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Fugere—a word of Latin origin meaning “to flee” or “to avoid”—serves in this exhibition as a key gesture, a meditative act, and an attempt to redefine the artist’s relationship with the fragmented landscape of memory. In her artistic inquiry, Victoria Viprada explores both visible and invisible forms of flight: flight from norms, from trauma, from the past, as well as flight toward a more authentic self, toward a space of freedom and reflection.
Fugere—a word of Latin origin meaning “to flee” or “to avoid”—serves in this exhibition as a key gesture, a meditative act, and an attempt to redefine the artist’s relationship with the fragmented landscape of memory. In her artistic inquiry, Victoria Viprada explores both visible and invisible forms of flight: flight from norms, from trauma, from the past, as well as flight toward a more authentic self, toward a space of freedom and reflection.
The exhibition brings together a selection of works created in recent years, including analog photography, cyanotype, video installations, and sculptural glass objects. Together, these pieces compose a poetic and emotionally charged universe, where the body, memory, and nature become points of departure for meditations on loss, transformation, and rediscovery. Rather than constructing linear narratives, Viprada presents visual “episodes”—fragments that evoke rather than define, suggesting what cannot be fully spoken or reproduced.
A defining aspect of Viprada’s practice is her refusal of aesthetic detachment. Her works are not documentary or formalist in nature, but arise from a place of intimacy and deliberate vulnerability. She consistently investigates in-between states—moments suspended between leaving and staying, between presence and absence. In this context, Fugere does not imply disappearance; rather, it marks a conscious decision to exit imposed frameworks, to reconsider the relationship between body and time, between memory and form.
This introspective pursuit is accompanied by a careful engagement with materials and techniques, where experimentation becomes integral to the artistic process. In addition to digital photography, Viprada turns to alternative practices—such as analog photography and cyanotype—to construct a personal archaeology, an attempt to visually preserve what might otherwise fade into oblivion. Through slow, repetitive, hand-driven gestures, these methods reintroduce the body into the act of creation, transforming the image into a ritualistic passage from the invisible to the visible, from the ephemeral to the concrete. Glass objects and resin-sealed forms—where time appears suspended—emerge as metaphors for both fragility and resilience, for the transparency and persistence of memory.
A central piece in the exhibition is a video installation depicting a flock of crows rotating in a hypnotic dance, generating a vortex of motion, sound, and unease. Time here feels pulsating, cyclical, and disordered, in contrast to the silence and stillness that characterize many of the photographic works. This tension creates a multisensory experience, inviting viewers to reflect on their own perception of time: when it is felt as presence, when as loss, and how we might inhabit these temporal interstices.
The title Fugere thus becomes an open-ended, polyphonic concept. Fleeing is no longer merely a physical act, but a symbolic movement between worlds and states of being. It can represent a protective gesture, a release, a refusal of imposed identity, or a means of reconnecting with a primordial, inner self. This ambiguity is mirrored in the spatial dynamics of the exhibition, where works seem to converse with one another in a quiet but charged choreography that leaves room for contemplation and breath.
Drawing on the philosophical reflections of Giorgio Agamben—particularly his notion of an “imaginary present,” suspended between a fixed past and an unknowable future—Fugere invites a non-linear reading of time. The exhibition unfolds like a visual manuscript, not read sequentially but uttered in syllables, through a succession of essential yet disjointed memories and sensations.
Ultimately, Fugere is an invitation to inhabit that fragile, transitional space—between forgetting and remembering, between absence and presence—a space of becoming that is both precarious and profoundly human.
Miercuri – Sâmbătă: 12:00 – 19:00
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