reviews

Geta Brătescu, Les Mains. Pentru ochi, mâna trupului meu îmi reconstituie portretul (The Hands. For the Eye, the Hand of My Body Reconstitutes My Portrait), 1977, 8 mm film transferred to DVD, black-and-white, silent, 4 minutes and 55 seconds.

Geta Brătescu

Camden Arts Centre

Geta Brătescu, Les Mains. Pentru ochi, mâna trupului meu îmi reconstituie portretul (The Hands. For the Eye, the Hand of My Body Reconstitutes My Portrait), 1977, 8 mm film transferred to DVD, black-and-white, silent, 4 minutes and 55 seconds.

In a 2014 diary entry, Geta Brătescu compares the artist to an acrobat, reasoning that the two face a shared obstacle, daunting enough to name in uppercase letters: “SPACE.” The ninety-one-year-old Romanian artist has dedicated much of her seven-decade career to negotiating enclosures ranging from the confines of a blank page to the mutable gap between her thumb and her index finger. Her maneuvers frequently draw on the recurring motif of the studio—another concept that looms large for Brătescu. 

“The Studio: A Tireless, Ongoing Space” explored a place of possibility, suspended in a constant state of redefinition. In its structure, the retrospective survey recalled one of Brătescu’s handmade accordion books, folding in and out of itself from the central focal point of Atelierul (The Studio), a 1978 film, shot by her colleague and frequent collaborator Ion Grigorescu, in which

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