Sorin Neamtu@AMT Project, Bratislava

The Subject. Edges and Bounds |  29.04 - 10.05.2016


... When it comes to painting, I am concerned about what happens within its fixed bounds. I do not care to get out, but to stay there. To seek new forms, vocabulary, that would take me aback, get me out of my natural habitus – indolence – and hype me up.

In this sense, the type of painting I’m practicing has a performative nature (jazz) – the current gesture is spontaneously generated by the previous one. Provided that, for example, I already have a stain, what comes after is a new stain or a line complying to the original. The form I begin with is quasi-random or, if not random, it is something: an image, a subject to be denied, hidden, because it might have already failed me.

The fact that the image is abstract allows me to express a state that I couldn’t set forth in words. It leaves me diluted into the waters of thinned thoughts, snatches of ideas, sensations. The today’s sunny tarmac path I am walking on seems different from yesterday. Stepping with my shoe (which is, again, not the same as yesterday) on a tarmac makes me believe that I belong to something that is radically shaping myself. This might be the state I try to invoke here.

But my studio-painting is neither an depiction of a sunny tarmac, nor a pathetic/abstract "self-portrait". It is the whole amount of scraps of thoughts that otherwise - through text, words - could not become discourse. A kind of enormous elastic sphere which moves inside clearly defined structures (walls), leaving traces of her skin and bounds on their surface. (Sorin Neamtu)



AMT Project

stetinova, 1
81106 Bratislava - sk
+421 948 799 383

tuesday and friday 15.00-19.00 or any other day by appointment

Maxim Liulca - Right Angle Policy @MNAC Anexa, curated by Silviu Pădurariu


opening: Friday 24th of April 2015, 19h00

The Right Angle stands for aesthetic autonomy. Aesthetic freedom is the absence of representational constraint. The Right Angle ideology brings the three visible dimensions onto a single surface, in a simultaneous coexistence. The right angle does not archive or recover. Memory, history and inheritance are juxtaposed and cancelled out. There is no past or identitary pressure. 

The right angle is both ascending and horizontal. Its doctrine aborts the representation, reproduction and recreation of the visible. The right angle is devoid of subject or emotion. No religion, no mysticism, no ritual. Only linear gestures and expressions of a known anguish, all emerging from a continuous starting point. Each shape is the first shape.

Maxim Liulca uses the appearance of rectangular geometry to order the concerns of an individual absent from the mechanics of social policies, an individual aspiring towards emptiness and detachment from the common, the familiar. He leaves the territory of the mentality of a world dissolved in the new paradigms of globalisation. The new ideas and philosophies are a spots and surfaces abstractly intersected and overlapped, linearly fixed in a minimalist note. But the geometry is not feature of substance, but of atmosphere. The constructivist substance explores the style of the interior constructs of a digitised and technologised, desecrated reality. Formally, we are witnessing the neutral representation in a plastic manner of the design of spots and shades generated by ideology, politics, society and history on the collective memory. 

The Right Angle Policy marks an important moment in the evolution of Maxim Liulca and brings together works created and exhibited during the last four years. The visual formula defines a lucid abstraction, deprived of expression and emotion, controlled by elementary euclidian laws. This type of post-modernist abstractionism from 2010 onwards relinquishes the spell of spirituality and mysticism specific to the suprematism of the historical avant-garde or to the purification of the American abstract expressionism. What in the first part of the 20th century could be defined as the aesthetic of pure shapes can now, at the beginning of the 21st century, be reinterpreted by the laws of an aesthetic of voided shapes. Transcension is abstraction. The mysticism of the shape/colour relation has deviated to political interlinking strategies. 
Maxim Liulca’s Spots also bring forward a content critical towards the trend of figurative representation, as well as towards the curatorial discourse around it. Under its auspices are the motivations of the curatorial exercise camouflaged as a political manifesto in the form of a potential fragment of doctrine, the Right Angle policy. (Silviu Pădurariu - )

Special event NAG#9

produced by: Ephemair Association, :B A R I L Gallery
with the support of: MNAC - National Museum of Contemporary Art, Bucharest
sponsor: Raiffeisen Bank 
partners: Corcova Roy-Damboviceanu, X Design Services, Fabrik 
media partners: Europa FM, TVR, revista Arta, Unrest / Bucharest,, TV City, Zeppelin, Igloo, the Re:art, weart

the exhibition will be open between: 24.04 - 31.05.2015
visit program: Thursday - Sunday, 10h00 - 18h00


Sorin Neamtu in Examples for Non-universal Chair, group exhibition at Magma

Action with Rolling Chaise-Longue, video, 2013

Action with Rolling Chaise-Longue, video, 2013

March 18, 2015 at 18:00. 

The central theme of the exhibition is: chairs in visual arts. The presented artworks reflect upon the theory of Aristotle: 'There is no universal chair. The idea of a chair is only present in examples.'

Artists: Mike AINSWORTH (Uk), Róza EL-HASSAN (Hu), Teodor GRAUR (Ro), Szabolcs KISSPÁL (Ro/Hu), Joseph KOSUTH (Us), Dan MIHĂLŢIANU (Ro/De/No), Vlad NANCᾸ (Ro), Sorin NEAMȚU (Ro), Attila POKORNY (Ro), Iván PUIG (Mx)

The exhibition is part of the Reflex3 International Theatre Festival program, and it is on view between March 19 - April 19, 2015 every day, except for Mondays from 11:00-19:00. 



Baril won Guido Carbone Prize, Artissima 2014


Torino 8 novembre 2014

Il Premio Guido Carbone New Entries 2014 è stato istituito da Artissima nel 2006 ed è riservato alle gallerie della sezione New Entries, le giovani realtà con meno di cinque anni di attività presenti per la prima volta in fiera.

La giuria internazionale del Premio Guido Carbone New Entries 2014 - composta da Adam Budak, Direttore Collezioni e Mostre, National Gallery, Prague, Stefan Kalmár, Direttore Esecutivo e Curatore, Artists Space, New York, Bettina Steinbrügge, Direttrice, Kunstverein, Hamburg, Laura Viale, artista, in rappresentanza della famiglia Carbone, Brussels - ha assegnato con parere unanime il Premio Guido Carbone, alla galleria :BARIL, Cluj-Napoca, Romania.

I membri della giuria hanno molto apprezzato l’alta qualità delle proposte di tutta la sezione New Entries e hanno ritenuto che la galleria :Baril si sia particolarmente distinta per l’allestimento dalle dinamiche fortemente originali e per la sua unicità, coraggio e ambizione.

Inoltre la galleria è stata premiata per il lavoro di ricerca e per la promozione delle nuove generazioni di artisti e della creatività emergente.