Since opening to the public in May of 2012, Aiurart Contemporary Art Space has been a venue for contemporary art exhibitions, devoted to the diversity of contemporary forms of artistic expression from transdisciplinary productions and transversal art projects to paintings, sculpture, video art and installations.

Aiurart is a non-profit arts organization, an open space for curatorial projects and a contemporary art gallery, being run with the support of a consulting board. To date, Aiurart has staged more than forty exhibitions, including group exhibitions with international artists. This helped turn Aiurart into one of the most active contemporary art centers in Romania’s capital city, over the past couple of years.

In addition to the value of the art projects presented at Aiurart we aim a constant research focused on staging the curatorial discourse and innovation, on spatial narrative and on the role of the exhibition space as an immersive environment. Our curators and the exhibit designers team are reinventing Aiurart’s place, facilitating each time the forming of a special relationship between the exhibited works of art, the place and its guests.

Aiurart brings forth the joy of contemporary aesthetics and the intimacy of a pre-war mansion, exquisitely refurbished with the help of the architect Bogdan Pop and the ‘Asdesign 95’ team – a piece of restoration work nominated at the 2013 Bucharest Architecture Annual. Thus, Aiurart brings a telling contribution to the existing urban space restoration work whilst revitalizing the surrounding area through its cultural programmes.



21 Lirei Street, Bucharest

by appointment

website – update 01.2024 – the website is expired




Ecaterina Vrana appears to have o problem: all her paintings are soaked in the experience of being alive. Seemingly incapable of distancing herself – either conceptually, reflectively, critically or strategically – and unable (or maybe unwilling) to take a step back from her egotistic activism or from anything wise or otherwise, she indulges exclusively and autistically in her very own being, in her tumultuously abrupt life. Painting is a leech sucking up all the rotten blood on her face turned into a sore, after being incessantly struck.


Ethel and Silviu Băiaș are part of a generation of established artists in 1970 in Romania, a couple of appreciated engravers and illustrators in a politically complicated period.

This exhibition aims to bring forth a highly consistent and strong artwork, two complementary discourses very well connected to the political, social and ecological past reality, but equally relevant, through recontextualization today.

The woodcuts focused on Calamities and Pollution of Atmosphere signed by Ethel Băiaș are mostly related to the toxic political environment and the gradual change of the social landscape under the influence of communist “pollution”. The Reports and Greenhouses by Silviu Băiaș complete the political and social picture with an authentic ecologic unrest. The gestural force in the engravings of Ethel Băiaș is complemented by the scan of landscape type of perspectives or mapping, with color interventions specific to newspaper printing, a working manner common in the decades 60-80 from the XXth century in Polish poster and pop art.

An exhibition that brings out the powerful engravings made mostly during 1974-1988, a time of reconstruction, but also a time for rethinking an artistic work left for too long inside drawers.

Olivia Nițiș


From November 18th, Suzana Dan clears the ground – Playground at Aiurart.

Clearing the place of everything that is not “Suzy”, Suzana Dan twists Aiurart’s tail to imprint it with her own bloody-happy, erotically-abrasive, para-feminist, painfully relaxed tales.

Suzana Dan is one of a small number of artists that have deformed-reformed the Romanian art at the beginning of the noughties by professing an avowedly flippant art. A type of art that was withering away the local public’s customs and expectations, sunk deep into rather orthodox cultural, aesthetic and spiritual pursuits. Suzana Dan drives painting up the wall, getting all sorts of fluids flowing from it, letting them out in the open as if to horripilate and instruct the beholder concurrently. In time, this searching instruction – never-ending and constantly reconsidered – has built an edifice, eccentric yet fragile as living art always is. At Aiurart, this edifice expands vertically, horizontally, diagonally, in every corner, from every perspective and by every means available, from painting to posturing, from object to concept, precept or tenet.