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

Revista Arta about Mihai Iepure-Górski’s solo show at :BARIL

Words in a Room

by Cristina Bogdan

Mihai Iepure-Gorski’s exhibition at Baril made me happy and this text is meant to tell you about this experience. Because this exhibition is like a whole, singular object, I want to spill it all out, throw it out there, just as if you would roll a pair of dice, expecting an immediate result. In fact, this is how I would sum up this exhibition – a brief, vibrant, delicate, almost absurd gesture. A playful, yet melancholic gesture. There are some sequences that make it whole. Table – trees – hands – balls – woman talking. The dice that I just played with are on the table, I rolled the dice a few times and I landed No reference to Duchamp, Nothing special, and a few others. I laughed and I understood that the artist was laughing with me, how else? If you were to make art you have to pretend you are not referencing Duchamp while you are in fact referencing the fact that you are not referencing Duchamp. The rest is a bit more subtle, there are two uprooted trees floating near the table, which I thought were a visual counterpoint, a place to rest your eyes, but then I asked the artist about them and he spoke to me about dispossession.

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