faya Lobi installation at Praz Delavallade | Paris, 2020 #fireylove#fineratmagazine#fun

In NYC Catch the Catinca Tabacaru Gallery 4-6 PM opening.

Terrence Musekiwa, Imwe pfungwa uye simba (one mind and influence), 2019, silk, spring stone, beads, bulbs sewn onto canvas, 66 × 91 in | 168 x 231 cm

TERRENCE MUSEKIWA Coming From Where We Are Going OPENING TODAY  SUN. JUNE 2, 2019 | 4-6 PM Catinca Tabacaru Gallery · 250 Broome Street · New York, NY 10002 · USA  #fineartmagazine

Catinca Tabacaru Gallery, a Very interesting necessary dialogue: Capucine Gros Implicit Borders: a cartography of free will

Capucine Gros Implicit Borders: a cartography of free will EXTENDED through August 12th

Approximately 199, 2012-present, pigment prints mounted on museum board from hand-printed and hand bound yearly sketchbooks, 7x5 in each Variation 1, New York Dear Friends, For the past two weeks, we've had countless conversations around the notions of territory, identity, nationalism, free will, geopolitics, love, and death. The exhibition implicitly invites dialogue and we've spent the days evolving our understanding of the world. Extending through August 12th, we invite you to lend your gaze and voice to this powerful debut from French artist Capucine Gros. From the grid of maps of the 199 passport-holding nations, plus one blank work for the 10,000,000 stateless people around the globe, to date we've sold 71 countries, each for approximately US$199. Each acquisition creates conceptual data: Which countries are bought? Why a person chooses a particular nation? Which countries remain behind, unwanted? Capucine will repeat this project around the globe, gathering similar data. Years from now leading to conclusions, questions and ideas about desire, place and context. The works will be on sale until the exhibition closes on August 12, forming a concrete end to this cultural investigation. We hope you read this and come take part. This is but one of the works presented in the exhibition.  All deep in commitment, Capucine works on these pieces daily, yearly, or as circumstances change.  Here, at the gallery, she arrives each day at 5pm to mark Human Strokes, an on-going painting started in 2010 and ending with her own death. 👻  with love, Catinca Human Strokes, 2010-present, acrylic on canvas and accompanying journals, 71 x 111 in + four volumes citing each death Capucine reads or hears about Preview the show Gallery Summer hours: Tue-Sat 11am-6pm

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Catinca Tabacaru Gallery presents Gail Stoicheff: Distressed Blonde, March 1 - 29, 2015

Detail of Installation, Poisson, 2015, oil and dye on linen and canvas, Hydrocal, 61 x 52 inches Gail Stoicheff: DISTRESSED BLONDE March 1 - 29, 2015 250 Broome Street, New York, NY 10002 OPENING Reception: Sunday, March 1, 6PM-8PM Catinca Tabacaru Gallery presents Gail Stoicheff: Distressed Blonde, an exhibition of 13 white rabbits, one phoenix, a handful of medium-sized paintings and two large scale works for which the artist demanded new walls be built. This marks Stoicheff’s first solo exHibition in New York as well as the gallery’s first show with the Brooklyn based painter. Stoicheff is a material alchemist with two broken fingErs. In her hands, base elements of linen, velvet, gypsum, dye and oil paint are transformed into an unknown alloy. Like a heavy case of jemais vu, she conjures weirdness from the familiar through quasi-magical imagery, mysterious surfaces and smalL cast objects. The work is simultaneously serious and Playful, often calling into question which is which---cute becomes ominous, common becomes strange. The pieces presented here are visually bountiful. The large works evoke flags of imaginary countries with questionable ideologies or leftover artifacts from a commune that has collapsed into a cult. Her Manipulations of canvas manifest trompe-l’oeil hellish cave walls and dark sacred geometry one moment and bright hippie mysticism the next.  Upon these, marks of the painting process are allowed to coexist with intentional gestures, adornment and defacement at once. Small rabbits cast in Hydrocal or painted in oil populate the gallery, leaning against or sitting aloft larger works, inviting us to follow them down the rabbit hole that is Stoicheff’s eclectic practicE. Fifi (detail), 2015, oil and dye on velvet and canvas, Hydrocal, metal chain, 96 x 72 inches Raised in a small town in rural Pennsylvania, Stoicheff received her MFA from Bard College, Milton Avery Graduate School of the Arts, in 2005. She was the recipient of Robert Motherwell’s prestigious Daedalus Foundation Master of Fine Arts Fellowship in Painting, as well as The Elaine DeKooning Painting Award, and was recently the featured cover artist for Little Star Weekly literary journal. She has been with the gallery since its inception.  250 Broome Street Tuesday - Sunday 11am - 6pm T 212-260-2481      www.catincatabacaru.com #fineartmagazine