The Girl with Tentacles/Fata cu tentacule

The Girl with Tentacles, site-specific installation at Sandwich Gallery, Bucharest, 29.06-20.09.2017

download Exhibition Flyer here
Ukiyo-e – or Images of the floating world – is a type of Japanese art that has flourished in the 17th – 19th centuries and that, using painting and woodcuts, focused on the lives of regular people. Shunga – or Spring images – is a type of Ukiyo-e created mostly by colored woodcuts and is, in fact, erotic or pornographic art.

Shunga was very popular with all social classes, except the dominant one of shoguns and, according to the sources, with men and women alike. Samurais, merchants and also housewives would have their own Shunga copies. Most of the Ukiyo-e artists have also created Shunga works, since they were in much greater demand than all the other themes. In fact, they could live off one sold work for as long as six months. One of the most famous Shunga work is signed by Hokusai and titled “The fisherman’s wife’s dream”, from 1814. It is an engraving that has inspired many modern and contemporary artists, but, as far as we know, no women artists…

At Sandwich, Delia POPA continues her series of engravings, drawings and paintings Existential mice (2011 – present) in which anthropomorphic characters take on various human roles and communicate with each other, touching on various subjects like feminism or marginality. This time, however, the characters discard verbal communication and take on a physical approach – a fantasy they fully relish and over which, without a doubt, they have complete control. For the moment, The existential mouse doesn’t look for intellectual answers anymore, but unapologetically lives them.

Children under 14 are not allowed in the exhibition.
This event is part of the Project “Sandwich Never Sleeps – Cultural Insertion in a Marginal Area”.

Partners: Asociația ArtCrowd – Artists in education, Bucharest
Media Partners: ARTA Magazine, Zeppelin, Radio România Cultural

A cultural project co-funded by the Administration of the National Cultural Fund

The project does not necessarily represent the position of the Administration of the National Cultural Fund. The AFCN is not responsible for the content of the project or the manner in which the results of the project may be used. These are entirely the responsibility of the funding