Emőke Kerekes' art project, My Land– Saját Föld (2021-2024), explores the evolution of the relationship to archaic land ownership in Eastern European societies. Emőke's work links historical and political changes in the region, such as collectivisation, land restitution and Romania's accession to the EU, with the metamorphosis of people's relationship to the landscape. His work reflects in a unique way on archaic relationships to land and the impact of the political and economic events that have influenced them. He does this while also referring back to the painterly, visual antecedents of landscape representation. Emőke Kerekes' work is personally motivated, revealing social and historical narratives approached from the perspectives of personal and collective memory. Photography, as a visual representation of social realities, is Emőke's way of understanding the complex relationships between past and present. Through years of research, interviews and the use of archival material, the artist constructs her work to enable viewers to reinterpret the dynamics of Eastern European history and society.

After many layers of paint and over two decades, The Oilers (Saint & Omar) and Neon emerge with a retrospective exhibition meant to provide a different perspective on an almost encyclopedic artistic practice. Few have ventured as deeply into the underground artistic practices as they have, and the transient nature of their work highlights the importance of photographic records. With a massive archive that has remained private for the past 20 years, containing the last proofs of the first street art in abandoned spaces and underground sites, Saint, Omar, and Neon, who have long avoided formal gallery exhibitions, mark a turning point by bringing to the public what were once thought to be lost images of an entire culture.

The exhibition "Midnight Women" represents reflection on the female experience filtered through one's own perception, having as its starting point the poem of the same name. The works explore the fundamental symbols of femininity through self-portraiture. Using glass as the main material on which the paintings are created, aesthetics are combined with symbolism, thus outlining a visual narrative that emphasizes the complexity of femininity, reflecting fragility, sensitivity but also hardness. The curatorial discourse initiates a dialogue on rejection and punishment as a reaction to the inability to manage communication, sexuality and emotion. It blames the dysfunctional dynamic in which frustration and anger become self-sabotage and defense mechanisms, promotes the refusal to diminish one's identity in search of acceptance, and emphasizes the importance of authentically asserting personal truth.

The Archive of the coolest Brigade who rode the streets of Bucharest on a wooden board.

RETUS 3 – Interventions in the Museum

How does a museum fit into collective imagination? What does the past tell us when we remain silent about its objects and forget their creators? Who decides what is worth archiving, which stories are valuable, and how long they endure? And what does it take for an exhibition experience to ripple into our daily lives?

Once conceived as timeless vaults of objects and histories, museums are increasingly redefined as spaces for dialogue, reflection, and community. Building on this shift, the project RETUS 3 proposes to reimagine the museum space through the critical practices of contemporary art and inclusive education.

Initiated by B5 Studio in collaboration with the Mureș County Museum, the project invites eleven contemporary artists to create site-specific interventions that challenge how we experience collections, what heritage means, and why museums matter today. Supported by the Centre for Documentation and Collective Research at B5 Studio, established to provide resources for both artists and the public, the museum becomes a space that encourages reflection on the encounters and practices sustaining its institution and relationships with publics and communities.

As part of NAG 2025, RETUS 3 opens on Friday with a book presentation in the Small Hall of the Palace of Culture and an exhibition at B5 Studio, followed on Saturday by a guided tour of the interventions at selected locations of the Mureș County Museum, led by the artists and curatorial team.

The invited artists are: Lődi Virág (Budapest), Juhász Nóra (Budapest), Alexandra Mereuți & Sebastian Danciu (Cluj-Napoca), Kispál Ágnes-Evelin & Kispál Attila (Sfântu Gheorghe), Răzvan Anton (Cluj-Napoca), Mihai Iepure-Górski (Cluj-Napoca), Miklósi Dénes (Odorheiu Secuiesc), Miklós Szilárd (Tușnad), and Bartha József (Târgu Mureș).

Solo exhibition, a selection of works from 2020–2025, with a focus on the most recent series ‘New chaos

24 Hour Party People is the focus exhibition of the White Night of Galleries in Bucharest, now in its 19th edition. The project scans the time period 2000 - 2020 as it was recorded, digitally or on film, by a group of people who can be identified with what we would call proto-hipsters today, and at the time (one of) the coolest people in town. Girls and boys, with cameras always at hand, all having the same voracity, energy and availability of the 20+ year old to live and record day and night the city that Vlad said we all loved to hate. Did we really love to hate it? Bukresh, the 2020.ro platform, feeder.ro, freshgoodminimal, Omagiu magazine, the Rokolectiv festival, Ota, WEB club, Control or Martin, many many many place names, blogs, web pages and conjunctures, one more special than the other, were created, discovered and lived in Little Paris transformed into Little Berlin by this heterogeneous community, which is currently still alive and scattered in the most unexpected areas of society. 24 Hour Party People is not an invitation to nostalgically browse through a memory album, but rather a visual exercise to remind us all that good times pass, but also bad times. The worst times, like the good ones, always pass. Change is our tragedy but it is also our hope. It is an alternative form of reenactment of moments lived, when day and night were an eternal loop of events, when we were never alone. Is there nostalgia in this type of revisiting hard drives that may not work the next time they are activated or scanning films that have started to lose their color brilliance? In the discussions I had now with some of the girls from that time, also present in the exhibited photographs, the idea circulated that this exhibition should be called COLLAGEN. This magic word that expressed so well what we had (obviously) all noticed: OMG how young we were! Should age be the only trigger that would give us this nostalgia?