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Garden Of Hooks: Jecza x Himera anual summer show

Current exhibition
25 July - 7 September 2025
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Jecza Gallery
Overview
Garden Of Hooks, Jecza x Himera anual summer show

The logic of gardening most often involves processes of preparation, organization, arrangement, maintenance, and harvesting. In perfect symmetry with artistic practices, studio work, and the conceptual logic of creation, these actions transform the exhibition space into an organic complex that, through its abundance and multi-faceted nature, hooks the viewer’s curiosity.

BOOK YOUR VISIT WITH US

 

GARDEN OF HOOKS | Jecza x Himera – annual summer show

curated by Norbert Filep

on display until 07.09.2025

 

Visit at Jecza Gallery – Thurs–Sat, 11 AM–7 PM. 

Visit at Himera – Tues, Thurs, Sat – by appointment only

 

If you would like to visit any other time or day, please contact 

Jecza Gallery : jeczagallery.team[at]gmail[.]com, +40 722 666 445

Himera: gallery[at]himera[.]ro | +40 721 527 418

 

 

This year’s summer show opens in tandem, unfolding across two spaces in one continuous evening — a shared curatorial gesture that connects Himera and Jecza Gallery in a fluid dialogue of forms, ideas, and voices.


Titled Garden of Hooks, this third edition of the Jecza x Himera summer show brings together 31 young, up and coming artists, selected through an open call: 

Blanca Amorós, Harita Asumani, Alexandra Boaru, Alina Bobeică, Alessia Borangic, Cristina Chirilă, Costel Chițimuș, Cristiana Cott Negoescu, Andonaș David, Anastasia Dumitrescu, Teodor Georgescu, Cosmin Grigoraș, Mariana Hahn, Andreea Ilie, Ana Ionescu, Yavor Kostadinov, Talia Maidenberg, Adrian Moisă, Adrian Novac, Vlad Oniga, Zsuzsanna Ida Papp, Iulia Paraipan, Patrycja Płóciennik, Sarah Popuț, Melinda Rus, Viktor Rónai, Detty Szabó, Tania Șimonca, Cătălina Ungureanu, Constantin Vulturar, Andreea Delia Voren.

 

The logic of gardening most often involves processes of preparation, organization, arrangement, maintenance, and harvesting. In perfect symmetry with artistic practices, studio work, and the conceptual play inherent in creation, these actions transform the exhibition space into an organic complex, one that captures the viewer’s curiosity through its abundance and multifaceted nature. The nature of these cultivated forms, carefully planted and nurtured within the intimacy of studios, proves to be intricate precisely because of this distinctiveness. Stylistic deviations from a major framework form the key by which Garden of Hooks should be perceived.

 

A garden is, above all, a geographical and strategic organization. Designing such a perimeter implies an almost obsessive rhythm, one that often harmonizes perfectly with the nature of the space. The ecology that supports the gardener’s strategic assemblage nurtures the relationship between human and nature, between order and disorder. The careful collection and maximum exploitation of natural factors (sunlight, shade, or water) help generate unique configurations, tailored to the needs of each variety, with the ultimate goal of enriching and bringing the harvest to fruition. This exhibition does not diverge from such strategies. We can identify a double organization of each “garden.” On one hand, there is the internal structure of the works - the organizational framework defined by the relationships between space and time, between idea and form, between message and the strategies each artist employs to communicate carefully encrypted content. On the other, there is the external geography of the works, the spatial context of the exhibition itself, which, much like the natural conditions of a garden, dictates new trajectories of interaction and arrangement.

 

The phrase Garden of Hooks evokes a living, organic, and diverse space, in harmony with the summer season and with the image of a garden in full growth. At first impression, the “hooks” amplify the strangeness of this garden, transforming this fertile ground into a surreal expanse. The uncertainty generated by the absence of a fixed space, suspended somewhere between reverie and wakefulness, outlines a twilight world, defined by anchoring points for visual narratives. In this newly formed garden, these act as intersections, shaped by suspended, converging directions, reminiscent of the trellising processes used in gardening. Thus, the conceptual nodes through which the works relate to one another form the hidden geometry of the exhibition. The horizontality of the fertile soil is translated into the verticality of the exhibition space. Here, the physical trellising of the works overlaps with their conceptual trellising, as part of a summer garden. The hooks become the key anchors of the garden - not only capturing, but also supporting a multitude of practices. In this way, they reinforce the architecture of the trellis, guide the growth, and strengthen the invisible structures through which the formal tensions and subtle relationships between works are directed.

 

The diversity of the works amplifies the structure of a complex garden, where the cultivated varieties of these thirty-one artists, arranged according to an internal logic, share fertile ground with other typologies of organisms. The media “rows” are structured around a heterogeneous ensemble that bridges multiple generations, oscillating between painted and technically constructed video images, between delicate abstraction and prominent figuration. The wall-bound organization subtly integrates with the three-dimensional works, which spice up the “garden” space, populated with artificial edifices. The variegated nature of Garden of Hooks shapes a topography articulated across two spaces: Jecza Gallery and Himera Gallery - two perimeters that embody the specific characteristics of a functional, fruitful garden. - text by curatot Norbert Filep


With the support of Banca Transilvania, MUSO, Bere Normala.


Partners: Ramaria, ISHO.

 
BOOK YOUR VISIT WITH US
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