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Engineered Null (alpha channel), 2026

industrially produced polyester fabric,
aluminium, steel, silicone rope, concrete bricks, industrial wheels,
220 × 175 × 175 cmphoto credit: @yap.studio

Engineered Null (alpha channel), 2026

industrially produced polyester fabric,
aluminium, steel, silicone rope, concrete bricks, industrial wheels,
220 × 175 × 175 cmphoto credit: @yap.studio

Engineered Null (alpha channel), 2026

industrially produced polyester fabric,
aluminium, steel, silicone rope, concrete bricks, industrial wheels,
220 × 175 × 175 cmphoto credit: @yap.studio

Engineered Null (alpha channel), 2026

industrially produced polyester fabric,
aluminium, steel, silicone rope, concrete bricks, industrial wheels,
220 × 175 × 175 cmphoto credit: @yap.studio

@raducomsha

Radu Comșa
"Engineered null (alpha channel)", 2026
site-responsive spatial intervention

On view through May 31, 2026 at Jecza Gallery, Timișoara, as part of “More Real than Nature”, curated by Norbert Filep.

@norbertfilep @jecza_gallery

@raducomsha

Radu Comșa
"Engineered null (alpha channel)", 2026
site-responsive spatial intervention

On view through May 31, 2026 at Jecza Gallery, Timișoara, as part of “More Real than Nature”, curated by Norbert Filep.

@norbertfilep @jecza_gallery

@raducomsha

Radu Comșa
"Engineered null (alpha channel)", 2026
site-responsive spatial intervention

On view through May 31, 2026 at Jecza Gallery, Timișoara, as part of “More Real than Nature”, curated by Norbert Filep.

@norbertfilep @jecza_gallery

@raducomsha

Radu Comșa
"Engineered null (alpha channel)", 2026
site-responsive spatial intervention

On view through May 31, 2026 at Jecza Gallery, Timișoara, as part of “More Real than Nature”, curated by Norbert Filep.

@norbertfilep @jecza_gallery

Radu Comsa: 𝘈𝘯𝘢𝘨𝘳𝘢𝘮𝘢 (𝘊𝘩𝘳𝘰𝘮𝘢𝘵𝘪𝘤 𝘊𝘭𝘢𝘷𝘪𝘢𝘵𝘶𝘳𝘦 𝘐), 2025
153 hand-painted wooden slats, acrylic on wood #
150 x 205 cm
Unique

#raducomșa #raducomsa #cotemporaryart #contemporaryartist #cluj #romania #contemporarypainter #contemporarysculptor #romanianartist #sabotgallery #emmanuelhervegallery #romanianart #abstract #colorful #gerhardrichter

@raducomsha

Marco Cassani: Non Disclosure Agreement #3

🗓 October 10 – December 13, 2025

🕒 Monday–Friday: 11 AM – 5 PM
❌ Saturday, Sunday: Closed
📍51 Eremia Grigorescu Str. @dinstitute.ro

Extensor Geometrico presents "Non Disclosure Agreement #3", a sculpture by Marco Cassani. Borrowing its title from legal language, the work points to an unspoken pact between artist and audience — a shared trust and secrecy.
Composed of 10,000 wish coins collected from sacred fountains in Bali, the piece continues Cassani’s long-term exploration of value, ritual, and symbolic power. Each coin fragment, once a personal offering, is now hand-bound into a semicircular curtain — a sculptural object but also a durational practice in which devotion, repetition, and reflection converge to question how value is constructed.
●
Marco Cassani (b. Milan, 1981) lives and works in Bali. His practice has been shown internationally, including at NOME (Berlin), Lucie Fontaine (Milan/Tokyo), and Honold Fine Art (Bali).
In parallel with his artistic practice, Cassani has initiated numerous “situations”, among which Kayu, Lucie Fontaine's branch in Bali, VAPRICO, and Project Etere. Cassani studied painting at the Accademia di Belle Arti di Brera in Milan, was an artist-in-residence at Cittadellarte by Fondazione Pistoletto in Biella, Italy, and has served as a guest lecturer at Melbourne University, Australia.
●
Extensor Geometrico, SABOT’s outpost designed by Radu Comșa, is a modular, mobile metal-frame exhibition space temporarily situated in the garden of D’institute, a dentistry studio in Cluj-Napoca. While not directly referencing earlier architectural experiments, it resonates with a lineage of modernist and conceptual precedents — from Prouvé and Le Corbusier to Kippenberger and Elmgreen & Dragset — bringing structure into close dialogue with its setting. Both exhibition space and art object, it sits unapologetically between architecture and sculpture.

@cassani_ma @raducomsha

photos by: @yap.studio @m.dox @marius_farcas

Marco Cassani: Non Disclosure Agreement #3

🗓 October 10 – December 13, 2025

🕒 Monday–Friday: 11 AM – 5 PM
❌ Saturday, Sunday: Closed
📍51 Eremia Grigorescu Str. @dinstitute.ro

Extensor Geometrico presents "Non Disclosure Agreement #3", a sculpture by Marco Cassani. Borrowing its title from legal language, the work points to an unspoken pact between artist and audience — a shared trust and secrecy.
Composed of 10,000 wish coins collected from sacred fountains in Bali, the piece continues Cassani’s long-term exploration of value, ritual, and symbolic power. Each coin fragment, once a personal offering, is now hand-bound into a semicircular curtain — a sculptural object but also a durational practice in which devotion, repetition, and reflection converge to question how value is constructed.
●
Marco Cassani (b. Milan, 1981) lives and works in Bali. His practice has been shown internationally, including at NOME (Berlin), Lucie Fontaine (Milan/Tokyo), and Honold Fine Art (Bali).
In parallel with his artistic practice, Cassani has initiated numerous “situations”, among which Kayu, Lucie Fontaine's branch in Bali, VAPRICO, and Project Etere. Cassani studied painting at the Accademia di Belle Arti di Brera in Milan, was an artist-in-residence at Cittadellarte by Fondazione Pistoletto in Biella, Italy, and has served as a guest lecturer at Melbourne University, Australia.
●
Extensor Geometrico, SABOT’s outpost designed by Radu Comșa, is a modular, mobile metal-frame exhibition space temporarily situated in the garden of D’institute, a dentistry studio in Cluj-Napoca. While not directly referencing earlier architectural experiments, it resonates with a lineage of modernist and conceptual precedents — from Prouvé and Le Corbusier to Kippenberger and Elmgreen & Dragset — bringing structure into close dialogue with its setting. Both exhibition space and art object, it sits unapologetically between architecture and sculpture.

@cassani_ma @raducomsha

photos by: @yap.studio @m.dox @marius_farcas

Marco Cassani: Non Disclosure Agreement #3

🗓 October 10 – December 13, 2025

🕒 Monday–Friday: 11 AM – 5 PM
❌ Saturday, Sunday: Closed
📍51 Eremia Grigorescu Str. @dinstitute.ro

Extensor Geometrico presents "Non Disclosure Agreement #3", a sculpture by Marco Cassani. Borrowing its title from legal language, the work points to an unspoken pact between artist and audience — a shared trust and secrecy.
Composed of 10,000 wish coins collected from sacred fountains in Bali, the piece continues Cassani’s long-term exploration of value, ritual, and symbolic power. Each coin fragment, once a personal offering, is now hand-bound into a semicircular curtain — a sculptural object but also a durational practice in which devotion, repetition, and reflection converge to question how value is constructed.
●
Marco Cassani (b. Milan, 1981) lives and works in Bali. His practice has been shown internationally, including at NOME (Berlin), Lucie Fontaine (Milan/Tokyo), and Honold Fine Art (Bali).
In parallel with his artistic practice, Cassani has initiated numerous “situations”, among which Kayu, Lucie Fontaine's branch in Bali, VAPRICO, and Project Etere. Cassani studied painting at the Accademia di Belle Arti di Brera in Milan, was an artist-in-residence at Cittadellarte by Fondazione Pistoletto in Biella, Italy, and has served as a guest lecturer at Melbourne University, Australia.
●
Extensor Geometrico, SABOT’s outpost designed by Radu Comșa, is a modular, mobile metal-frame exhibition space temporarily situated in the garden of D’institute, a dentistry studio in Cluj-Napoca. While not directly referencing earlier architectural experiments, it resonates with a lineage of modernist and conceptual precedents — from Prouvé and Le Corbusier to Kippenberger and Elmgreen & Dragset — bringing structure into close dialogue with its setting. Both exhibition space and art object, it sits unapologetically between architecture and sculpture.

@cassani_ma @raducomsha

photos by: @yap.studio @m.dox @marius_farcas

Marco Cassani: Non Disclosure Agreement #3

🗓 October 10 – December 13, 2025

🕒 Monday–Friday: 11 AM – 5 PM
❌ Saturday, Sunday: Closed
📍51 Eremia Grigorescu Str. @dinstitute.ro

Extensor Geometrico presents "Non Disclosure Agreement #3", a sculpture by Marco Cassani. Borrowing its title from legal language, the work points to an unspoken pact between artist and audience — a shared trust and secrecy.
Composed of 10,000 wish coins collected from sacred fountains in Bali, the piece continues Cassani’s long-term exploration of value, ritual, and symbolic power. Each coin fragment, once a personal offering, is now hand-bound into a semicircular curtain — a sculptural object but also a durational practice in which devotion, repetition, and reflection converge to question how value is constructed.
●
Marco Cassani (b. Milan, 1981) lives and works in Bali. His practice has been shown internationally, including at NOME (Berlin), Lucie Fontaine (Milan/Tokyo), and Honold Fine Art (Bali).
In parallel with his artistic practice, Cassani has initiated numerous “situations”, among which Kayu, Lucie Fontaine's branch in Bali, VAPRICO, and Project Etere. Cassani studied painting at the Accademia di Belle Arti di Brera in Milan, was an artist-in-residence at Cittadellarte by Fondazione Pistoletto in Biella, Italy, and has served as a guest lecturer at Melbourne University, Australia.
●
Extensor Geometrico, SABOT’s outpost designed by Radu Comșa, is a modular, mobile metal-frame exhibition space temporarily situated in the garden of D’institute, a dentistry studio in Cluj-Napoca. While not directly referencing earlier architectural experiments, it resonates with a lineage of modernist and conceptual precedents — from Prouvé and Le Corbusier to Kippenberger and Elmgreen & Dragset — bringing structure into close dialogue with its setting. Both exhibition space and art object, it sits unapologetically between architecture and sculpture.

@cassani_ma @raducomsha

photos by: @yap.studio @m.dox @marius_farcas

Marco Cassani: Non Disclosure Agreement #3

🗓 October 10 – December 13, 2025

🕒 Monday–Friday: 11 AM – 5 PM
❌ Saturday, Sunday: Closed
📍51 Eremia Grigorescu Str. @dinstitute.ro

Extensor Geometrico presents "Non Disclosure Agreement #3", a sculpture by Marco Cassani. Borrowing its title from legal language, the work points to an unspoken pact between artist and audience — a shared trust and secrecy.
Composed of 10,000 wish coins collected from sacred fountains in Bali, the piece continues Cassani’s long-term exploration of value, ritual, and symbolic power. Each coin fragment, once a personal offering, is now hand-bound into a semicircular curtain — a sculptural object but also a durational practice in which devotion, repetition, and reflection converge to question how value is constructed.
●
Marco Cassani (b. Milan, 1981) lives and works in Bali. His practice has been shown internationally, including at NOME (Berlin), Lucie Fontaine (Milan/Tokyo), and Honold Fine Art (Bali).
In parallel with his artistic practice, Cassani has initiated numerous “situations”, among which Kayu, Lucie Fontaine's branch in Bali, VAPRICO, and Project Etere. Cassani studied painting at the Accademia di Belle Arti di Brera in Milan, was an artist-in-residence at Cittadellarte by Fondazione Pistoletto in Biella, Italy, and has served as a guest lecturer at Melbourne University, Australia.
●
Extensor Geometrico, SABOT’s outpost designed by Radu Comșa, is a modular, mobile metal-frame exhibition space temporarily situated in the garden of D’institute, a dentistry studio in Cluj-Napoca. While not directly referencing earlier architectural experiments, it resonates with a lineage of modernist and conceptual precedents — from Prouvé and Le Corbusier to Kippenberger and Elmgreen & Dragset — bringing structure into close dialogue with its setting. Both exhibition space and art object, it sits unapologetically between architecture and sculpture.

@cassani_ma @raducomsha

photos by: @yap.studio @m.dox @marius_farcas

Marco Cassani: Non Disclosure Agreement #3

🗓 October 10 – December 13, 2025

🕒 Monday–Friday: 11 AM – 5 PM
❌ Saturday, Sunday: Closed
📍51 Eremia Grigorescu Str. @dinstitute.ro

Extensor Geometrico presents "Non Disclosure Agreement #3", a sculpture by Marco Cassani. Borrowing its title from legal language, the work points to an unspoken pact between artist and audience — a shared trust and secrecy.
Composed of 10,000 wish coins collected from sacred fountains in Bali, the piece continues Cassani’s long-term exploration of value, ritual, and symbolic power. Each coin fragment, once a personal offering, is now hand-bound into a semicircular curtain — a sculptural object but also a durational practice in which devotion, repetition, and reflection converge to question how value is constructed.
●
Marco Cassani (b. Milan, 1981) lives and works in Bali. His practice has been shown internationally, including at NOME (Berlin), Lucie Fontaine (Milan/Tokyo), and Honold Fine Art (Bali).
In parallel with his artistic practice, Cassani has initiated numerous “situations”, among which Kayu, Lucie Fontaine's branch in Bali, VAPRICO, and Project Etere. Cassani studied painting at the Accademia di Belle Arti di Brera in Milan, was an artist-in-residence at Cittadellarte by Fondazione Pistoletto in Biella, Italy, and has served as a guest lecturer at Melbourne University, Australia.
●
Extensor Geometrico, SABOT’s outpost designed by Radu Comșa, is a modular, mobile metal-frame exhibition space temporarily situated in the garden of D’institute, a dentistry studio in Cluj-Napoca. While not directly referencing earlier architectural experiments, it resonates with a lineage of modernist and conceptual precedents — from Prouvé and Le Corbusier to Kippenberger and Elmgreen & Dragset — bringing structure into close dialogue with its setting. Both exhibition space and art object, it sits unapologetically between architecture and sculpture.

@cassani_ma @raducomsha

photos by: @yap.studio @m.dox @marius_farcas

Marco Cassani: Non Disclosure Agreement #3

🗓 October 10 – December 13, 2025

🕒 Monday–Friday: 11 AM – 5 PM
❌ Saturday, Sunday: Closed
📍51 Eremia Grigorescu Str. @dinstitute.ro

Extensor Geometrico presents "Non Disclosure Agreement #3", a sculpture by Marco Cassani. Borrowing its title from legal language, the work points to an unspoken pact between artist and audience — a shared trust and secrecy.
Composed of 10,000 wish coins collected from sacred fountains in Bali, the piece continues Cassani’s long-term exploration of value, ritual, and symbolic power. Each coin fragment, once a personal offering, is now hand-bound into a semicircular curtain — a sculptural object but also a durational practice in which devotion, repetition, and reflection converge to question how value is constructed.
●
Marco Cassani (b. Milan, 1981) lives and works in Bali. His practice has been shown internationally, including at NOME (Berlin), Lucie Fontaine (Milan/Tokyo), and Honold Fine Art (Bali).
In parallel with his artistic practice, Cassani has initiated numerous “situations”, among which Kayu, Lucie Fontaine's branch in Bali, VAPRICO, and Project Etere. Cassani studied painting at the Accademia di Belle Arti di Brera in Milan, was an artist-in-residence at Cittadellarte by Fondazione Pistoletto in Biella, Italy, and has served as a guest lecturer at Melbourne University, Australia.
●
Extensor Geometrico, SABOT’s outpost designed by Radu Comșa, is a modular, mobile metal-frame exhibition space temporarily situated in the garden of D’institute, a dentistry studio in Cluj-Napoca. While not directly referencing earlier architectural experiments, it resonates with a lineage of modernist and conceptual precedents — from Prouvé and Le Corbusier to Kippenberger and Elmgreen & Dragset — bringing structure into close dialogue with its setting. Both exhibition space and art object, it sits unapologetically between architecture and sculpture.

@cassani_ma @raducomsha

photos by: @yap.studio @m.dox @marius_farcas

Marco Cassani: Non Disclosure Agreement #3

🗓 October 10 – December 13, 2025

🕒 Monday–Friday: 11 AM – 5 PM
❌ Saturday, Sunday: Closed
📍51 Eremia Grigorescu Str. @dinstitute.ro

Extensor Geometrico presents "Non Disclosure Agreement #3", a sculpture by Marco Cassani. Borrowing its title from legal language, the work points to an unspoken pact between artist and audience — a shared trust and secrecy.
Composed of 10,000 wish coins collected from sacred fountains in Bali, the piece continues Cassani’s long-term exploration of value, ritual, and symbolic power. Each coin fragment, once a personal offering, is now hand-bound into a semicircular curtain — a sculptural object but also a durational practice in which devotion, repetition, and reflection converge to question how value is constructed.
●
Marco Cassani (b. Milan, 1981) lives and works in Bali. His practice has been shown internationally, including at NOME (Berlin), Lucie Fontaine (Milan/Tokyo), and Honold Fine Art (Bali).
In parallel with his artistic practice, Cassani has initiated numerous “situations”, among which Kayu, Lucie Fontaine's branch in Bali, VAPRICO, and Project Etere. Cassani studied painting at the Accademia di Belle Arti di Brera in Milan, was an artist-in-residence at Cittadellarte by Fondazione Pistoletto in Biella, Italy, and has served as a guest lecturer at Melbourne University, Australia.
●
Extensor Geometrico, SABOT’s outpost designed by Radu Comșa, is a modular, mobile metal-frame exhibition space temporarily situated in the garden of D’institute, a dentistry studio in Cluj-Napoca. While not directly referencing earlier architectural experiments, it resonates with a lineage of modernist and conceptual precedents — from Prouvé and Le Corbusier to Kippenberger and Elmgreen & Dragset — bringing structure into close dialogue with its setting. Both exhibition space and art object, it sits unapologetically between architecture and sculpture.

@cassani_ma @raducomsha

photos by: @yap.studio @m.dox @marius_farcas

Radu Comsa: 𝘗𝘩𝘢𝘴𝘦 3-4-6, 2014
100 x 100
X 2 cm
Cement paste and oil-based paint markers on line
Unique

#raducomsa #painting #cluj #romanian #romaniartist #painting #squares #contemporayart #contemporaryartist #great #colorful #lignes #ligne #artsy #emmanuelhervegallery #sabotgallery

@raducomsha
@sabot_gallery

Radu Comsa: 𝘈𝘯𝘢𝘨𝘳𝘢𝘮𝘢 (𝘚𝘭𝘢𝘯𝘵𝘪𝘯𝘨 𝘓𝘪𝘯𝘦𝘴 𝘐𝘐), 2025
Acrylic dispersion on cotton, wax (batik)
100 x 124 x 8 cm
Unique

#raducomsa #painting #contemporyart #contemporaryartist #romanianartist #cluj #unique #batik #shapedcanvas #art #artcollector #emmanuelhervegallery

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

Radu Comșa: inter-versions
December 26, 2024-February 22, 2025 “Radu Comșa: inter-versions” is curated by Nicola Trezzi in close dialogue with the artist.View of the exhibition at CCA Tel Aviv-Yafo (with works by Joav BarEl, Avner Ben-Gal, Michael Gross, Florin Maxa, Claude Rutault, and Xanti Schawinsky .Radu Comșa: inter-versions” is supported by the Geanina and Tudor Grecu Collection, IL.Collection, Fondation Pluriel pour L’Art Contemporain, Fondation du Judaïsme Français, and the Romanian Cultural Institute in Tel Aviv. Hospitality provided by Outset Contemporary Art Fund.

It's not a Lazy Friday
It's aperfect Saturday

Publicul Privat

Lucrări selectate din cinci colecții cartografiază spațiul dintre privat și public, investigând felul în care impulsuri personale — precum curiozitatea, îndoiala sau obsesia — evoluează spre forme publice de partajare, responsabilitate și construire culturală.

Curator: @mihneamircan

Artiști în expoziție:

Radu Belcin | Horia Bernea | Dan Beudean | Maria Brâneț | Mircea Canto | Radu Carnariu | Eva Cerbu, Nicolae Comănescu | Radu Comșa | Alex Dascălu | Constantin Flondor | Adela Giurgiu | Ion Grigorescu | Rodrigo Hernández | Nona Inescu | Marcel Janco| Hortensia Mi Kafchin | Iosif Király| Alicja Kwade | Matei Lăzărescu| Max Hermann Maxy| Robert Meyten | Daniel Moldoveanu | Ciprian Mureșan| Vlad Nancă | Rosalind Nashashibi | Georgeta Năpăruș | Paul Neagu | Miklós Onucsán | Andrei Pandele | Jules Perahim | Milița Petrașcu | Joanna Piotrowska | Laurian Popa | Silvia Radu | Gheorghe Rasovszky | Eugen Roșca| Serban Savu | Mircea Suciu | Doru Tulcan

Edited by Nicola Trezzi (@nicola.trezzi), this volume brings together the vast production of the Romanian artist Radu Comșa (@raducomsha). The idea of “painting overall,” or “expanded painting,” provides a key to understanding Comșa’s work.

Incorporating divagations, extractions, and references, Comșa’s “transcriptions” (from one material to another, from one shape to another, from one conceptual frame to another) refer to the art object as a form of intellectual replica of the artist’s own design of thoughts. His diagrammatic transcriptions (plates of cast concrete or mixed-media painting-objects informed by his interest in modernist architecture, concrete poetry, and atonal music) operate as visual morphemes expected to collide and further release extra meaning.

The monograph “Radu Comșa” features a conversation between the artist and Nicola Trezzi, as well as texts by Bogdan Iacob (@bogdaniacobt) and Tea Vindt (@teavindt).

Edited by Nicola Trezzi (@nicola.trezzi), this volume brings together the vast production of the Romanian artist Radu Comșa (@raducomsha). The idea of “painting overall,” or “expanded painting,” provides a key to understanding Comșa’s work.

Incorporating divagations, extractions, and references, Comșa’s “transcriptions” (from one material to another, from one shape to another, from one conceptual frame to another) refer to the art object as a form of intellectual replica of the artist’s own design of thoughts. His diagrammatic transcriptions (plates of cast concrete or mixed-media painting-objects informed by his interest in modernist architecture, concrete poetry, and atonal music) operate as visual morphemes expected to collide and further release extra meaning.

The monograph “Radu Comșa” features a conversation between the artist and Nicola Trezzi, as well as texts by Bogdan Iacob (@bogdaniacobt) and Tea Vindt (@teavindt).

Edited by Nicola Trezzi (@nicola.trezzi), this volume brings together the vast production of the Romanian artist Radu Comșa (@raducomsha). The idea of “painting overall,” or “expanded painting,” provides a key to understanding Comșa’s work.

Incorporating divagations, extractions, and references, Comșa’s “transcriptions” (from one material to another, from one shape to another, from one conceptual frame to another) refer to the art object as a form of intellectual replica of the artist’s own design of thoughts. His diagrammatic transcriptions (plates of cast concrete or mixed-media painting-objects informed by his interest in modernist architecture, concrete poetry, and atonal music) operate as visual morphemes expected to collide and further release extra meaning.

The monograph “Radu Comșa” features a conversation between the artist and Nicola Trezzi, as well as texts by Bogdan Iacob (@bogdaniacobt) and Tea Vindt (@teavindt).

Edited by Nicola Trezzi (@nicola.trezzi), this volume brings together the vast production of the Romanian artist Radu Comșa (@raducomsha). The idea of “painting overall,” or “expanded painting,” provides a key to understanding Comșa’s work.

Incorporating divagations, extractions, and references, Comșa’s “transcriptions” (from one material to another, from one shape to another, from one conceptual frame to another) refer to the art object as a form of intellectual replica of the artist’s own design of thoughts. His diagrammatic transcriptions (plates of cast concrete or mixed-media painting-objects informed by his interest in modernist architecture, concrete poetry, and atonal music) operate as visual morphemes expected to collide and further release extra meaning.

The monograph “Radu Comșa” features a conversation between the artist and Nicola Trezzi, as well as texts by Bogdan Iacob (@bogdaniacobt) and Tea Vindt (@teavindt).

Edited by Nicola Trezzi (@nicola.trezzi), this volume brings together the vast production of the Romanian artist Radu Comșa (@raducomsha). The idea of “painting overall,” or “expanded painting,” provides a key to understanding Comșa’s work.

Incorporating divagations, extractions, and references, Comșa’s “transcriptions” (from one material to another, from one shape to another, from one conceptual frame to another) refer to the art object as a form of intellectual replica of the artist’s own design of thoughts. His diagrammatic transcriptions (plates of cast concrete or mixed-media painting-objects informed by his interest in modernist architecture, concrete poetry, and atonal music) operate as visual morphemes expected to collide and further release extra meaning.

The monograph “Radu Comșa” features a conversation between the artist and Nicola Trezzi, as well as texts by Bogdan Iacob (@bogdaniacobt) and Tea Vindt (@teavindt).

Edited by Nicola Trezzi (@nicola.trezzi), this volume brings together the vast production of the Romanian artist Radu Comșa (@raducomsha). The idea of “painting overall,” or “expanded painting,” provides a key to understanding Comșa’s work.

Incorporating divagations, extractions, and references, Comșa’s “transcriptions” (from one material to another, from one shape to another, from one conceptual frame to another) refer to the art object as a form of intellectual replica of the artist’s own design of thoughts. His diagrammatic transcriptions (plates of cast concrete or mixed-media painting-objects informed by his interest in modernist architecture, concrete poetry, and atonal music) operate as visual morphemes expected to collide and further release extra meaning.

The monograph “Radu Comșa” features a conversation between the artist and Nicola Trezzi, as well as texts by Bogdan Iacob (@bogdaniacobt) and Tea Vindt (@teavindt).

Edited by Nicola Trezzi (@nicola.trezzi), this volume brings together the vast production of the Romanian artist Radu Comșa (@raducomsha). The idea of “painting overall,” or “expanded painting,” provides a key to understanding Comșa’s work.

Incorporating divagations, extractions, and references, Comșa’s “transcriptions” (from one material to another, from one shape to another, from one conceptual frame to another) refer to the art object as a form of intellectual replica of the artist’s own design of thoughts. His diagrammatic transcriptions (plates of cast concrete or mixed-media painting-objects informed by his interest in modernist architecture, concrete poetry, and atonal music) operate as visual morphemes expected to collide and further release extra meaning.

The monograph “Radu Comșa” features a conversation between the artist and Nicola Trezzi, as well as texts by Bogdan Iacob (@bogdaniacobt) and Tea Vindt (@teavindt).

Edited by Nicola Trezzi (@nicola.trezzi), this volume brings together the vast production of the Romanian artist Radu Comșa (@raducomsha). The idea of “painting overall,” or “expanded painting,” provides a key to understanding Comșa’s work.

Incorporating divagations, extractions, and references, Comșa’s “transcriptions” (from one material to another, from one shape to another, from one conceptual frame to another) refer to the art object as a form of intellectual replica of the artist’s own design of thoughts. His diagrammatic transcriptions (plates of cast concrete or mixed-media painting-objects informed by his interest in modernist architecture, concrete poetry, and atonal music) operate as visual morphemes expected to collide and further release extra meaning.

The monograph “Radu Comșa” features a conversation between the artist and Nicola Trezzi, as well as texts by Bogdan Iacob (@bogdaniacobt) and Tea Vindt (@teavindt).

Edited by Nicola Trezzi (@nicola.trezzi), this volume brings together the vast production of the Romanian artist Radu Comșa (@raducomsha). The idea of “painting overall,” or “expanded painting,” provides a key to understanding Comșa’s work.

Incorporating divagations, extractions, and references, Comșa’s “transcriptions” (from one material to another, from one shape to another, from one conceptual frame to another) refer to the art object as a form of intellectual replica of the artist’s own design of thoughts. His diagrammatic transcriptions (plates of cast concrete or mixed-media painting-objects informed by his interest in modernist architecture, concrete poetry, and atonal music) operate as visual morphemes expected to collide and further release extra meaning.

The monograph “Radu Comșa” features a conversation between the artist and Nicola Trezzi, as well as texts by Bogdan Iacob (@bogdaniacobt) and Tea Vindt (@teavindt).

Edited by Nicola Trezzi (@nicola.trezzi), this volume brings together the vast production of the Romanian artist Radu Comșa (@raducomsha). The idea of “painting overall,” or “expanded painting,” provides a key to understanding Comșa’s work.

Incorporating divagations, extractions, and references, Comșa’s “transcriptions” (from one material to another, from one shape to another, from one conceptual frame to another) refer to the art object as a form of intellectual replica of the artist’s own design of thoughts. His diagrammatic transcriptions (plates of cast concrete or mixed-media painting-objects informed by his interest in modernist architecture, concrete poetry, and atonal music) operate as visual morphemes expected to collide and further release extra meaning.

The monograph “Radu Comșa” features a conversation between the artist and Nicola Trezzi, as well as texts by Bogdan Iacob (@bogdaniacobt) and Tea Vindt (@teavindt).

Radu Comsa’s bicycle. Paintjob inspired after his artwork Griffonage.

Radu Comsa’s bicycle. Paintjob inspired after his artwork Griffonage.

Radu Comsa’s bicycle. Paintjob inspired after his artwork Griffonage.

Radu Comsa’s bicycle. Paintjob inspired after his artwork Griffonage.

Radu Comsa’s bicycle. Paintjob inspired after his artwork Griffonage.

Radu Comsa’s bicycle. Paintjob inspired after his artwork Griffonage.

Radu Comsa’s bicycle. Paintjob inspired after his artwork Griffonage.

Radu Comsa’s bicycle. Paintjob inspired after his artwork Griffonage.

Radu Comsa’s bicycle. Paintjob inspired after his artwork Griffonage.

Radu Comsa’s bicycle. Paintjob inspired after his artwork Griffonage.

@invitro__gallery
@emmanuelherve
BLUE
30.11.2024 – 28.02.2025

A change in form or – to employ a commonly used term in Radu Comșa’s practice – a transcription of his performative action “Blue”, which he has photographically documented in 2013, the exhibition focuses on one of the artist’s ‘behind the scenes’ concerns, namely the exploration of all the meaning-making capacities of the art object.
We are presented with twelve blue canvases folded successively, until exhaustion, which can be regarded as an exercise that involves the application of geometric principles in art, inspired in this case by Britney Gallivan’s theory of paper folding, or as a practical demonstration, an extension of the abstract-geometry in Comșa’s painting.
Photo credit: @yap.studio

@invitro__gallery
@emmanuelherve
BLUE
30.11.2024 – 28.02.2025

A change in form or – to employ a commonly used term in Radu Comșa’s practice – a transcription of his performative action “Blue”, which he has photographically documented in 2013, the exhibition focuses on one of the artist’s ‘behind the scenes’ concerns, namely the exploration of all the meaning-making capacities of the art object.
We are presented with twelve blue canvases folded successively, until exhaustion, which can be regarded as an exercise that involves the application of geometric principles in art, inspired in this case by Britney Gallivan’s theory of paper folding, or as a practical demonstration, an extension of the abstract-geometry in Comșa’s painting.
Photo credit: @yap.studio

@invitro__gallery
@emmanuelherve
BLUE
30.11.2024 – 28.02.2025

A change in form or – to employ a commonly used term in Radu Comșa’s practice – a transcription of his performative action “Blue”, which he has photographically documented in 2013, the exhibition focuses on one of the artist’s ‘behind the scenes’ concerns, namely the exploration of all the meaning-making capacities of the art object.
We are presented with twelve blue canvases folded successively, until exhaustion, which can be regarded as an exercise that involves the application of geometric principles in art, inspired in this case by Britney Gallivan’s theory of paper folding, or as a practical demonstration, an extension of the abstract-geometry in Comșa’s painting.
Photo credit: @yap.studio

@invitro__gallery
@emmanuelherve
BLUE
30.11.2024 – 28.02.2025

A change in form or – to employ a commonly used term in Radu Comșa’s practice – a transcription of his performative action “Blue”, which he has photographically documented in 2013, the exhibition focuses on one of the artist’s ‘behind the scenes’ concerns, namely the exploration of all the meaning-making capacities of the art object.
We are presented with twelve blue canvases folded successively, until exhaustion, which can be regarded as an exercise that involves the application of geometric principles in art, inspired in this case by Britney Gallivan’s theory of paper folding, or as a practical demonstration, an extension of the abstract-geometry in Comșa’s painting.
Photo credit: @yap.studio

@invitro__gallery
@emmanuelherve
BLUE
30.11.2024 – 28.02.2025

A change in form or – to employ a commonly used term in Radu Comșa’s practice – a transcription of his performative action “Blue”, which he has photographically documented in 2013, the exhibition focuses on one of the artist’s ‘behind the scenes’ concerns, namely the exploration of all the meaning-making capacities of the art object.
We are presented with twelve blue canvases folded successively, until exhaustion, which can be regarded as an exercise that involves the application of geometric principles in art, inspired in this case by Britney Gallivan’s theory of paper folding, or as a practical demonstration, an extension of the abstract-geometry in Comșa’s painting.
Photo credit: @yap.studio

@invitro__gallery
@emmanuelherve
BLUE
30.11.2024 – 28.02.2025

A change in form or – to employ a commonly used term in Radu Comșa’s practice – a transcription of his performative action “Blue”, which he has photographically documented in 2013, the exhibition focuses on one of the artist’s ‘behind the scenes’ concerns, namely the exploration of all the meaning-making capacities of the art object.
We are presented with twelve blue canvases folded successively, until exhaustion, which can be regarded as an exercise that involves the application of geometric principles in art, inspired in this case by Britney Gallivan’s theory of paper folding, or as a practical demonstration, an extension of the abstract-geometry in Comșa’s painting.
Photo credit: @yap.studio

@invitro__gallery
@emmanuelherve
BLUE
30.11.2024 – 28.02.2025

A change in form or – to employ a commonly used term in Radu Comșa’s practice – a transcription of his performative action “Blue”, which he has photographically documented in 2013, the exhibition focuses on one of the artist’s ‘behind the scenes’ concerns, namely the exploration of all the meaning-making capacities of the art object.
We are presented with twelve blue canvases folded successively, until exhaustion, which can be regarded as an exercise that involves the application of geometric principles in art, inspired in this case by Britney Gallivan’s theory of paper folding, or as a practical demonstration, an extension of the abstract-geometry in Comșa’s painting.
Photo credit: @yap.studio

@invitro__gallery
@emmanuelherve
BLUE
30.11.2024 – 28.02.2025

A change in form or – to employ a commonly used term in Radu Comșa’s practice – a transcription of his performative action “Blue”, which he has photographically documented in 2013, the exhibition focuses on one of the artist’s ‘behind the scenes’ concerns, namely the exploration of all the meaning-making capacities of the art object.
We are presented with twelve blue canvases folded successively, until exhaustion, which can be regarded as an exercise that involves the application of geometric principles in art, inspired in this case by Britney Gallivan’s theory of paper folding, or as a practical demonstration, an extension of the abstract-geometry in Comșa’s painting.
Photo credit: @yap.studio

@invitro__gallery
@emmanuelherve
BLUE
30.11.2024 – 28.02.2025

A change in form or – to employ a commonly used term in Radu Comșa’s practice – a transcription of his performative action “Blue”, which he has photographically documented in 2013, the exhibition focuses on one of the artist’s ‘behind the scenes’ concerns, namely the exploration of all the meaning-making capacities of the art object.
We are presented with twelve blue canvases folded successively, until exhaustion, which can be regarded as an exercise that involves the application of geometric principles in art, inspired in this case by Britney Gallivan’s theory of paper folding, or as a practical demonstration, an extension of the abstract-geometry in Comșa’s painting.
Photo credit: @yap.studio

@invitro__gallery
@emmanuelherve
BLUE
30.11.2024 – 28.02.2025

A change in form or – to employ a commonly used term in Radu Comșa’s practice – a transcription of his performative action “Blue”, which he has photographically documented in 2013, the exhibition focuses on one of the artist’s ‘behind the scenes’ concerns, namely the exploration of all the meaning-making capacities of the art object.
We are presented with twelve blue canvases folded successively, until exhaustion, which can be regarded as an exercise that involves the application of geometric principles in art, inspired in this case by Britney Gallivan’s theory of paper folding, or as a practical demonstration, an extension of the abstract-geometry in Comșa’s painting.
Photo credit: @yap.studio