b. 1959, Dor Mărunt
Florica Prevenda is one of the most innovative Romanian contemporary artists of her generation. A graduate of the Iasi Arts Academy in 984, she became associate professor at the National Arts University of Bucharest, between 1993 and 1997. She has been active on the local and international exhibition circuit, with important personal and group exhibitions, in Belgium, Germany, Poland, Canada, Spain, Great Britain, Israel, Holland, U.S.A. Her most notable solo shows include projects at the Brukenthal Museum, Sibiu, 2013 and 2017, The National Museum of Cluj, 2011, M.I.A. One Woman Show, Milan, 2007, and the showcases in Dutch galleries, 2000, 2002 and 2004. Florica Prevenda’s technique brings together drawing, painting, collage, object-assemblage, in striking juxtapositions of form and materials. Her conceptual series question individual identity in the contemporary context: globalization, uniformity, virtual space and generalization of technologically-mediated communication. She has won several awards, such as the Romanian Union of Artists Award, in 1986 and1992;theGrand Prix for Painting in Chişinău, Moldova, 2003, The Cultural Order, in 2005, and The Honor Prize in Nowy Sacz, Poland, 2011. She lives and works in Bucharest and New York, and since 2014 she is represented by AnnArt Gallery where she had two solo shows: Facelook (2014) and Serenity (2016).
Florica Prevenda is the first "new name" added to the AnnArt portfolio since its creation in 2011. And we are the first gallery to be representing her in Romania. This intersection of "prime gestures" sits on a mutual discovery: we are alike. With no trace of narcissistic, but solidarity, in understanding the deep meaning of contemporary art as well as the ways of work and inspiration that support it.
In the last decade and a half, Florica Prevenda proves an exemplary tenacity of pictorial-material research on a matter that deepens, as a proces and a conceptual level, from one exhibition to another. From the fundamental theme of the Faceless Face (MNAR, 1999) to the diagram of the metropolis crowd (Umbrellas of the present, Simeza, 2004) or the multiplied ego (Time found, Mogosoaia Palace, 2008), the painter fills herself on a minimal serially-figurative tissue, the magma of emotions and anxieties that haunt the human condition of our time.
With an eye-catching, visual and tactile presence, the painting-assemblage of the artist reiterates central issues of contemporary art through the complex relationships between the bi and the three-dimensional, the manual labor of the artistic act versus the work in conceptual series that symbolically discuss the many layered relationships between self / individual and others / society, between real and virtual identity, in the accelerated and chaotic context of technologically, globally and ecstatically mediated communication.