Geta Brătescu (*1926 in Ploiești, Romania, †2018 Bucharest) was one of the most important artists of the Romanian post-war period. Under communist censorship, she had to abandon her studies of literature and art at the University of Bucharest, but continued them at the end of the 1960s. Despite isolation and difficult conditions, from the 1970s onwards she created works of high artistic dynamism. Brătescu’s versatile work includes drawings, graphics, collages made of fabric or paper, installations, objects, photographs, experimental films and performances. In the artist's avant-garde oeuvre the boundaries between art and life are blurred; at the center of her works are questions of memory and history, human identity, normativity, and the female gender. In the photographic series Atelierul (Invocarea Desenului) / The Studio (Invocation of the Drawing) (1979 /2018) offered by Neuer Berliner Kunstverein, Geta Brătescu provides insights into her 1970s studio, which served her not only as a place of artistic production, especially during the dictatorial regime of Ceaușescu, but also as a place of autonomy, where she critically reflected on her own position in the world.
Geta Brătescu’s works have been shown internationally in numerous solo and group exhibitions, including Documenta, Athens and Kassel (2017); Hamburger Kunsthalle (2016); Tate Modern, Liverpool (2015); Venice Biennale (2017; 2013; 1983; 1960); La Triennale, Paris (2012); Tate Modern, London (2012); National Museum of Contemporary Art Bucharest (2012); Istanbul Biennial (2011); New Museum, New York (2011); São Paulo Biennial (1987; 1983).