Marieta Chirulescu (*1974) lives and works in Berlin. She studied at the Academy of Fine Arts in Nuremberg and at the Hungarian University of Fine Arts. She has received numerous scholarships and awards, including the German Academy Villa Massimo, Rome (2015); Lingen Art Prize, Lingen (2014); Villa Aurora Residency, Los Angeles (2012); German Academic Exchange Service (DAAD), Bucharest (2006).

• 2021: Gregor Podnar, Berli
• 2020: Galeria Plan B, Berlin
• 2019: Foksal Galerie, Warschau
• 2016: Pale Fire, Kurimanzutto, Mexico City
• 2016: CYTWOMBLY CYFONTI, Galleria Fonti, Napoli
• 2014: Kunsthalle Lingen, Lingen
• 2013: Ileana, Micky Schubert
• 2013: Meessen De Clercq Gallery, Brüssel
• 2011: White Cube Bermondsey, London
• 2011: Kunstverein Nürnberg
• 2011: Werke aus der Sammlung Martin, Neues Museum, Nürnberg
• 2010: Kunsthalle Basel, Basel
• 2009: Kunsthalle Mainz, Mainz

• 2021: Parthenope, Lighea ed altre storie, Villa Doria d'Angri Napoli
• 2020: Local talent, Sprüth Magers, Berlin
• 2017: THE GAP BETWEEN THE FRIDGE AND THE COOKER, The Modern Institute, Glasgow
• 2017: Sammlung Kienzle, Kunstmuseum Lichtenstein
• 2016: #12 / Folies d’hiver, Villa Medici, Rome
• 2016: HOW TO BE UNIQUE – Show 15, Sammlung Kienzle, Berlin
• 2016: Image Support, Bergen Kunsthall, Bergen
• 2015: Mapping Bucharest, Vienna Biennale
• 2015: MAK, Wien
• 2014: Attention Economy, Kunsthalle Wien, Wien
• 2014: Space, Space, curated by Dora Maurer, Museum Vasarely, Budapest
• 2013: Nur was möglich ist ist möglich, Museum Folkwang, Essen
• 2012: Les ateliers de Rennes, Biennale d‘art Contemporain, Rennes
• 2012: Minimal Myth, Museum Boijmans Van Beuningen, Rotterdam
• 2012: Made In Germany Zwei, Sprengel Museum, Hannover
• 2010: Fade Into you, Herald St, London
• 2009: La preuve concrète, Centre Européen d’Actions Artistiques Contemporaines, Strasbourg
• 2009: Against Interpretation, Studio Voltaire, London
• 2009: Nothing to say and I am saying it, Kunstverein Freiburg, Freiburg

In her works, Marieta Chirulescu reflects on the aesthetic and conceptual preconditions of contemporary painting as well as on the conditions of the image in the present. Chirulescu’s approach of non-figurative painting recalls the 20th-century history of abstraction, while on the other hand, it also incorporates digital printing processes and possibilities of image creation such as scan, screenshot and photography into her work. Moreover, through a process of technological reproduction and manipulation, Chirulescu disassembles and erases found images, of which often only sediments and traces remain; in this way, she simultaneously refers to the status of the original and to constructions of seeing in the painting of today.