Born 1977 Dej, Ciprian Mureşan lives and works in Cluj. Graduated from the Academy of Visual Arts Ion Andreescu, Cluj (2000).

Although in 1989 the Ceaușescu regime came to a peremptory halt, that moment does not seem to have represented a "point zero" - the divide that separates the past from the present.
The confusion of the past with the present is perpetuated both at the level of our daily life, of the urban reality that surrounds us, as well as at the level of the cultural heritage presented in museums or in the public space (via monuments).
This inertia is often addressed in my works. Cultural heritage is presented only partially, in a censored manner, often moving within the confines of a comfort zone that avoids confronting the past.

Selected solo exhibitions include Ciprian Mureșan, SMAK, Ghent (2019); L'atelier sans fin, Galerie de l'Atelier Brancusi, Centre Pompidou, Paris (2019); Ways To Tie Your Shoes, Convent Art Space, Ghent (2017); Your Survival is Guaranteed by Treaty, Ludwig Museum, Budapest (2015); Stage and Twist, Project Space, Tate Modern, London (2012); Recycled Playground, FRAC Champagne-Ardenne, Reims (2011); Contemporary Art Center, Geneva (2012); and Contemporary Art Gallery, Vancouver (2013). Selected group exhibitions include Viva Arte Viva, 57 La Biennale di Venezia, Venice (2017); Allegory of the Cave Painting, Extracity Kunsthalle, Museum Middelheim, Antwerp (2014); Six Lines of Flight: Shifting Geographies in Contemporary Art, Museum of Modern Art, San Francisco (2012); Les promesses du passé, Centre Pompidou, Paris (2010); and The Generational: Younger than Jesus, New Museum, New York (2009).

George Grosz (1893-1959) lived and worked in Berlin, Germany. Studied Drawing at the Dresden Royal Academy of Art, specialising in Graphic Art (1909-11); the School of Arts and Crafts, Berlin (1912-14) and the Atelier Colarossi, Paris (1913). A prominent member of the New Objectivity Movement, a band of Social Realism in German avant-garde art, Grosz's work depicted and commented on German society between the wars. Also a member of Berlin's Dada movement, his caricatures critiqued the politics and culture of the day through satirical illustrations reflecting his observations of life in the city. Select exhibtions include Graphic Witness, Drawing Room, London, UK (2017); George Grosz: Correct and Anarchic, Akademie der Kunst, Berlin, Germany (2010); The Years in America: 1933-1958, David Nolan, New York, US (2009); German Drawings and Prints from the Weimar Republic (1919-33), Metropolitan Museum of Art, New York, US (2004); The Berlin of George Grosz: Drawings, Watercolors and Prints 1912-1930, Royal Academy of Arts, London, UK (1997); The New Objectivity, Galerie St. Etienne, New York, US (1997); Art and Politics in Weimar Germany, Galerie St. Etienne, New York, US (1993). Expressionist works by George Grosz are held in a number of public collections world-wide including Kunsthalle, Hamburg; the Staatliche Museum, Berlin; the Stedelijk Museum, Amsterdam; the Thyssen Bornemisza Collection, Mardrid and Museum of Modern Art (MoMA), New York, US.