The personal exhibition at the Galateea Gallery was curated by former Sculpture teacher, Ceramic Artist Simona Tanasescu. The event was never supposed to be a conventional exhibition, where an artwork is placed in a gallery for a month so the usual ceramic arts loving public would enjoy the view and go home happy. The whole period was broken down in 5 events that featured other artists participation as a dialogue with the central piece of the show.
HORIZ 15 January: Act 1 was meant to set up the show concepts, production photos, drawings about the Pivot of the whole exhibition, the mass that barely fit inside the gallery played the role of center of rotation. The drawings of Catalin Guguianu, Constantin Sevtov, and Elena Stinga, the presence of the writer Gheorghe Iova, gave to this first act its special substance.
MAG 19 January: Act 2 featured the special metaphotography of Cornel Gingarasu, where ireality meets self exploration and bold statements extreme sensibility.
STORM 25 January: Act 3 brings the sound sculpture instalation of Anamaria Pravicencu. The instalation transported the sounds from the surronding streets inside the gallery in a dynamic translation through a complex software and hardware mechanic.
SHIFT 27 January: Act 4 concludes the invasion of food art started on 24 January by the sick mind of the mad genius Sergiu Negulici. By now, the central artwork pivot is covered by tasty worms, put in place by the kisses of young emerging artists in the most unusual way.
TRANS 29 January: Act 5 consists in a transgression, a transit expedition to the neighbouring Museum of Literature for a book reading from the new text of Gheorghe Iova, PHILOSOPHY IN THE BOUDOIR: THE MARQUIS DE SADE, Postface by GHEORGHE IOVA, POSTFACE TO A MYTHOLOGY, meeting the VELOLINGA concept art of Catalin Guguianu, with visual installments and english translations produced by Sebastiaan. In the same event, a personal popup photography exhibition was setup on the walls of the reading room.
The closing of the exhibition was setup to bring children to produce charchoal on paper drawings and hang them on the walls of the gallery in the space sustained by the ceramis sculptural mass.