In the night, in deep darkness, one might be unable to see his own hand.
It's only the feeling that it's there, an elusive presence.
Subjectively unable to clearly delineate what I feel, where I am exactly, and for what purpose, I summon forms of energy in a subversive, non-discriminatory way.
In an attempt to dispute the obviousness, I feel always acting in a past future.
A utopia sadly always fails. Therefore, I am constructing objects that have betrayed me. I push the very meaning of common functional objects to their very limits, resulting in absurd, meaningless functions. Chair pillars or rolling chaise longues are utopian objects raised from my humorless struggle (clew head) to define my own limits (upside down head). Therefore I call these utmost objects.
As I wear my body by necessity, I try to transfer thoughts towards these almost objects into an artistic, always dilemmatic, approach. I am trying to isolate the intermediate nature, carrying my almost chair lifted, fighting against the unstable point of my sphere.
A sphere, the perfect shape, an iconic form of the Universe, has an infinite number of unstable points. Calmly or not, I am restless, testing my rolling chaise longue in an attempt to re-create the initial state, the very moment when
De tradus
In the night, in deep darkness, one might be unable to see his own hand.
It's only the feeling that it's there, an elusive presence.
Subjectively unable to clearly delineate what I feel, where I am exactly, and for what purpose, I summon forms of energy in a subversive, non-discriminatory way.
In an attempt to dispute the obviousness, I feel always acting in a past future.
A utopia sadly always fails. Therefore, I am constructing objects that have betrayed me. I push the very meaning of common functional objects to their very limits, resulting in absurd, meaningless functions. Chair pillars or rolling chaise longues are utopian objects raised from my humorless struggle (clew head) to define my own limits (upside down head). Therefore I call these utmost objects.
As I wear my body by necessity, I try to transfer thoughts towards these almost objects into an artistic, always dilemmatic, approach. I am trying to isolate the intermediate nature, carrying my almost chair lifted, fighting against the unstable point of my sphere.
A sphere, the perfect shape, an iconic form of the Universe, has an infinite number of unstable points. Calmly or not, I am restless, testing my rolling chaise longue in an attempt to re-create the initial state, the very moment when
Sorin Neamțu (b. 1977) lives and works in Timișoara. He paints and draws; since 2012 he has also made objects and performances, and some of the current paintings remain closely related to those actions. He studied at the Faculty of Arts of the West University of Timișoara, taking a BA and an MA in the class of Constantin Flondor, after a degree in computer science at the Polytechnic University of Timișoara.
He has had solo exhibitions at MNAC, the National Museum of Contemporary Art in Bucharest, at Suprainfinit Gallery in Bucharest, at Schleifmühlgasse in Vienna and at AMT Project in Bratislava, and has shown in group exhibitions at MNAC, Kunsthalle Bega, the Romanian Cultural Institute in London and New Gallery in Budapest. His work is in the MNAC collection.
Between 2012 and 2019 he founded and ran : B A R I L Gallery in Cluj-Napoca, which received the Guido Carbone Prize at Artissima Torino in 2014 for a presentation he curated. He has edited books for DCV and Distanz Verlag in Berlin, and has published eight artist books of his own since 2010.
(2026)
Sorin Neamțu (n. 1977) trăiește și lucrează la Timișoara. Pictează și desenează; din 2012 a făcut și obiecte și performance, iar unele dintre picturile de acum rămân în relație strânsă cu acele acțiuni. A absolvit Facultatea de Arte a Universității de Vest din Timișoara, licența și masteratul, la clasa lui Constantin Flondor, după ce studiase informatica la Politehnica din Timișoara.
A avut expoziții personale la MNAC București, la Suprainfinit București, la Schleifmühlgasse Viena și la AMT Project Bratislava, și a participat la expoziții de grup la MNAC, Kunsthalle Bega, Institutul Cultural Român din Londra și New Gallery Budapesta. Lucrări de-ale lui se află în colecția MNAC.
Între 2012 și 2019 a fondat și a condus : B A R I L Gallery din Cluj-Napoca, care în 2014 a primit Premiul Guido Carbone la Artissima Torino, pentru o prezentare curatoriată de el. A editat cărți la DCV și Distanz Verlag, Berlin, și a publicat opt cărți de artist proprii, începând din 2010.
(2026)