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#ListeGalleries Suprainfinit, Bucharest @suprainfinitgallery presents David Farcaș @farkkasdavid and Daria Koltsova @koltsovadarya

Suprainfinit and Temnikova & Kasela present a joint booth with works by David Farcaș, Daria Koltsova, and Johanna Ulfsak. Through painting, sculpture and textile, they examine how images and gestures shape meaning within landscapes marked by affect, conflict, and mediated realities. Farcaș paints perceptual realms between memory and observation, Ulfsak weaves layered narratives from everyday symbols, while Koltsova’s sculptures address protection, vulnerability, and resilience in contexts of war.

Images:
1: The Fisherman by David Farcaș, 2025
2: Portrait of the artist, David Farcaș
3: The Kiosk (installation view at Temnikova & Kasela) by Daria Koltsova, 2025 (Photo: Stanislav Stepaško)
4: Portrait of the artist, Daria Koltsova (Photo: Julia Lormis)

Courtesy:
The Artists and Suprainfinit

Liste
15–21 June 2026
Hall 1.1, Messe Basel

#Liste2026 #ListeArtFairBasel

#ListeGalleries Suprainfinit, Bucharest @suprainfinitgallery presents David Farcaș @farkkasdavid and Daria Koltsova @koltsovadarya

Suprainfinit and Temnikova & Kasela present a joint booth with works by David Farcaș, Daria Koltsova, and Johanna Ulfsak. Through painting, sculpture and textile, they examine how images and gestures shape meaning within landscapes marked by affect, conflict, and mediated realities. Farcaș paints perceptual realms between memory and observation, Ulfsak weaves layered narratives from everyday symbols, while Koltsova’s sculptures address protection, vulnerability, and resilience in contexts of war.

Images:
1: The Fisherman by David Farcaș, 2025
2: Portrait of the artist, David Farcaș
3: The Kiosk (installation view at Temnikova & Kasela) by Daria Koltsova, 2025 (Photo: Stanislav Stepaško)
4: Portrait of the artist, Daria Koltsova (Photo: Julia Lormis)

Courtesy:
The Artists and Suprainfinit

Liste
15–21 June 2026
Hall 1.1, Messe Basel

#Liste2026 #ListeArtFairBasel

#ListeGalleries Suprainfinit, Bucharest @suprainfinitgallery presents David Farcaș @farkkasdavid and Daria Koltsova @koltsovadarya

Suprainfinit and Temnikova & Kasela present a joint booth with works by David Farcaș, Daria Koltsova, and Johanna Ulfsak. Through painting, sculpture and textile, they examine how images and gestures shape meaning within landscapes marked by affect, conflict, and mediated realities. Farcaș paints perceptual realms between memory and observation, Ulfsak weaves layered narratives from everyday symbols, while Koltsova’s sculptures address protection, vulnerability, and resilience in contexts of war.

Images:
1: The Fisherman by David Farcaș, 2025
2: Portrait of the artist, David Farcaș
3: The Kiosk (installation view at Temnikova & Kasela) by Daria Koltsova, 2025 (Photo: Stanislav Stepaško)
4: Portrait of the artist, Daria Koltsova (Photo: Julia Lormis)

Courtesy:
The Artists and Suprainfinit

Liste
15–21 June 2026
Hall 1.1, Messe Basel

#Liste2026 #ListeArtFairBasel

#ListeGalleries Suprainfinit, Bucharest @suprainfinitgallery presents David Farcaș @farkkasdavid and Daria Koltsova @koltsovadarya

Suprainfinit and Temnikova & Kasela present a joint booth with works by David Farcaș, Daria Koltsova, and Johanna Ulfsak. Through painting, sculpture and textile, they examine how images and gestures shape meaning within landscapes marked by affect, conflict, and mediated realities. Farcaș paints perceptual realms between memory and observation, Ulfsak weaves layered narratives from everyday symbols, while Koltsova’s sculptures address protection, vulnerability, and resilience in contexts of war.

Images:
1: The Fisherman by David Farcaș, 2025
2: Portrait of the artist, David Farcaș
3: The Kiosk (installation view at Temnikova & Kasela) by Daria Koltsova, 2025 (Photo: Stanislav Stepaško)
4: Portrait of the artist, Daria Koltsova (Photo: Julia Lormis)

Courtesy:
The Artists and Suprainfinit

Liste
15–21 June 2026
Hall 1.1, Messe Basel

#Liste2026 #ListeArtFairBasel

🗽 We’re excited to announce SUPRAINFINIT’s participation in Independent Art Fair New York 2026 with a solo presentation by Romanian artist Larisa Sitar.

✨ Known for its distinctive approach to contemporary art and curatorial experimentation, Independent brings together galleries and artists shaping today’s international art landscape. For this edition, SUPRAINFINIT presents a new body of work by Larisa Sitar — marking the artist’s New York debut and an important moment for contemporary Romanian art on the global stage.

🏛️ Dedicated to conceptual art practices from Eastern and Central Europe, SUPRAINFINIT has become an active presence within Bucharest’s contemporary art scene, supporting emerging, mid-career, and established artists through exhibitions, newly commissioned works, large-scale installations, and public programming. At Independent, the gallery continues its commitment to presenting practices that engage critically with materiality, history, architecture, and social transformation.

🪨 Larisa Sitar’s works move between sculpture, relief, and spatial intervention, using concrete as both medium and political metaphor. Drawing from the visual language of modernism, social realism, and brutalism, her practice reflects on memory, ideology, and the shifting relationship between the human body and built environments.

📍 We look forward to welcoming you at Booth 111.

🖼️ Independent Art Fair 2026
📍 Pier 36, New York
📅 May 14–17, 2026

🤝 This project is supported by the Romanian Cultural Institute in New York.

🔗 More details:
https://www.rciusa.info/events/romanian-artist-larisa-sitars-debut-in-new-york

#IndependentArtFair #SuprainfinitGallery #LarisaSitar

Amazing installation by @victoriazidaru for @rad.fair 2026.
Presented by @suprainfinitgallery
Specila thanks to the amazing team of @kaustik.ro for making it possible ❤️

Foto credit: @yap.studio🤍

Amazing installation by @victoriazidaru for @rad.fair 2026.
Presented by @suprainfinitgallery
Specila thanks to the amazing team of @kaustik.ro for making it possible ❤️

Foto credit: @yap.studio🤍

Amazing installation by @victoriazidaru for @rad.fair 2026.
Presented by @suprainfinitgallery
Specila thanks to the amazing team of @kaustik.ro for making it possible ❤️

Foto credit: @yap.studio🤍

Amazing installation by @victoriazidaru for @rad.fair 2026.
Presented by @suprainfinitgallery
Specila thanks to the amazing team of @kaustik.ro for making it possible ❤️

Foto credit: @yap.studio🤍

Amazing installation by @victoriazidaru for @rad.fair 2026.
Presented by @suprainfinitgallery
Specila thanks to the amazing team of @kaustik.ro for making it possible ❤️

Foto credit: @yap.studio🤍

Amazing installation by @victoriazidaru for @rad.fair 2026.
Presented by @suprainfinitgallery
Specila thanks to the amazing team of @kaustik.ro for making it possible ❤️

Foto credit: @yap.studio🤍

Amazing installation by @victoriazidaru for @rad.fair 2026.
Presented by @suprainfinitgallery
Specila thanks to the amazing team of @kaustik.ro for making it possible ❤️

Foto credit: @yap.studio🤍

Amazing installation by @victoriazidaru for @rad.fair 2026.
Presented by @suprainfinitgallery
Specila thanks to the amazing team of @kaustik.ro for making it possible ❤️

Foto credit: @yap.studio🤍

Amazing installation by @victoriazidaru for @rad.fair 2026.
Presented by @suprainfinitgallery
Specila thanks to the amazing team of @kaustik.ro for making it possible ❤️

Foto credit: @yap.studio🤍

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

Eyelash Fortress marks Indriķis Ģelzis’s third solo exhibition with Suprainfinit, transforming the gallery into an odyssey that navigates between reality and dream, awakening and digital frenzy. Hovering across shifting conditions of form, attitude, and economy, the artist’s practice unfolds as a continuous excavation within the shattering flux that surrounds society and underpins every relationship.

Indrikis Gelzis (LV, 1988) lives and works in Riga. He holds an MA in Visual Communication from the Art Academy of Latvia, Riga (LV) and a Post-Graduate degree from HISK – Higher Institute for Fine Art (BE). He had exhibitions at a.o. Polina Berlin, NY (US); Kim? Contemporary Art Centre, Riga (LV); Castor, London (UK); ASHES/ASHES NY (US); King’s Leap, NY
(US); SUPRAINFINIT, Bucharest (RO); Tatjana Pieters, Ghent (BE); CAC Vilnius, Kim? Contemporary Art Centre Riga / Milwaukee Sculpture (US), among others.
@indrikisgelzis

Photo credit: Alexandru Paul

ECHOES
A series of public interventions in Venice during @labiennale
By Daria Koltsova
From 5–9 May, Ukrainian artist Daria Koltsova presents Echoes, a series of unsignaled public interventions surrounding the Venice Biennale Arsenale in Venice.
The project continues Koltsova’s long-term practice of working with fragile traces, absence, and the ways violence quietly enters everyday space. Her works often begin from what remains after catastrophe: fragments, interrupted rituals, objects carrying memory, or the physical marks left by history on bodies and materials.

In Venice, laundry lines cross the city everywhere. Clothes hanging above the streets reveal invisible narratives about those who inhabit these spaces and how they live. For Koltsova, these suspended garments became both image and language.
The intervention also refers to the Venetian street Tana, whose name originates from the Azov region, historically connected to Venice through the production of rope materials for ships. Through this historical echo, the work creates an unexpected connection between Venice and contemporary Ukraine.
Installed throughout the area surrounding the Arsenale, the project consists of real military uniforms suspended on Venetian laundry lines. The uniforms were donated by Ukrainian artists currently serving in the war, by women soldiers, and by members of the Azov brigade. Many of these garments were worn in combat in some of the most heavily affected areas of the war. They still carry names, marks of use, and traces of injury.

Deliberately, the intervention contains no explanatory text and no author attribution. The absence of framing is central to the work. Viewers encountering the uniforms in public space are left uncertain whether they are witnessing an artwork or the temporary presence of actual soldiers. This ambiguity introduces a subtle but persistent sense of anxiety.
Within the context of the Venice Biennale — one of the most visible events in the international art world — Echoes functions as a reminder that war does not disappear when it leaves the front page.
The intervention can be encountered around the Arsenale, Venice, from 5–9 May 2026.
@koltsovadarya

ECHOES
A series of public interventions in Venice during @labiennale
By Daria Koltsova
From 5–9 May, Ukrainian artist Daria Koltsova presents Echoes, a series of unsignaled public interventions surrounding the Venice Biennale Arsenale in Venice.
The project continues Koltsova’s long-term practice of working with fragile traces, absence, and the ways violence quietly enters everyday space. Her works often begin from what remains after catastrophe: fragments, interrupted rituals, objects carrying memory, or the physical marks left by history on bodies and materials.

In Venice, laundry lines cross the city everywhere. Clothes hanging above the streets reveal invisible narratives about those who inhabit these spaces and how they live. For Koltsova, these suspended garments became both image and language.
The intervention also refers to the Venetian street Tana, whose name originates from the Azov region, historically connected to Venice through the production of rope materials for ships. Through this historical echo, the work creates an unexpected connection between Venice and contemporary Ukraine.
Installed throughout the area surrounding the Arsenale, the project consists of real military uniforms suspended on Venetian laundry lines. The uniforms were donated by Ukrainian artists currently serving in the war, by women soldiers, and by members of the Azov brigade. Many of these garments were worn in combat in some of the most heavily affected areas of the war. They still carry names, marks of use, and traces of injury.

Deliberately, the intervention contains no explanatory text and no author attribution. The absence of framing is central to the work. Viewers encountering the uniforms in public space are left uncertain whether they are witnessing an artwork or the temporary presence of actual soldiers. This ambiguity introduces a subtle but persistent sense of anxiety.
Within the context of the Venice Biennale — one of the most visible events in the international art world — Echoes functions as a reminder that war does not disappear when it leaves the front page.
The intervention can be encountered around the Arsenale, Venice, from 5–9 May 2026.
@koltsovadarya

ECHOES
A series of public interventions in Venice during @labiennale
By Daria Koltsova
From 5–9 May, Ukrainian artist Daria Koltsova presents Echoes, a series of unsignaled public interventions surrounding the Venice Biennale Arsenale in Venice.
The project continues Koltsova’s long-term practice of working with fragile traces, absence, and the ways violence quietly enters everyday space. Her works often begin from what remains after catastrophe: fragments, interrupted rituals, objects carrying memory, or the physical marks left by history on bodies and materials.

In Venice, laundry lines cross the city everywhere. Clothes hanging above the streets reveal invisible narratives about those who inhabit these spaces and how they live. For Koltsova, these suspended garments became both image and language.
The intervention also refers to the Venetian street Tana, whose name originates from the Azov region, historically connected to Venice through the production of rope materials for ships. Through this historical echo, the work creates an unexpected connection between Venice and contemporary Ukraine.
Installed throughout the area surrounding the Arsenale, the project consists of real military uniforms suspended on Venetian laundry lines. The uniforms were donated by Ukrainian artists currently serving in the war, by women soldiers, and by members of the Azov brigade. Many of these garments were worn in combat in some of the most heavily affected areas of the war. They still carry names, marks of use, and traces of injury.

Deliberately, the intervention contains no explanatory text and no author attribution. The absence of framing is central to the work. Viewers encountering the uniforms in public space are left uncertain whether they are witnessing an artwork or the temporary presence of actual soldiers. This ambiguity introduces a subtle but persistent sense of anxiety.
Within the context of the Venice Biennale — one of the most visible events in the international art world — Echoes functions as a reminder that war does not disappear when it leaves the front page.
The intervention can be encountered around the Arsenale, Venice, from 5–9 May 2026.
@koltsovadarya

ECHOES
A series of public interventions in Venice during @labiennale
By Daria Koltsova
From 5–9 May, Ukrainian artist Daria Koltsova presents Echoes, a series of unsignaled public interventions surrounding the Venice Biennale Arsenale in Venice.
The project continues Koltsova’s long-term practice of working with fragile traces, absence, and the ways violence quietly enters everyday space. Her works often begin from what remains after catastrophe: fragments, interrupted rituals, objects carrying memory, or the physical marks left by history on bodies and materials.

In Venice, laundry lines cross the city everywhere. Clothes hanging above the streets reveal invisible narratives about those who inhabit these spaces and how they live. For Koltsova, these suspended garments became both image and language.
The intervention also refers to the Venetian street Tana, whose name originates from the Azov region, historically connected to Venice through the production of rope materials for ships. Through this historical echo, the work creates an unexpected connection between Venice and contemporary Ukraine.
Installed throughout the area surrounding the Arsenale, the project consists of real military uniforms suspended on Venetian laundry lines. The uniforms were donated by Ukrainian artists currently serving in the war, by women soldiers, and by members of the Azov brigade. Many of these garments were worn in combat in some of the most heavily affected areas of the war. They still carry names, marks of use, and traces of injury.

Deliberately, the intervention contains no explanatory text and no author attribution. The absence of framing is central to the work. Viewers encountering the uniforms in public space are left uncertain whether they are witnessing an artwork or the temporary presence of actual soldiers. This ambiguity introduces a subtle but persistent sense of anxiety.
Within the context of the Venice Biennale — one of the most visible events in the international art world — Echoes functions as a reminder that war does not disappear when it leaves the front page.
The intervention can be encountered around the Arsenale, Venice, from 5–9 May 2026.
@koltsovadarya

ECHOES
A series of public interventions in Venice during @labiennale
By Daria Koltsova
From 5–9 May, Ukrainian artist Daria Koltsova presents Echoes, a series of unsignaled public interventions surrounding the Venice Biennale Arsenale in Venice.
The project continues Koltsova’s long-term practice of working with fragile traces, absence, and the ways violence quietly enters everyday space. Her works often begin from what remains after catastrophe: fragments, interrupted rituals, objects carrying memory, or the physical marks left by history on bodies and materials.

In Venice, laundry lines cross the city everywhere. Clothes hanging above the streets reveal invisible narratives about those who inhabit these spaces and how they live. For Koltsova, these suspended garments became both image and language.
The intervention also refers to the Venetian street Tana, whose name originates from the Azov region, historically connected to Venice through the production of rope materials for ships. Through this historical echo, the work creates an unexpected connection between Venice and contemporary Ukraine.
Installed throughout the area surrounding the Arsenale, the project consists of real military uniforms suspended on Venetian laundry lines. The uniforms were donated by Ukrainian artists currently serving in the war, by women soldiers, and by members of the Azov brigade. Many of these garments were worn in combat in some of the most heavily affected areas of the war. They still carry names, marks of use, and traces of injury.

Deliberately, the intervention contains no explanatory text and no author attribution. The absence of framing is central to the work. Viewers encountering the uniforms in public space are left uncertain whether they are witnessing an artwork or the temporary presence of actual soldiers. This ambiguity introduces a subtle but persistent sense of anxiety.
Within the context of the Venice Biennale — one of the most visible events in the international art world — Echoes functions as a reminder that war does not disappear when it leaves the front page.
The intervention can be encountered around the Arsenale, Venice, from 5–9 May 2026.
@koltsovadarya

ECHOES
A series of public interventions in Venice during @labiennale
By Daria Koltsova
From 5–9 May, Ukrainian artist Daria Koltsova presents Echoes, a series of unsignaled public interventions surrounding the Venice Biennale Arsenale in Venice.
The project continues Koltsova’s long-term practice of working with fragile traces, absence, and the ways violence quietly enters everyday space. Her works often begin from what remains after catastrophe: fragments, interrupted rituals, objects carrying memory, or the physical marks left by history on bodies and materials.

In Venice, laundry lines cross the city everywhere. Clothes hanging above the streets reveal invisible narratives about those who inhabit these spaces and how they live. For Koltsova, these suspended garments became both image and language.
The intervention also refers to the Venetian street Tana, whose name originates from the Azov region, historically connected to Venice through the production of rope materials for ships. Through this historical echo, the work creates an unexpected connection between Venice and contemporary Ukraine.
Installed throughout the area surrounding the Arsenale, the project consists of real military uniforms suspended on Venetian laundry lines. The uniforms were donated by Ukrainian artists currently serving in the war, by women soldiers, and by members of the Azov brigade. Many of these garments were worn in combat in some of the most heavily affected areas of the war. They still carry names, marks of use, and traces of injury.

Deliberately, the intervention contains no explanatory text and no author attribution. The absence of framing is central to the work. Viewers encountering the uniforms in public space are left uncertain whether they are witnessing an artwork or the temporary presence of actual soldiers. This ambiguity introduces a subtle but persistent sense of anxiety.
Within the context of the Venice Biennale — one of the most visible events in the international art world — Echoes functions as a reminder that war does not disappear when it leaves the front page.
The intervention can be encountered around the Arsenale, Venice, from 5–9 May 2026.
@koltsovadarya

ECHOES
A series of public interventions in Venice during @labiennale
By Daria Koltsova
From 5–9 May, Ukrainian artist Daria Koltsova presents Echoes, a series of unsignaled public interventions surrounding the Venice Biennale Arsenale in Venice.
The project continues Koltsova’s long-term practice of working with fragile traces, absence, and the ways violence quietly enters everyday space. Her works often begin from what remains after catastrophe: fragments, interrupted rituals, objects carrying memory, or the physical marks left by history on bodies and materials.

In Venice, laundry lines cross the city everywhere. Clothes hanging above the streets reveal invisible narratives about those who inhabit these spaces and how they live. For Koltsova, these suspended garments became both image and language.
The intervention also refers to the Venetian street Tana, whose name originates from the Azov region, historically connected to Venice through the production of rope materials for ships. Through this historical echo, the work creates an unexpected connection between Venice and contemporary Ukraine.
Installed throughout the area surrounding the Arsenale, the project consists of real military uniforms suspended on Venetian laundry lines. The uniforms were donated by Ukrainian artists currently serving in the war, by women soldiers, and by members of the Azov brigade. Many of these garments were worn in combat in some of the most heavily affected areas of the war. They still carry names, marks of use, and traces of injury.

Deliberately, the intervention contains no explanatory text and no author attribution. The absence of framing is central to the work. Viewers encountering the uniforms in public space are left uncertain whether they are witnessing an artwork or the temporary presence of actual soldiers. This ambiguity introduces a subtle but persistent sense of anxiety.
Within the context of the Venice Biennale — one of the most visible events in the international art world — Echoes functions as a reminder that war does not disappear when it leaves the front page.
The intervention can be encountered around the Arsenale, Venice, from 5–9 May 2026.
@koltsovadarya

ECHOES
A series of public interventions in Venice during @labiennale
By Daria Koltsova
From 5–9 May, Ukrainian artist Daria Koltsova presents Echoes, a series of unsignaled public interventions surrounding the Venice Biennale Arsenale in Venice.
The project continues Koltsova’s long-term practice of working with fragile traces, absence, and the ways violence quietly enters everyday space. Her works often begin from what remains after catastrophe: fragments, interrupted rituals, objects carrying memory, or the physical marks left by history on bodies and materials.

In Venice, laundry lines cross the city everywhere. Clothes hanging above the streets reveal invisible narratives about those who inhabit these spaces and how they live. For Koltsova, these suspended garments became both image and language.
The intervention also refers to the Venetian street Tana, whose name originates from the Azov region, historically connected to Venice through the production of rope materials for ships. Through this historical echo, the work creates an unexpected connection between Venice and contemporary Ukraine.
Installed throughout the area surrounding the Arsenale, the project consists of real military uniforms suspended on Venetian laundry lines. The uniforms were donated by Ukrainian artists currently serving in the war, by women soldiers, and by members of the Azov brigade. Many of these garments were worn in combat in some of the most heavily affected areas of the war. They still carry names, marks of use, and traces of injury.

Deliberately, the intervention contains no explanatory text and no author attribution. The absence of framing is central to the work. Viewers encountering the uniforms in public space are left uncertain whether they are witnessing an artwork or the temporary presence of actual soldiers. This ambiguity introduces a subtle but persistent sense of anxiety.
Within the context of the Venice Biennale — one of the most visible events in the international art world — Echoes functions as a reminder that war does not disappear when it leaves the front page.
The intervention can be encountered around the Arsenale, Venice, from 5–9 May 2026.
@koltsovadarya

ECHOES
A series of public interventions in Venice during @labiennale
By Daria Koltsova
From 5–9 May, Ukrainian artist Daria Koltsova presents Echoes, a series of unsignaled public interventions surrounding the Venice Biennale Arsenale in Venice.
The project continues Koltsova’s long-term practice of working with fragile traces, absence, and the ways violence quietly enters everyday space. Her works often begin from what remains after catastrophe: fragments, interrupted rituals, objects carrying memory, or the physical marks left by history on bodies and materials.

In Venice, laundry lines cross the city everywhere. Clothes hanging above the streets reveal invisible narratives about those who inhabit these spaces and how they live. For Koltsova, these suspended garments became both image and language.
The intervention also refers to the Venetian street Tana, whose name originates from the Azov region, historically connected to Venice through the production of rope materials for ships. Through this historical echo, the work creates an unexpected connection between Venice and contemporary Ukraine.
Installed throughout the area surrounding the Arsenale, the project consists of real military uniforms suspended on Venetian laundry lines. The uniforms were donated by Ukrainian artists currently serving in the war, by women soldiers, and by members of the Azov brigade. Many of these garments were worn in combat in some of the most heavily affected areas of the war. They still carry names, marks of use, and traces of injury.

Deliberately, the intervention contains no explanatory text and no author attribution. The absence of framing is central to the work. Viewers encountering the uniforms in public space are left uncertain whether they are witnessing an artwork or the temporary presence of actual soldiers. This ambiguity introduces a subtle but persistent sense of anxiety.
Within the context of the Venice Biennale — one of the most visible events in the international art world — Echoes functions as a reminder that war does not disappear when it leaves the front page.
The intervention can be encountered around the Arsenale, Venice, from 5–9 May 2026.
@koltsovadarya

ECHOES
A series of public interventions in Venice during @labiennale
By Daria Koltsova
From 5–9 May, Ukrainian artist Daria Koltsova presents Echoes, a series of unsignaled public interventions surrounding the Venice Biennale Arsenale in Venice.
The project continues Koltsova’s long-term practice of working with fragile traces, absence, and the ways violence quietly enters everyday space. Her works often begin from what remains after catastrophe: fragments, interrupted rituals, objects carrying memory, or the physical marks left by history on bodies and materials.

In Venice, laundry lines cross the city everywhere. Clothes hanging above the streets reveal invisible narratives about those who inhabit these spaces and how they live. For Koltsova, these suspended garments became both image and language.
The intervention also refers to the Venetian street Tana, whose name originates from the Azov region, historically connected to Venice through the production of rope materials for ships. Through this historical echo, the work creates an unexpected connection between Venice and contemporary Ukraine.
Installed throughout the area surrounding the Arsenale, the project consists of real military uniforms suspended on Venetian laundry lines. The uniforms were donated by Ukrainian artists currently serving in the war, by women soldiers, and by members of the Azov brigade. Many of these garments were worn in combat in some of the most heavily affected areas of the war. They still carry names, marks of use, and traces of injury.

Deliberately, the intervention contains no explanatory text and no author attribution. The absence of framing is central to the work. Viewers encountering the uniforms in public space are left uncertain whether they are witnessing an artwork or the temporary presence of actual soldiers. This ambiguity introduces a subtle but persistent sense of anxiety.
Within the context of the Venice Biennale — one of the most visible events in the international art world — Echoes functions as a reminder that war does not disappear when it leaves the front page.
The intervention can be encountered around the Arsenale, Venice, from 5–9 May 2026.
@koltsovadarya

ECHOES
A series of public interventions in Venice during @labiennale
By Daria Koltsova
From 5–9 May, Ukrainian artist Daria Koltsova presents Echoes, a series of unsignaled public interventions surrounding the Venice Biennale Arsenale in Venice.
The project continues Koltsova’s long-term practice of working with fragile traces, absence, and the ways violence quietly enters everyday space. Her works often begin from what remains after catastrophe: fragments, interrupted rituals, objects carrying memory, or the physical marks left by history on bodies and materials.

In Venice, laundry lines cross the city everywhere. Clothes hanging above the streets reveal invisible narratives about those who inhabit these spaces and how they live. For Koltsova, these suspended garments became both image and language.
The intervention also refers to the Venetian street Tana, whose name originates from the Azov region, historically connected to Venice through the production of rope materials for ships. Through this historical echo, the work creates an unexpected connection between Venice and contemporary Ukraine.
Installed throughout the area surrounding the Arsenale, the project consists of real military uniforms suspended on Venetian laundry lines. The uniforms were donated by Ukrainian artists currently serving in the war, by women soldiers, and by members of the Azov brigade. Many of these garments were worn in combat in some of the most heavily affected areas of the war. They still carry names, marks of use, and traces of injury.

Deliberately, the intervention contains no explanatory text and no author attribution. The absence of framing is central to the work. Viewers encountering the uniforms in public space are left uncertain whether they are witnessing an artwork or the temporary presence of actual soldiers. This ambiguity introduces a subtle but persistent sense of anxiety.
Within the context of the Venice Biennale — one of the most visible events in the international art world — Echoes functions as a reminder that war does not disappear when it leaves the front page.
The intervention can be encountered around the Arsenale, Venice, from 5–9 May 2026.
@koltsovadarya

ECHOES
A series of public interventions in Venice during @labiennale
By Daria Koltsova
From 5–9 May, Ukrainian artist Daria Koltsova presents Echoes, a series of unsignaled public interventions surrounding the Venice Biennale Arsenale in Venice.
The project continues Koltsova’s long-term practice of working with fragile traces, absence, and the ways violence quietly enters everyday space. Her works often begin from what remains after catastrophe: fragments, interrupted rituals, objects carrying memory, or the physical marks left by history on bodies and materials.

In Venice, laundry lines cross the city everywhere. Clothes hanging above the streets reveal invisible narratives about those who inhabit these spaces and how they live. For Koltsova, these suspended garments became both image and language.
The intervention also refers to the Venetian street Tana, whose name originates from the Azov region, historically connected to Venice through the production of rope materials for ships. Through this historical echo, the work creates an unexpected connection between Venice and contemporary Ukraine.
Installed throughout the area surrounding the Arsenale, the project consists of real military uniforms suspended on Venetian laundry lines. The uniforms were donated by Ukrainian artists currently serving in the war, by women soldiers, and by members of the Azov brigade. Many of these garments were worn in combat in some of the most heavily affected areas of the war. They still carry names, marks of use, and traces of injury.

Deliberately, the intervention contains no explanatory text and no author attribution. The absence of framing is central to the work. Viewers encountering the uniforms in public space are left uncertain whether they are witnessing an artwork or the temporary presence of actual soldiers. This ambiguity introduces a subtle but persistent sense of anxiety.
Within the context of the Venice Biennale — one of the most visible events in the international art world — Echoes functions as a reminder that war does not disappear when it leaves the front page.
The intervention can be encountered around the Arsenale, Venice, from 5–9 May 2026.
@koltsovadarya

ECHOES
A series of public interventions in Venice during @labiennale
By Daria Koltsova
From 5–9 May, Ukrainian artist Daria Koltsova presents Echoes, a series of unsignaled public interventions surrounding the Venice Biennale Arsenale in Venice.
The project continues Koltsova’s long-term practice of working with fragile traces, absence, and the ways violence quietly enters everyday space. Her works often begin from what remains after catastrophe: fragments, interrupted rituals, objects carrying memory, or the physical marks left by history on bodies and materials.

In Venice, laundry lines cross the city everywhere. Clothes hanging above the streets reveal invisible narratives about those who inhabit these spaces and how they live. For Koltsova, these suspended garments became both image and language.
The intervention also refers to the Venetian street Tana, whose name originates from the Azov region, historically connected to Venice through the production of rope materials for ships. Through this historical echo, the work creates an unexpected connection between Venice and contemporary Ukraine.
Installed throughout the area surrounding the Arsenale, the project consists of real military uniforms suspended on Venetian laundry lines. The uniforms were donated by Ukrainian artists currently serving in the war, by women soldiers, and by members of the Azov brigade. Many of these garments were worn in combat in some of the most heavily affected areas of the war. They still carry names, marks of use, and traces of injury.

Deliberately, the intervention contains no explanatory text and no author attribution. The absence of framing is central to the work. Viewers encountering the uniforms in public space are left uncertain whether they are witnessing an artwork or the temporary presence of actual soldiers. This ambiguity introduces a subtle but persistent sense of anxiety.
Within the context of the Venice Biennale — one of the most visible events in the international art world — Echoes functions as a reminder that war does not disappear when it leaves the front page.
The intervention can be encountered around the Arsenale, Venice, from 5–9 May 2026.
@koltsovadarya

Victoria Zidaru: On the origins of her practice

ReFacerea - ReMaking
Artist:Victoria Zidaru

Curator and Narrator: Adina Drinceanu

Film by Bogdan Georgian Alexandru

Original Sound and Sound Installation
Călin Țopa

Film Installation by Tudor Cucu

Exhibition Hosts
@nicodimgalleryin collaboration with @suprainfinitgallery

Produced by: Ferma de Arta

Special Thanks: Mihai and Ono Nicodim and Suzana Vasilescu

Embroidery Collaborators�Loredana Budeanu�Larisa Budeanu�Lucreția Dragomir�Vasilica Dumitrescu�Valentina Mihai

Additional Visual Material
“Marian and Vitoria Zidaru - Artists in light” directed by Franz Galo

@victoriazidaru
@adinnade
@calintopa
@tudorcucu
@mihainicodimla
@suzanna_vasilescu

Join us this Wednesday from 18:00
to celebrate a new chapter:
our former space from Mantuleasa 22, becomes an art café.

In partnership with our friends from Beans & Dots,
we’re blending what we love most
great art & great coffee.

Same energy.
Different rhythm.
A space to look, meet, think, and stay a little longer.

Come by to say hi.
Music by Mihai Gurei
Design @bogdan_ciocodeica
Art to be revealed.

Larisa Sitar
Untitled, 2026
Basorelief, beton/ bas-relief, concrete Dimensions: 32x43x4 cm
Presented by Suprainfinit Gallery @rad.fair
@larisa_sitar

ReFacerea - ReMaking
Artist:Victoria Zidaru

Curator and Narrator: Adina Drinceanu

Film by Bogdan Georgian Alexandru

Original Sound and Sound Installation: Călin Țopa

Film Installation by Tudor Cucu

Exhibition Hosts
@nicodimgalleryin collaboration with @suprainfinitgallery

Produced by: @fermadearta

Special Thanks: Mihai and Ono Nicodim and Suzana Vasilescu

Embroidery Collaborators�Loredana Budeanu�Larisa Budeanu�Lucreția Dragomir�Vasilica Dumitrescu�Valentina Mihai

@victoriazidaru
@adinnade
@calintooa
@tudorcucu
@mihainicodimla
@suzanna_vasilescu

“Eyelash Fortress,” a diptych I consider the gravitational center of the show, and which also gives the exhibition its title. While making these two works, I was trying to control and imagine the movement of eyelashes in the wind, shaping them into a kind of fortress. I’m currently continuing this line of inquiry in a new series, more on that this June.
P.s.
I keep noticing how the shift between daylight and blue light in Water Day’s Eye periodically puts this work to sleep, not as an effect, but as a condition the work passes through.

“Eyelash Fortress,” a diptych I consider the gravitational center of the show, and which also gives the exhibition its title. While making these two works, I was trying to control and imagine the movement of eyelashes in the wind, shaping them into a kind of fortress. I’m currently continuing this line of inquiry in a new series, more on that this June.
P.s.
I keep noticing how the shift between daylight and blue light in Water Day’s Eye periodically puts this work to sleep, not as an effect, but as a condition the work passes through.

We are happy to announce our next exhibition with @indrikisgelzis, opening April 2nd, at Suprainfinit Combinat.

Meet the RAD Galleries!
Suprainfinit @suprainfinitgallery

Dedicated to showcasing conceptual art practices in Eastern and Central Europe, SUPRAINFINIT represents emerging, mid-career, and established artists from diverse cultural backgrounds. The gallery engages local and international audiences through a wide range of artistic media. Committed to supporting newly commissioned works and large-scale installations, the gallery plays a key role in Bucharest’s cultural ecosystem and in Eastern Europe more broadly. Alongside its exhibitions, the gallery prioritises public programming to deepen and expand curatorial and artistic visions.
Founded in 2015 by Suzana Vasilescu and co-directed with Artistic Director Cristina Vasilescu, SUPRAINFINIT takes its name from the utopian, pluralistic universe imagined by the artist collective Apparatus 22.

April 23-26 2026 | @carohotel.ro
Presented by @banca_transilvania

#RAD2026
———
Images

Victoria Zidaru, ReFACEREA, 2025 in collaboration with / at Nicodim Gallery Bucharest

Victoria Zidaru, ReFACEREA, 2025 in collaboration with / at Nicodim Gallery Bucharest

Exhibition view, Only Ghosts Move Forward, 2025

Exhibition view, Only Ghosts Move Forward, 2025

Meet the RAD Galleries!
Suprainfinit @suprainfinitgallery

Dedicated to showcasing conceptual art practices in Eastern and Central Europe, SUPRAINFINIT represents emerging, mid-career, and established artists from diverse cultural backgrounds. The gallery engages local and international audiences through a wide range of artistic media. Committed to supporting newly commissioned works and large-scale installations, the gallery plays a key role in Bucharest’s cultural ecosystem and in Eastern Europe more broadly. Alongside its exhibitions, the gallery prioritises public programming to deepen and expand curatorial and artistic visions.
Founded in 2015 by Suzana Vasilescu and co-directed with Artistic Director Cristina Vasilescu, SUPRAINFINIT takes its name from the utopian, pluralistic universe imagined by the artist collective Apparatus 22.

April 23-26 2026 | @carohotel.ro
Presented by @banca_transilvania

#RAD2026
———
Images

Victoria Zidaru, ReFACEREA, 2025 in collaboration with / at Nicodim Gallery Bucharest

Victoria Zidaru, ReFACEREA, 2025 in collaboration with / at Nicodim Gallery Bucharest

Exhibition view, Only Ghosts Move Forward, 2025

Exhibition view, Only Ghosts Move Forward, 2025

Meet the RAD Galleries!
Suprainfinit @suprainfinitgallery

Dedicated to showcasing conceptual art practices in Eastern and Central Europe, SUPRAINFINIT represents emerging, mid-career, and established artists from diverse cultural backgrounds. The gallery engages local and international audiences through a wide range of artistic media. Committed to supporting newly commissioned works and large-scale installations, the gallery plays a key role in Bucharest’s cultural ecosystem and in Eastern Europe more broadly. Alongside its exhibitions, the gallery prioritises public programming to deepen and expand curatorial and artistic visions.
Founded in 2015 by Suzana Vasilescu and co-directed with Artistic Director Cristina Vasilescu, SUPRAINFINIT takes its name from the utopian, pluralistic universe imagined by the artist collective Apparatus 22.

April 23-26 2026 | @carohotel.ro
Presented by @banca_transilvania

#RAD2026
———
Images

Victoria Zidaru, ReFACEREA, 2025 in collaboration with / at Nicodim Gallery Bucharest

Victoria Zidaru, ReFACEREA, 2025 in collaboration with / at Nicodim Gallery Bucharest

Exhibition view, Only Ghosts Move Forward, 2025

Exhibition view, Only Ghosts Move Forward, 2025

Meet the RAD Galleries!
Suprainfinit @suprainfinitgallery

Dedicated to showcasing conceptual art practices in Eastern and Central Europe, SUPRAINFINIT represents emerging, mid-career, and established artists from diverse cultural backgrounds. The gallery engages local and international audiences through a wide range of artistic media. Committed to supporting newly commissioned works and large-scale installations, the gallery plays a key role in Bucharest’s cultural ecosystem and in Eastern Europe more broadly. Alongside its exhibitions, the gallery prioritises public programming to deepen and expand curatorial and artistic visions.
Founded in 2015 by Suzana Vasilescu and co-directed with Artistic Director Cristina Vasilescu, SUPRAINFINIT takes its name from the utopian, pluralistic universe imagined by the artist collective Apparatus 22.

April 23-26 2026 | @carohotel.ro
Presented by @banca_transilvania

#RAD2026
———
Images

Victoria Zidaru, ReFACEREA, 2025 in collaboration with / at Nicodim Gallery Bucharest

Victoria Zidaru, ReFACEREA, 2025 in collaboration with / at Nicodim Gallery Bucharest

Exhibition view, Only Ghosts Move Forward, 2025

Exhibition view, Only Ghosts Move Forward, 2025

Meet the RAD Galleries!
Suprainfinit @suprainfinitgallery

Dedicated to showcasing conceptual art practices in Eastern and Central Europe, SUPRAINFINIT represents emerging, mid-career, and established artists from diverse cultural backgrounds. The gallery engages local and international audiences through a wide range of artistic media. Committed to supporting newly commissioned works and large-scale installations, the gallery plays a key role in Bucharest’s cultural ecosystem and in Eastern Europe more broadly. Alongside its exhibitions, the gallery prioritises public programming to deepen and expand curatorial and artistic visions.
Founded in 2015 by Suzana Vasilescu and co-directed with Artistic Director Cristina Vasilescu, SUPRAINFINIT takes its name from the utopian, pluralistic universe imagined by the artist collective Apparatus 22.

April 23-26 2026 | @carohotel.ro
Presented by @banca_transilvania

#RAD2026
———
Images

Victoria Zidaru, ReFACEREA, 2025 in collaboration with / at Nicodim Gallery Bucharest

Victoria Zidaru, ReFACEREA, 2025 in collaboration with / at Nicodim Gallery Bucharest

Exhibition view, Only Ghosts Move Forward, 2025

Exhibition view, Only Ghosts Move Forward, 2025