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

Sasha Auer - Work of Art | solo show @ Schleifmühlgasse 12-14 Gallery, Wien

The title and the exhibition Work of Art emerge from the artists’ engagement with the precarious labour situation of the creative class.

Auerbakh’s work for this exhibition marks a continuation of her exploration of the “9,5 theses on art and class” by the American Marxist and art critic Ben Davis. The artists’ formalistic approach examines perspectives on labour and its relationship to contemporary art, addressing questions about the impact of restriction and production.

Through its combination of installation and performance, the exhibition Work of Art articulates a narrative in which sculptural objects function as placeholders for innocent creativity in the professionalized workforce. Other works fathom terminologies and titles in relation to theoretical debates around politics and economics, indicating the power of the working class. 

The exhibition features "This is the bar" by an art collective "A collective with the bar". The bar summarizes Auerbakh’s involvement with both institutionalized work and art school education. The piece questions the neoliberal logic of one’s own internal creation of the future; striving to become an entrepreneur while simultaneously a working subject, executing art as hobby. 


Schleifmühlgasse 12-14 Gallery 08.04 – 30.04.2016, opening: 7.04.2016, 7-9 PM



Flondor - Veranda cu fulgi de zăpadă | vernisaj joi 31 martie 2015 ora 18

Constantin Flondor - Fulg de nea pe o tema de Leonardo, 2015, 180x180cm, pigment, pastel, acrilic și ulei pe pînză

Constantin Flondor - Fulg de nea pe o tema de Leonardo, 2015, 180x180cm, pigment, pastel, acrilic și ulei pe pînză

Vă invităm la expoziţia de pictură „Veranda cu flori de zăpadă” a artistului Constantin Flondor, găzduită de Muzeul de Artă Cluj-Napoca în perioada 31 martie – 24 aprilie 2016. Vernisajul va avea loc joi, 31 martie, ora 18.00

Titlul expoziţiei „Veranda cu flori de zăpadă” rezumă într-o formă poetică chiar conţinutul său efectiv din punct de tematic: un prim registru, cel pe care publicul îl va parcurge în primele săli de expunere, cuprinde lucrări avînd „veranda” ca loc al configurărilor picturale. Topos deja emblematic pentru artist, veranda este spaţiul manifestării unei vitalităţi organice pentru care viţa de vie, simbol christic, este elementul de expresie a aparenţelor fenomenologoice, sesizabile prin simţuri. În culoare, acest conţinut este redat în tonuri puternice, saturate, aplicate cu patimă, cu accente ce pot acredita aparenţa unui expresionism vibrant chiar în lipsa figurii umane.

Al doilea registru, dedicat unor aspecte vizibile doar ochiului minţii, cuprinde reluarea unor cercetări ce au debutat în urmă cu cîteva decenii în linia unor preocupări de factură structuralistă, sincrone cu ascensiunea structuralismului în Occidentul Europei.

Orientate către studiul naturii din perspectiva urmăririi unor raporturi numerice şi geometrice ascunse, al sesizării structurilor prime care guvernează lumea organică şi anorganică, aceste studii sunt reluate acum focalizînd asupra morfologiei fulgului de nea, parte din metamorfoza unuia din elementele primordiale, încărcat de vaste semnificaţii, apa. De data aceasta tonurile sunt reţinute, cu aparenţa unor medii neutre ce permit structurilor rezultate din cercetare să se manifeste în primul rând sub aspectul unor configuraţii geometrice cu caracter revelator.

 Această simultaneitate a registrelor indică coexistenţa şi strînsa lor interdependenţă, într-o situare seducătoare în cîmpul ideii ce consideră numărul ca expresie a unui plan transcendental. În această cheie a semnificaţiilor se situează, de altfel, întreaga operă a artistului Constantin Flondor, parte din mişcarea cu caracter spiritual Prolog, care, sub aparenţa unei întoarceri la studiul naturii „epidermice” opera de fapt cercetări ce indicau un substrat conectat la structuri invizibile dar nu mai puţin reale.

În rezumat, dincolo de plăcerea sesizării unor subtilităţile picturale şi expresive, expoziţia oferă ocazia unor meditaţii asupra raporturilor ce ţin de aparenţă şi esenţă, pentru descoperirea cărora pictura nu este doar instrumentul cu care operează ci şi mediul predilect de etalare.

Călin Stegerean

Constantin Flondor, Mihai Iepure-Górski, kinema ikon and Maxim Liulca in Appearance and Essence, Art Encounters Timișoara | Arad

We are proud to present Constantin Flondor, Mihai Iepure-Górski, kinema ikon and Maxim Liulca works, presented in Art Encounters biennale venues: Museum of Art Timisoara and Halele Timco Timisoara.

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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


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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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. 



Arantxa Etcheverria - Given a Random Point, solo project at Atelier 35 Bucharest

Given a Random Point

Or about the imponderability of a point


The point as a form of ultimate abstraction. Stripped of materiality or dimension.

Actually, has anyone ever seen a point?

Although it represents a basic concept of geometric analysis, when subjected to individual analysis, we realize that the point lacks any sort of content. (F. Klein, Elementary Mathematics from an Advanced Standpoint: Geometry). By the way, about the point, ever since Euclid, we know that it has no parts.

A void full of meaningful at the intersection between mathematical nominalism and idealism, between geometry and philosophy, the point is all around us and yet nowhere. If two worlds were to intersect in a single point, they could have everything or nothing in common.

Such a point can be found inside the eyeball, where the image of the world is inverted to then be projected upside down on the retina.

Situated uncertainly inside the pupil this point may glide depending on the plane of sight. This comprises two worlds – one that lies ahead of us and one beyond our sight, yet remaining outside of it.

Let’s call it the-point-in-which-the-gaze-contains-itself.

A big-bang moment inside being: in which the image of the whole gathers in a miniscule point to then explode and make all the sense we give to the world.

In this point, the entire content captured by vision acquires the same value on the same informational plan – the material blends in with its shadow, and emptiness is confused with fullness.

So here we are in a paradoxical situation: the point, lacking any content, becomes the material manifestation of a bipolar representation.

Arantxa Etcheverria creates a series of geometric situations, intercepting instances of immanence in everyday life. Forms of conjunction between light and shadow, brought together in the same bidimensional plan.

Given a Random Point functions as a waiting room for a new state of consciousness.