Marilena Preda Sânc


Marilena Preda Sânc

“I consider myself a painter of fixed and running images, an interdisciplinary artist who creates drawing, painting, object, photography, artist book, installation, video, performance. Integrating the traditional forms of art and the new media arts, my work investigates and visualizes the body/mind/soul/behaviors in relation to nature and social/political/representational space and the feminism problematic as gender/ageism/the woman as leader in an eco-feminist key.”


“One of the first exponents of the feminist movement in Romania, Marilena Preda Sânc has been a leading figure on the Eastern European art scene since the 1980s. During the Ceaușescu regime her research found its possibility of expression in abstraction. Through various media such as painting, sculpture and drawing, joined in the 1990s by video and performance, she has developed different cycles of work in which she analyses the spatial relations between abstract and organic forms by applying sets of rules activated in the field of vision.

In the series Modules of the ‘80s, the architectures that give them form have a precarious balance due both to their inner structure — marked by cracks and fissures — and to their often perched positioning, probably to suggest the fragility of the political context and the individual condition of the artist. 

The Body-Space series of works, from the same period, plays with contrast: it is a group of collages in which drawings made with a marker pen are overlaid on nude photographs of the artist. The drawings, similar to the structures of the modules, reveal the analogy between body and architecture, and the possibility of turning the body of the woman into a unit of measure of reality.” – Anna Daneri, curator


Born in 1955, lives and works in Bucharest (RO)



BA, National University of Arts Bucharest (RO) 


PhD in Fine Arts, National University of Arts Bucharest (RO)


Solo shows


‘Sinteze / Antiteze Vizuale’, Craiova Art Museum, Craiova (RO)


‘Resilience Test: Marilena Preda Sânc’, online exhibition, Gaep,


‘Subjective (De)Constructions’, Gaep, Bucharest (RO)

‘Thinking on Art, Nature, Society’, Palatele Brâncovenești Cultural Centre, Mogoșoaia (RO)


‘Calling Earth Back to Art’, Calina Contemporary Art Space, Timișoara (RO) 

‘but IT Got Too COLD’, Gaep (formerly EASTWARDS PROSPECTUS), Bucharest (RO)


‘Mecanismele imaginii / Imagine Machinery’, Contemporary Art Gallery of the National Brukenthal Museum, Sibiu (RO)

‘Libertate în Labirint / Freedom in the Labyrint’, Art Museum, Cluj-Napoca (RO)


‘Utopii. Cotidiene. Crossing Self Histories 1981-2011’, MNAC – National Museum of Contemporary Art, Bucharest (RO)


‘Flying Souls’, Anagma Gallery, Madrid (ES)


’Inside the Living’, Studio D.V.O., Brussels (BE)


‘Eu En Ich’ (Roxana Trestioreanu media installation / Magda Cârneci poem / Marilena Preda Sânc media installation), Hungarian Cultural Centre, Bucharest (RO)

See more

Group shows


‘The Signs for Somewhere and Elsewhere and Here and Now’, Gaep, Bucharest (RO)


‘Snapshot contemporan / Timeline tradițional’, M2M/Muzeul 2 Meta, Slon, Prahova (RO)


‘The Domino Effect 2’, Gaep, Bucharest (RO)

‘The Apocalypse of the White Elephant’, Comenduirea Garnizoanei, Timișoara (RO)

‘How to Explain Pictures …’, Rezidența BRD Scena9, Bucharest (RO)


‘The Domino Effect’, Gaep, Bucharest (RO)

‘12 Years After. A Survey of Romanian Art in 180 Works’, MNAC – National Museum of Contemporary Art, Bucharest (RO)


‘Din unghiuri diferite/At Different Angles’, MNAC – National Museum of Contemporary Art, Bucharest (RO)

‘Salonul Național de Artă Contemporană Centenar 2018’, MNAR – The National Museum of Art of Romania, Bucharest (RO)

‘Woman, All Too Woman’, The Art Museum, Timișoara (RO)


‘Seeing Ourselves Sensing’, Gaep (formerly EASTWARDS PROSPECTUS), Bucharest (RO)

‘Here/There’ (‘Aici/Acolo’), Cotroceni National Museum, Bucharest (RO)


‘The Collection as Archive’, MNAC – National Museum of Contemporary Art, Bucharest (RO)

‘From Affirmation to Contestation – Public Art Practices’, MNAC – National Museum of Contemporary Art, Bucharest (RO)


BB6 / Bucharest International Biennial for Contemporary Art, Bucharest (RO)  

3rd European International Book Art Biennale, Russian State Art Library, Moscow (RU)

‘Non Hic Librorum’, Art Museum, Constanţa (RO)  


‘Good Girls | Memory, Desire, Power’, MNAC – National Museum of Contemporary Art, Bucharest (RO) 

‘Video-Collage Internacional Resistencia, FemLink’, Ciudad Autonoma de Buenos Aires (AG)


‘20 Years: KKA Artists in Residence’, KulturKontakt, Vienna (AT)

Salon de Peinture Roumanie Contemporaine, Cite Internationale des Arts, Paris (FR) 


‘Gender Check’, Zachęta National Gallery of Art, Warsaw (PL)


’Gender Check. Feminity and Masculinity in the Art of Eastern Europe’, MUMOK, Vienna (AT)


’Mit Macht zur Wahl / 100 Jahre Frauenwahlrecht in Europa / Ausstellung und Kunst im Kontext’, Frauenmuseum, Bonn (DE) 

‘59 seconds’, film/video festival, New York (USA)

‘FemLink’, International video collage, Paris, Toulouse, Nicosia (FR)(CY)


‘Depozit’, MNAC – National Museum of Contemporary Art, Bucharest (RO)


‘Romanian artists (and not only) love Ceauşescu’s Palace?!’, MNAC – National Museum of Contemporary Art, Bucharest (RO)


‘Split Reality’, MUMOK, Vienna (AT)  


‘In Full Dress’, Brukenthal Museum, Sibiu (RO)

‘Transitionland’, MNAR – National Museum of Art of Romania, Bucharest (RO)


‘Pseudo Programs’, Franklin Furnace’s Program, The Future of the Present, Live Netcast – New York (USA) 



Radio Romania Cultural Award, Visual Arts category


Special Mention Sardi per l’Arte Back to the Future, Artissima, Turin


Diploma of Excellence, Faculty of Arts and Design, Timișoara 


“Mihail Grecu” Award for Painting, UAP Moldova, Chișinău


“The Cultural Merit” Order and medal 


Artslink, fellowship, New York


KulturKontakt, artist in residence, Vienna


Habitat – the 3rd prize for painting, national competition organized by U.N.D.P., Bucharest 


International JUNIJ Group, prize for the best group exhibition, Mois de la Photo à Paris



Drafts and Open Windows, mural / collective, new American Embassy, Bucharest


Art in Public Space, projects by MA students at National University of Arts in Bucharest (curator)  


Femslogan, mural facade video projection, UNA, Bucharest Urban Clip Visual Art Center, Bucharest (curator)

See more

NOMAD – load / flow / mix, META Cultural Foundation, Parcul Tineretului, Herastrau, Bucharest 


Constructions, mural painting, façades, Larofarm Factory, Bragadiru 


Mural art works realized in situ by BA and MA students at The National University of Arts in Bucharest (curator)  


Fresco – New Mural Church Paintings and Restoration


Arts, mosaic, ceramics and sandstone, Student’s House, Bucharest


”Nowadays a pressing need, transitioning to the online can prove difficult in terms of resources for small structures, as most galleries are. Artists, gallery owners and collectors are simultaneously discovering this new way of functioning, with both its benefits and its disadvantages. But many are those who say that the chance to explore an artwork at ease, from your own home, without having to visit the sometimes intimidating space of a gallery, adds to the decision process an intimacy that numerous collectors, both seasoned and novices, will find comforting. It is, in a way, something that naturally crosses one’s mind when absorbing the art of Marilena Preda Sânc (b. 1955), the artist the Resilience Test online exhibitions series started with. Some of the exhibited works are photographs with interventions, from the series My Body Is Space in Space, Time in Time and Memory of All, which she created in the early 1980s. Back then, the body had to withstand the social, cultural and political restrictions imposed by the communist regime. The artist’s naked body, pierced or framed by drawings that sometimes look like armours, sometimes look like cages, seems a macro-exploration of both the idea of vulnerability and the force of femininity. Also back then, Marilena Preda Sânc could not display her works in Romania, so she used mail art to give them a chance to be seen at events from elsewhere. As she told ARTA magazine in 2018, mail art was a bridge to a forbidden world; controlled by censorship, but not completely stopped, it was a way to meet other artists and be in contact with them, and also a validation of some of her studio experiments.”
”Intervenția corporală s-a petrecut în 1983, când, după trei ani în care exersasem foarte mult aceste lucrări [peisaje non-figurative], mi-am dat seama că lipsea ceva, că ele aveau o singurătate metafizică din care lipsea viul. Am început să mă concentrez și pe corpul uman. A venit firesc să fie corpul meu. Nu m-am gândit neapărat la mine, ci la ideea de ființă umană, de femeie. Mi-eram aproape, astfel că puteam să exprim mai ușor senzațiile, trăirile. Așa au ajuns să coopereze cele două teme, peisajul și corpul.”
”Conceptul expoziției se poate observa în lucrarea de neon art ‘Art Is Art Beyond Art Now’. Ceea ce înseamnă, de fapt, un crez al meu, un crez artistic, cum că perioada modernistă, perioada avangardelor, postmodernismul definesc artistul vizual contemporan. Liviana Dan vorbește în textul ei de o oarecare luciditate rece, geometrică, regăsibilă mai ales în desene, împachetată de mine, se pare, într-un fel de poematică.”


Viewing Rooms