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<channel>
	<title>Thea Lazăr</title>
	<link>https://thealazar.com</link>
	<description>Thea Lazăr</description>
	<pubDate>Thu, 02 Jul 2026 15:27:18 +0000</pubDate>
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	<language>en</language>
	
		
	<item>
		<title>Home</title>
				
		<link>https://thealazar.com/Home</link>

		<pubDate>Fri, 29 Jul 2022 17:04:18 +0000</pubDate>

		<dc:creator>Thea Lazăr</dc:creator>

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		<description></description>
		
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	<item>
		<title>Bloom</title>
				
		<link>https://thealazar.com/Bloom-1</link>

		<pubDate>Thu, 02 Jul 2026 15:27:18 +0000</pubDate>

		<dc:creator>Thea Lazăr</dc:creator>

		<guid isPermaLink="true">https://thealazar.com/Bloom-1</guid>

		<description>
	Bloom
Shown at Liste Basel with Ivan Gallery accompanied by Adrian Ganea.
	

&#60;img width="6124" height="4082" width_o="6124" height_o="4082" data-src="https://freight.cargo.site/t/original/i/f5cca0cef0f1fe2a23987e93f1a19124d0fdfd52ff2a1ebca0bd904e11c8bc48/Booth-intreg-2.jpeg" data-mid="250025743" border="0"  src="https://freight.cargo.site/w/1000/i/f5cca0cef0f1fe2a23987e93f1a19124d0fdfd52ff2a1ebca0bd904e11c8bc48/Booth-intreg-2.jpeg" /&#62;
	&#38;nbsp; &#38;nbsp; Having a shared interest in the scientific study of plants, Thea Lazăr and Adrian Ganea have been involved in numerous projects in the Botanical Gardens and Botanical Museums of Cluj-Napoca and Bucharest and have conducted extensive inquiries and in other similar institutions such as the Botanical Garden and the Botanical Museum in Berlin, Jardin des Plantes in Paris, the Conservatory and Botanical Garden of Geneva and The Botanical Gardens of the University of Debrecen just to name a few. Their interests are anchored around the scientific heritage of these institutions, with a clear fascination for the living and lifeless plants displayed here, such as the human-sized, ancient Welwitschia mirabilis removed from the Namibian desert in 1901, shown in the Botanical Museum in Cluj-Napoca, as well as the objects, paintings, books and rumours that populate these collections, such as Brassai Sámuel's fever dreams of the giant water lily - Victoria amazonica. Both artists have actually worked inside these institutions, accessing archives, filming specimens, creating site-specific responses. This positions them not as theorists commenting from outside but as practitioners embedded in the institutions they critique.
	
&#60;img width="3993" height="5989" width_o="3993" height_o="5989" data-src="https://freight.cargo.site/t/original/i/d11d6253a8721b7aa9edfb4e86b5273cf029e39ad22a0f01feb4c5a2757a416c/535A6292.jpg" data-mid="250025670" border="0"  src="https://freight.cargo.site/w/1000/i/d11d6253a8721b7aa9edfb4e86b5273cf029e39ad22a0f01feb4c5a2757a416c/535A6292.jpg" /&#62;&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/5527342d7e3f00c67fbba8b965042208a18dd098064bf8e5c0970e198efb43cf/535A6312.jpg" data-mid="250025685" border="0"  src="https://freight.cargo.site/w/1000/i/5527342d7e3f00c67fbba8b965042208a18dd098064bf8e5c0970e198efb43cf/535A6312.jpg" /&#62;&#60;img width="4480" height="6720" width_o="4480" height_o="6720" data-src="https://freight.cargo.site/t/original/i/e12e8a0728467c584b91af7ab227c1fb2dda216702314e20d3ae07fcc46618f3/535A6349.jpg" data-mid="250025708" border="0"  src="https://freight.cargo.site/w/1000/i/e12e8a0728467c584b91af7ab227c1fb2dda216702314e20d3ae07fcc46618f3/535A6349.jpg" /&#62;&#60;img width="4480" height="6720" width_o="4480" height_o="6720" data-src="https://freight.cargo.site/t/original/i/3bebfabff3e4ee70763f56416129735e1c5b1c0bf1e4816a6a5b4537e15e6b90/535A6355.jpg" data-mid="250025709" border="0"  src="https://freight.cargo.site/w/1000/i/3bebfabff3e4ee70763f56416129735e1c5b1c0bf1e4816a6a5b4537e15e6b90/535A6355.jpg" /&#62;
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		<title>The After Conversation/ Isle of Glass</title>
				
		<link>https://thealazar.com/The-After-Conversation-Isle-of-Glass</link>

		<pubDate>Sat, 23 May 2026 19:19:58 +0000</pubDate>

		<dc:creator>Thea Lazăr</dc:creator>

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		<description>
	The After Conversation/ Isle of Glass
Solo show at la Cave/ Institut Francais, Cluj-Napoca, Romania, 2026&#38;nbsp;
curated by Gabriela Moldovan
	
&#60;img width="4096" height="2731" width_o="4096" height_o="2731" data-src="https://freight.cargo.site/t/original/i/430e34b242b24c4e227335bbd8f2ce2b8226a9afbee716f6388478e19e85f873/535A6202ed2.jpg" data-mid="248677870" border="0"  src="https://freight.cargo.site/w/1000/i/430e34b242b24c4e227335bbd8f2ce2b8226a9afbee716f6388478e19e85f873/535A6202ed2.jpg" /&#62;
	&#38;nbsp; &#38;nbsp; Isle of Glass is born from a collection of seaglass gathered from beaches over the past few years, transforming the found material into a pretext for speculative archaeology. The series constructs the narrative of a lost island civilization that produced anthropomorphic and zoomorphic glass statues, structures that sank along with the island, fragments of which continue to wash ashore. The pieces of glass thus become artifacts, material evidence of a fictional history treated with the rigor of a real one.
&#38;nbsp; &#38;nbsp; 
The series articulates two complementary registers. One is imaginative and reconstructive, embodied in large-scale textile works made through patchwork quilting, in which the silhouettes of the statuettes float on water surfaces seen from above. The technique is not neutral: quilting carries a long tradition of commemoration and personal memory, and the materials, second-hand or deadstock, add another layer of time and history before being sewn together. The second register is analytical and documentary, embodied in smaller works in which seaglass is placed on embroidered grids and textile color charts, mimicking the protocols of archaeological cataloguing.

&#38;nbsp; &#38;nbsp; There is a productive tension between the two registers: between the found fragment and the imagined whole, between the gesture of cataloging and that of reconstructing, between what has been lost and what can be recovered through fiction.


	
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</description>
		
	</item>
		
		
	<item>
		<title>Time Is Male and in His Cups Drinks to the Fair</title>
				
		<link>https://thealazar.com/Time-Is-Male-and-in-His-Cups-Drinks-to-the-Fair</link>

		<pubDate>Wed, 18 Jun 2025 12:39:13 +0000</pubDate>

		<dc:creator>Thea Lazăr</dc:creator>

		<guid isPermaLink="true">https://thealazar.com/Time-Is-Male-and-in-His-Cups-Drinks-to-the-Fair</guid>

		<description>
	Time Is Male and in His Cups Drinks to the FairInstalation in collaboretion with Lorena Cocioni, shown in the exhibition ”totul trece” curated by Gia Țidorescu and Suzana Dan at Rezidența 9 in Bucharest, Romania, 2025

	

&#60;img width="3500" height="2333" width_o="3500" height_o="2333" data-src="https://freight.cargo.site/t/original/i/742158dd00088891cc4b535985dbca9788ad7a2decda2f0c47f41305e8d7d71d/_BS_6934-HDR---WEB.jpg" data-mid="234724889" border="0"  src="https://freight.cargo.site/w/1000/i/742158dd00088891cc4b535985dbca9788ad7a2decda2f0c47f41305e8d7d71d/_BS_6934-HDR---WEB.jpg" /&#62;
	&#38;nbsp; &#38;nbsp; Time Is Male and in His Cups Drinks to the Fair, an installation by Lorena Cocioni and Thea Lazăr, explores the female narrative throughout history as an object of the male gaze, often failing to recognise its true agency. Drawing inspiration from the poems and essays of Adrienne Rich, the installation combines new works with the artists' existing works. It reflects on iconic symbols of vanity, such as the myth of Narcissus reimagined through flowers, the mirror capturing the movement of water, and the recurring presence of the eyes, a motif that runs throughout the space as a unifying thread.
Text by Gia Țidorescu
	


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Photo credit:&#38;nbsp;Serioja Bocsok &#38;amp; Rezidenta9 and Adrian Ganea</description>
		
	</item>
		
		
	<item>
		<title>Pressed Leaves and Brittle Petals</title>
				
		<link>https://thealazar.com/Pressed-Leaves-and-Brittle-Petals</link>

		<pubDate>Mon, 17 Mar 2025 14:52:08 +0000</pubDate>

		<dc:creator>Thea Lazăr</dc:creator>

		<guid isPermaLink="true">https://thealazar.com/Pressed-Leaves-and-Brittle-Petals</guid>

		<description>
	Pressed Leaves and Brittle PetalsShown in&#38;nbsp;Learning from Nature? – Botany curated by&#38;nbsp;Török Krisztián Gábor,  Süli-Zakar Szabolcs, Horányi Attila and Vékony Dorottya at Modem, Debrecen, Hungary, 2024 - 2025
	

&#60;img width="8502" height="5668" width_o="8502" height_o="5668" data-src="https://freight.cargo.site/t/original/i/2f03af5edbb190286160edb49a103022387f412a70866c02b9ddaa39ba8a29f5/_S7A9399.jpg" data-mid="228366260" border="0"  src="https://freight.cargo.site/w/1000/i/2f03af5edbb190286160edb49a103022387f412a70866c02b9ddaa39ba8a29f5/_S7A9399.jpg" /&#62;

	&#38;nbsp; &#38;nbsp; The two-channel video installation by Thea Lazär, who mainly produces multimedia works, using the power and malleability of storytelling focuses on the aspects of extrusion as a preservationist cultural technique in relation to personal memory and remembering.
&#38;nbsp; &#38;nbsp; Rather than the positivist collecting-categorisation praxis of science that views nature as curiosity (her-baria, botanical gardens, natural history museums) and colonisation (expropriation of indigenous plants), she offers a more sensual and sensitive approach by highlighting the meanings of the preservation of flora through compression that focus on the relationship between the individual and the environment, based on evocation and reanimation. The various pressed flower petals and leaves, which act against plant blindness, also referring to the pedagogical practice developed for secondary school students, especially in the countries of the Eastern Bloc, can capture a joyful moment, remind us of certain loved ones, significant places, events, or even promote commemoration. This context is highlighted by the 3D animation of flowers with sophisticated design, the use of Emily Dickinson's herbarium, but also by her poem (A Light Exists in Spring), which celebrates the romantic topos of spring as a continuous rebirth and the survival of life, through which nature as a unique monument and monument as a specific nature can be revealed.
Text by Edward Kovács
	


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Photo credit:&#38;nbsp;Dávid Biró
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	Botany: Learning from Nature (?) - exhibition review by Gyöngyvirág Agócs in Revista Arta Online
Learning from Nature? – Botany - e-flux AgendaEmberközpontú világképünk újragondolása -&#38;nbsp;exhibition review by Fedics Laura in Kontur ArtMűvészet Virágcserépben? -&#38;nbsp;exhibition review by Kustra Dániel in Artmagazin Online„Peelings”, patru artiste explorează straturi interioare la Scânteia+&#38;nbsp; - exhibition review by Liana Ion in Curatorial


	

</description>
		
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	<item>
		<title>A Single Root Can Hold the Earth Together</title>
				
		<link>https://thealazar.com/A-Single-Root-Can-Hold-the-Earth-Together</link>

		<pubDate>Tue, 14 Jan 2025 15:57:29 +0000</pubDate>

		<dc:creator>Thea Lazăr</dc:creator>

		<guid isPermaLink="true">https://thealazar.com/A-Single-Root-Can-Hold-the-Earth-Together</guid>

		<description>
	A Single Root Can Hold the Earth TogetherSolo show at Zina Gallery, Cluj-Napoca, Romania, 2024
	

&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/6caf4964efdb145e0ac495db05854a4da4e19c55a6c83ac112d1c89d769032ab/ZinaGallery-ASingleRootCanHoldtheEarthTogether-2.JPG" data-mid="224744620" border="0"  src="https://freight.cargo.site/w/1000/i/6caf4964efdb145e0ac495db05854a4da4e19c55a6c83ac112d1c89d769032ab/ZinaGallery-ASingleRootCanHoldtheEarthTogether-2.JPG" /&#62;

	&#38;nbsp; &#38;nbsp; In her first solo show with Zina Gallery, Thea Lazăr recreates an aesthetic of encyclopaedic plant collections, drawing much of the exhibition’s thematic language from Joseph Arnold’s work The Kunstkammer of the Dimpfels, a Family of Ironmongers and Traders from Regensburg (1668), which portrays a cabinet of curiosities— the early ancestor of the modern museum, a space with preserved specimens, automata and remarcabilia, presented by collectors as a microcosm of the world. The video-work A Dying Leaf Should Be Able to Carry the Weight of the World (2023) serves as a discrete guide through the Botanical Garden and Botanical Museum in Cluj-Napoca, becoming the foundation for Thea’s exhibition. She creates her own cabinet of curiosities, a space suspended into an introspective territory, where fossils, textiles, and botanical specimens are subjectively indexed and preserved.
&#38;nbsp; &#38;nbsp; Artificially fossilized Ginkgo biloba leaves stand as relics of timeless places where past and present seem to fold into each other, disrupting the conventional notion of linear history. Seeing her textile embroidered series, depicting the endangered white lotus, Nymphaea lotus var. thermalis, or the mysterious rebel Dracula orchids and Stapelia gigantea, I felt that each piece narrated a tale of survival and adaptation. But when Thea told me about the plant Aerel dobrogean, a recently discovered plant in Dumbrăveni Reservation, something touched me, like a complete gesture toward a newly crafted feeling. Now I have to carry the story of a plant that was unknown to science until recently. How should I do this?
&#38;nbsp; &#38;nbsp; Maybe the story of the Aerel dobrogean makes me realize there are many other unknown plants out there and that’s... hopeful. The same feeling I had when I learnt from her about a the nearly immortal plant that has been living for over 2,000 years. For Thea, a cabinet of curiosities is more than just a collection of oddities; it’s an invitation to explore shared emotion through a particular selection of objects that are telling stories about the world for a while. These objects, who are not meant to assign a fixed identity to their collectors, or a rigid perspective of the world, open themselves to multiple interpretations, stories, and contexts.
&#38;nbsp; &#38;nbsp; The stories can create a ‘we’, a collective charade, a loose assembly characterized by shared belonging, suffering, and potential. This encounter acknowledges the diverse experiences of hardship that the climate crisis brings, and can foster connections to our world despite the acquired baggage of threat and horror. As theorist Karen Barad explains the non-hierarchical nature of entanglement, entities maintain their connections even when dispersed, implying that our actions hold real meaning due to a predetermined capacity resulting from unseen connections.
Text by Daniela Custrin
	


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data-src="https://freight.cargo.site/t/original/i/3b2e251e2e777bd9189afb8d5dc3895d28e97d94b4172f0657c215cc4fada143/ZinaGallery-ASingleRootCanHoldtheEarthTogether-10.JPG" data-mid="224745638" border="0"  src="https://freight.cargo.site/w/1000/i/3b2e251e2e777bd9189afb8d5dc3895d28e97d94b4172f0657c215cc4fada143/ZinaGallery-ASingleRootCanHoldtheEarthTogether-10.JPG" /&#62;&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/a3ec5e91939ae5381141d8a1d677673d4fccf887cd3d4c8ee698ef3be9370914/535A3391.JPG" data-mid="228360804" border="0"  src="https://freight.cargo.site/w/1000/i/a3ec5e91939ae5381141d8a1d677673d4fccf887cd3d4c8ee698ef3be9370914/535A3391.JPG" /&#62;&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/d60c316ab86ac94951d814002724552aeb76d40232cf5d556c032e4d25e50f60/535A3394.JPG" data-mid="228360805" border="0"  src="https://freight.cargo.site/w/1000/i/d60c316ab86ac94951d814002724552aeb76d40232cf5d556c032e4d25e50f60/535A3394.JPG" /&#62;&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/c9873eafd6f1a5f6c090a5d9d345aaf4cc9a0e9bdc85f1efc4a9db9be8ee6a41/535A3396.JPG" data-mid="228360806" border="0"  src="https://freight.cargo.site/w/1000/i/c9873eafd6f1a5f6c090a5d9d345aaf4cc9a0e9bdc85f1efc4a9db9be8ee6a41/535A3396.JPG" /&#62;
Photo credit: YAP studio/ Mădălin Mărgăritescu &#38;amp; Thea Lazăr</description>
		
	</item>
		
		
	<item>
		<title>Lanterns and Other Memories</title>
				
		<link>https://thealazar.com/Lanterns-and-Other-Memories</link>

		<pubDate>Tue, 14 Jan 2025 16:28:20 +0000</pubDate>

		<dc:creator>Thea Lazăr</dc:creator>

		<guid isPermaLink="true">https://thealazar.com/Lanterns-and-Other-Memories</guid>

		<description>
	 
Lanterns and Other Memories
Shown in My Treasure, Your Treasure, Their Treasure curated by Székely Sebestyén at Quadro Gallery, Cluj-Napoca, Romania, 2024

	

&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/df5e8f913cecfac7c90c36b2e657502ebeac25f679c24c1004d4d81e683b7f1f/quadro---2024-10-23-comoara-mea-0180-Editweb.jpg" data-mid="224746369" border="0"  src="https://freight.cargo.site/w/1000/i/df5e8f913cecfac7c90c36b2e657502ebeac25f679c24c1004d4d81e683b7f1f/quadro---2024-10-23-comoara-mea-0180-Editweb.jpg" /&#62;

	&#38;nbsp; &#38;nbsp; The artist Dóczy Berde Amál&#38;nbsp;had a memory notebook that she kept with great care. On its pages are stuck pieces cut from the material of the clothes worn by her or by those close to her at important points in her life. Beside them can be read short descriptions in which she recorded for posterity the occasion on which they were worn (her first ball, the trip to Paris, her wedding, etc.), the date of their purchase, or the name of the dressmaker who made the garment.
&#38;nbsp; &#38;nbsp; It is fascinating that rather than resorting to painting, her usual medium of artistic expression, the 51-year-old artist instead chose ready made visual and tactile materials to capture, in a time capsule, events from her long-distant childhood and youth. The life given immortality via these scraps of cloth strikes us as colourful, dynamic and vital.
&#38;nbsp; &#38;nbsp; The fact that this notebook is still in existence is due both to its author, who kept it for 39 years, and to Erzsébet Gergely, who in her turn has had it in safe keeping for 48 years. Our exhibition marks the first time it has been displayed in public.
&#38;nbsp; &#38;nbsp; It opens up to us an extraordinarily rich variety of early 20th century textile materials which we frequently know only from black-and-white photographs. The notebook is without doubt also a rich source for cultural history, yet this is not the aspect that attracted us the most. Leafing through the notebook while reflecting on the way it has survived inspired us to focus our attention on the making of collections as a means of saving.&#38;nbsp; &#38;nbsp; We showed the notebook to, and discussed it with, women artists whose practice is distinguished by the fact that they are also collectors. These discussions helped us to refine more and more clearly a conception in which the making of collections means preserving, protecting, and looking after.
&#38;nbsp; &#38;nbsp; The works contributed by the women artists invited to exhibit have convinced us that this kind of preserving by collecting makes no claim to official recognition by any institution and does not ground its validity on any academic thesis. It is a softer structure than soft power and does not aspire to power. It is bold in its subjectivity and does not requuire large sums of money (or sometimes any financial resources at all), and, that being so, it is not concerned with the financial fortunes of the things collected either. On occasion it operates at the interface between private and public, objective and feelings-based. It is inclusive and reads objects outside the viewpoints of the disciplines. It can be compulsive, even to the point of absurdity, yet, again, purely from a desire to save, not to acquire.


	


&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/ff32651e832a78380bbddd72e5054f08e4daa0b7d5b02abea10137789b2b5501/quadro---2024-10-23-comoara-mea-0037-Edit---Copyweb.jpg" data-mid="224746618" border="0"  src="https://freight.cargo.site/w/1000/i/ff32651e832a78380bbddd72e5054f08e4daa0b7d5b02abea10137789b2b5501/quadro---2024-10-23-comoara-mea-0037-Edit---Copyweb.jpg" /&#62;

	&#38;nbsp; &#38;nbsp; Thea Lazăr is attracted by the botanical realm and studies the way in which plant collecting expresses people’s relationship with the world. In the installation shown here, the positivist identification and systematising of flora in botanical display cases is thrown into confusion and the making of collections of dried plants emerges as a means of expression that is subjective and even romantic.
	

&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/5fc7eeb0df677df708dc0d841def3aa0f3a3af86738701fad733b321433110de/quadro---2024-10-23-comoara-mea-0070web.jpg" data-mid="224746705" border="0"  src="https://freight.cargo.site/w/1000/i/5fc7eeb0df677df708dc0d841def3aa0f3a3af86738701fad733b321433110de/quadro---2024-10-23-comoara-mea-0070web.jpg" /&#62;&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/87eb62a4393fa5168c7469d99e5a8966857defc22686b8e34d35d042223977b9/quadro---2024-10-23-comoara-mea-0067web.jpg" data-mid="224746708" border="0"  src="https://freight.cargo.site/w/1000/i/87eb62a4393fa5168c7469d99e5a8966857defc22686b8e34d35d042223977b9/quadro---2024-10-23-comoara-mea-0067web.jpg" /&#62;&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/19a840273abafd71d1c82123fb76f17dd4a7c538b60fe1b9399696e07d33ae12/quadro---2024-10-23-comoara-mea-0069web.jpg" data-mid="224746709" border="0"  src="https://freight.cargo.site/w/1000/i/19a840273abafd71d1c82123fb76f17dd4a7c538b60fe1b9399696e07d33ae12/quadro---2024-10-23-comoara-mea-0069web.jpg" /&#62;&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/227486bfe45f0a9aa2c6279f3245c2c946b3e41a146892a1e256a703af04d104/quadro---2024-10-23-comoara-mea-0074web.jpg" data-mid="224746710" border="0"  src="https://freight.cargo.site/w/1000/i/227486bfe45f0a9aa2c6279f3245c2c946b3e41a146892a1e256a703af04d104/quadro---2024-10-23-comoara-mea-0074web.jpg" /&#62;&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/f0b889ddf9e59356525720c5e76ce764ed70261107571cdf7404c40e6b054ba6/quadro---2024-10-23-comoara-mea-0076web.jpg" data-mid="224746711" border="0"  src="https://freight.cargo.site/w/1000/i/f0b889ddf9e59356525720c5e76ce764ed70261107571cdf7404c40e6b054ba6/quadro---2024-10-23-comoara-mea-0076web.jpg" /&#62;&#60;img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/74d7797bedbe6848c69fc9235d1a70c78add84dea8abe82d9d344746ee08e034/quadro---2024-10-23-comoara-mea-0079-Edit---Copy-3web.jpg" data-mid="224746714" border="0"  src="https://freight.cargo.site/w/1000/i/74d7797bedbe6848c69fc9235d1a70c78add84dea8abe82d9d344746ee08e034/quadro---2024-10-23-comoara-mea-0079-Edit---Copy-3web.jpg" /&#62;

	Photo credit:&#38;nbsp;Roland VácziTransgresări în timp, spațiu și mediu- exhibition review by Roxana Modreanu in Revista Arta Online
	

</description>
		
	</item>
		
		
	<item>
		<title>Forest of Ghost Orchids</title>
				
		<link>https://thealazar.com/Forest-of-Ghost-Orchids</link>

		<pubDate>Mon, 08 Jul 2024 17:56:59 +0000</pubDate>

		<dc:creator>Thea Lazăr</dc:creator>

		<guid isPermaLink="true">https://thealazar.com/Forest-of-Ghost-Orchids</guid>

		<description>
	Forest of Ghost Orchids
Shown in Contemporary Art Auction - # 44 at Quadro Gallery, Cluj-Napoca, Romania, 2024
	

&#60;img width="1268" height="1883" width_o="1268" height_o="1883" data-src="https://freight.cargo.site/t/original/i/e9b19c39a1a128edecdf09af3ffbe2f68756ac88c8ea637c10a8a3d82efda489/quadro---2024-05-14-repro-0099-copy.jpg" data-mid="214321408" border="0"  src="https://freight.cargo.site/w/1000/i/e9b19c39a1a128edecdf09af3ffbe2f68756ac88c8ea637c10a8a3d82efda489/quadro---2024-05-14-repro-0099-copy.jpg" /&#62;


&#60;img width="2220" height="1480" width_o="2220" height_o="1480" data-src="https://freight.cargo.site/t/original/i/136ee6b1a15bd7d5e2cdbf884a03d9775040f78d203008a85d15456ae8c3cebf/quadro---2024-05-14-repro-0103-copy.jpg" data-mid="214321409" border="0"  src="https://freight.cargo.site/w/1000/i/136ee6b1a15bd7d5e2cdbf884a03d9775040f78d203008a85d15456ae8c3cebf/quadro---2024-05-14-repro-0103-copy.jpg" /&#62;&#60;img width="2670" height="1789" width_o="2670" height_o="1789" data-src="https://freight.cargo.site/t/original/i/99ca88d44e94434b3aa2491b1c79225c3b75cdfd1f8e5555ab33a45b6f9ef871/quadro---2024-05-14-repro-0106-copy.jpg" data-mid="214321410" border="0"  src="https://freight.cargo.site/w/1000/i/99ca88d44e94434b3aa2491b1c79225c3b75cdfd1f8e5555ab33a45b6f9ef871/quadro---2024-05-14-repro-0106-copy.jpg" /&#62;&#60;img width="2175" height="1450" width_o="2175" height_o="1450" data-src="https://freight.cargo.site/t/original/i/e2e8e7792b828d23ad91c53fede7ff3c6fc1309a90e73c86837ccefd58e415d6/quadro---lict-expo-2024-05-28--0085-Edit-copy.jpg" data-mid="214321412" border="0"  src="https://freight.cargo.site/w/1000/i/e2e8e7792b828d23ad91c53fede7ff3c6fc1309a90e73c86837ccefd58e415d6/quadro---lict-expo-2024-05-28--0085-Edit-copy.jpg" /&#62;Photo credit: Roland Váczi &#38;amp; Thea Lazăr


	Shown in Ziua crește at Contemporar by Aluvial, Cluj-Napoca, Romania, 2025
	


&#60;img width="1024" height="768" width_o="1024" height_o="768" data-src="https://freight.cargo.site/t/original/i/d8170992377e9ef85301175f0ecaadc323fdff77a575bb19ec92e9e23f0420d0/CONTEMPORAR-Aluvial2025-47.jpg" data-mid="228488621" border="0"  src="https://freight.cargo.site/w/1000/i/d8170992377e9ef85301175f0ecaadc323fdff77a575bb19ec92e9e23f0420d0/CONTEMPORAR-Aluvial2025-47.jpg" /&#62;
&#60;img width="1024" height="768" width_o="1024" height_o="768" data-src="https://freight.cargo.site/t/original/i/1ddc70150ebfa02954b20922c8a45a6003f86b2293fae5963143c1a35da1ed52/CONTEMPORAR-Aluvial2025-15.jpg" data-mid="228488620" border="0"  src="https://freight.cargo.site/w/1000/i/1ddc70150ebfa02954b20922c8a45a6003f86b2293fae5963143c1a35da1ed52/CONTEMPORAR-Aluvial2025-15.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Desert Bloom</title>
				
		<link>https://thealazar.com/Desert-Bloom</link>

		<pubDate>Mon, 08 Jul 2024 16:06:36 +0000</pubDate>

		<dc:creator>Thea Lazăr</dc:creator>

		<guid isPermaLink="true">https://thealazar.com/Desert-Bloom</guid>

		<description>
	Desert Bloom
Shown at ARCO Madrid 2024 with Zina Gallery accompanied by Lorena Cocioni and Codruța Cernea.&#38;nbsp;
	
&#60;img width="4223" height="2967" width_o="4223" height_o="2967" data-src="https://freight.cargo.site/t/original/i/e15a823d8d479ae3216797e9aa439871319233ce3b42a990701e655689ba1834/arcobooth20243-copy.jpg" data-mid="214312028" border="0"  src="https://freight.cargo.site/w/1000/i/e15a823d8d479ae3216797e9aa439871319233ce3b42a990701e655689ba1834/arcobooth20243-copy.jpg" /&#62;
	A series of textile landscapes of embroidered curious plants on fabric deserts, spanning soft dunes and stretching over pleated ridges.Focusing on desert flora that lives and must adapt to the harshest conditions on earth, observing their survival mechanisms and wondering which will be the last to survive the climate crisis after human and non-human animals are long gone.
	


&#60;img width="6411" height="4274" width_o="6411" height_o="4274" data-src="https://freight.cargo.site/t/original/i/ab58c934d83d46a1d990c508a5688a486fb096a1ff9c4db6b39155de63bb2b78/arcobooth20241.jpg" data-mid="214312252" border="0"  src="https://freight.cargo.site/w/1000/i/ab58c934d83d46a1d990c508a5688a486fb096a1ff9c4db6b39155de63bb2b78/arcobooth20241.jpg" /&#62;
&#60;img width="3337" height="5005" width_o="3337" height_o="5005" data-src="https://freight.cargo.site/t/original/i/abaff873829d281a5a23ebe0a736bae07107f3441989aebb48c22e08c4729d19/ZinaGallery-ASingleRootCanHoldtheEarthTogether-56-copy.jpg" data-mid="250443300" border="0"  src="https://freight.cargo.site/w/1000/i/abaff873829d281a5a23ebe0a736bae07107f3441989aebb48c22e08c4729d19/ZinaGallery-ASingleRootCanHoldtheEarthTogether-56-copy.jpg" /&#62;

	Stapelia gigantea emanates an unpleasant, corpse-like smell that attracts flies, which pollinate the flowers and ensures the survival of the plant.
	


&#60;img width="3744" height="5616" width_o="3744" height_o="5616" data-src="https://freight.cargo.site/t/original/i/c026df6b8c26c3eb528456f920e6ad0f5b0049db840b8b203e6ab7551081cb35/IMG_0574.JPG" data-mid="214312260" border="0"  src="https://freight.cargo.site/w/1000/i/c026df6b8c26c3eb528456f920e6ad0f5b0049db840b8b203e6ab7551081cb35/IMG_0574.JPG" /&#62;
&#60;img width="3744" height="5616" width_o="3744" height_o="5616" data-src="https://freight.cargo.site/t/original/i/08dc064726e81d2b9e9d8d0202497109b61ef58c4957463885d2c20ffa6edda9/IMG_0573.JPG" data-mid="214312259" border="0"  src="https://freight.cargo.site/w/1000/i/08dc064726e81d2b9e9d8d0202497109b61ef58c4957463885d2c20ffa6edda9/IMG_0573.JPG" /&#62;

&#60;img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/d3fc8bd74d41325da486ec84d5aef2ea8158f5f8be77c2d63bcf858bea534eb7/IMG_0565.JPG" data-mid="214312299" border="0"  src="https://freight.cargo.site/w/1000/i/d3fc8bd74d41325da486ec84d5aef2ea8158f5f8be77c2d63bcf858bea534eb7/IMG_0565.JPG" /&#62;
	Welwitschia mirabilis is referred to as a living fossil, with specimens thought to have been living for 2000 years. It grows very slowly, collecting water only from the morning fogs in the Namib Desert that condense on its large leaves and trickle down to the roots.

	

&#60;img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/4283e4cd5d01b23a8fba7cd8396e95268bb78182409b6f1cd96aae59d1b0f948/IMG_0567.JPG" data-mid="214312300" border="0"  src="https://freight.cargo.site/w/1000/i/4283e4cd5d01b23a8fba7cd8396e95268bb78182409b6f1cd96aae59d1b0f948/IMG_0567.JPG" /&#62;&#60;img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/d7c36bd400c9db12ed8e94b599a40c352b9788923e33d2f9d8022d864557bf0c/IMG_0568.JPG" data-mid="214312301" border="0"  src="https://freight.cargo.site/w/1000/i/d7c36bd400c9db12ed8e94b599a40c352b9788923e33d2f9d8022d864557bf0c/IMG_0568.JPG" /&#62;
&#60;img width="3744" height="5616" width_o="3744" height_o="5616" data-src="https://freight.cargo.site/t/original/i/d33a92e0076431e25229ef02e2ab3d41438b5638e4926253e37c288231b906ce/IMG_0575.JPG" data-mid="214312548" border="0"  src="https://freight.cargo.site/w/1000/i/d33a92e0076431e25229ef02e2ab3d41438b5638e4926253e37c288231b906ce/IMG_0575.JPG" /&#62;
	Lithops hermetica are small succulents also called living stones because they camouflage themselves among pebbles, making it difficult for animals to find and eat them.

	



&#60;img width="3744" height="5616" width_o="3744" height_o="5616" data-src="https://freight.cargo.site/t/original/i/4b68eb0a5e5dbdb2004b30e512d8ba7550c7c06d5aa02d1913716ebf0506a02b/IMG_0577.JPG" data-mid="214312550" border="0"  src="https://freight.cargo.site/w/1000/i/4b68eb0a5e5dbdb2004b30e512d8ba7550c7c06d5aa02d1913716ebf0506a02b/IMG_0577.JPG" /&#62;
&#60;img width="3744" height="5616" width_o="3744" height_o="5616" data-src="https://freight.cargo.site/t/original/i/39d3d023ba8ff6ed2fa5cb0a5afea07cda2808fa40bc1ddd2c45d24e39ffbe25/IMG_0578.JPG" data-mid="214312553" border="0"  src="https://freight.cargo.site/w/1000/i/39d3d023ba8ff6ed2fa5cb0a5afea07cda2808fa40bc1ddd2c45d24e39ffbe25/IMG_0578.JPG" /&#62;


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		<title>A Dying Leaf Should Be Able to Carry the Weight of the World</title>
				
		<link>https://thealazar.com/A-Dying-Leaf-Should-Be-Able-to-Carry-the-Weight-of-the-World</link>

		<pubDate>Thu, 07 Dec 2023 17:47:55 +0000</pubDate>

		<dc:creator>Thea Lazăr</dc:creator>

		<guid isPermaLink="true">https://thealazar.com/A-Dying-Leaf-Should-Be-Able-to-Carry-the-Weight-of-the-World</guid>

		<description>

	A Dying Leaf Should Be Able to Carry the Weight of the World

Part of the project Research for Tommorow curated by Larisa Crunțeanu for One World Romania

	




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	Tranziție, tradiție: despre trei scurtmetraje experimentale recente - video review by Călin Boto in Revista Arta Online

	
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