The Universe of Dalí – Salvador Dalí -an exhibition review by 2nd year student Anamaria Cătuna

The Hintz House is hosting, over the course of several months in Cluj-Napoca, the unique exhibition "The Universe of Dali," which consists of 170 works by the famous Catalan artist Salvador Dali. The exhibition will take place from December 20, 2024, to May 18, 2025, and includes lithographs, graphics, engravings, sculptures, miniatures made of gold and diamonds, as well as a VR experience. "The Universe of Dali" is one of the most extensive exhibitions in Romania dedicated to the Catalan artist, inviting viewers on an unforgettable journey through the works of the eccentric artist, which range from drawings to furniture, sculptures, and other artworks made with a variety of materials such as gold, diamonds, bronze, and glass. The exhibition is hosted in the Hintz House, an iconic building in Cluj-Napoca, which also houses the first pharmacy in the city, now known as the Pharmacy Museum. The visitor’s journey culminates with the VR experience, which immerses the viewer in a unique and unforgettable adventure into Dali’s world, a world filled with surreal oddities and extravagance.

Surrealism is a literary and artistic movement that emerged in the 1920s in France and later spread to all countries around the world. The movement emphasizes the spontaneous activity of imagination and the exploration of irrational realms in artistic creation. The movement is still active today and continues to explore the subconscious and the irrational in artistic work. Salvador Dalí was one of the most influential artists of the 20th century, and through his bizarre creations, filled with fantastical elements and vibrant colors, he brought Surrealism to its peak. Salvador Dalí was a versatile artist, exploring sculpture, painting, literature, furniture design, goldsmithing, as well as the advertising world, and he significantly impacted each field with his extravagance. He permanently etched his name into the history of art, being a unique personality and phenomenon.

Dalí also dabbled in illustrations for comic books, having a vast repertoire of images and allegories that told stories through literature. He collaborated with major publishers and editors, using a variety of printing techniques to bring his vision to a wider audience. Some of these series can be seen at the “Dalí Universe,” including "Moses and Monotheism," "Much Ado About Shakespeare," and "Marquis de Sade."

         In addition to the aforementioned illustrations, visitors to the "Dalí Universe" exhibition can also view the artist's lesser-known sculptures, graphics, furniture, and goldsmithing works displayed across the three floors of the exhibition. Moreover, on the top floor, visitors can experience a VR presentation of Dalí's world, narrated by Dalí himself.

The exhibition is well-organized across all three floors. On the first floor, large sculptures such as "The Woman of Time," "Saint George and the Dragon," or "The Man with the Butterfly" stand out, alongside smaller works like "Venus’s Otorhinological Head" or "Hysterical and Aerodynamic Female Nude." The walls feature graphic works as well as "The Marquis de Sade." On the second floor, there is a special section dedicated to smaller sculptures, goldsmithing, furniture design, and other series of illustrations. On the top floor, visitors can experience the hypnotic VR journey through Dalí’s world.

As a passionate admirer of Salvador Dalí’s work, experiencing this exhibition brought me immense joy. The works are truly sensational, bizarre, and intriguing; the universe is fabulous, and the way the exhibition is structured immerses you in an extravagant labyrinthine world.

The "Universe of Dali" exhibition is truly unique and represents a significant opportunity for any visitor, whether or not they are a fan of the Catalan artist’s work.

About Life and Death, at the Parter Gallery, by Răzvan Catrișcău

The exhibition entitled "About Life and Death" was present at the Parter Gallery on Iuliu Maniu Street no. 3, opened on 13.03.2025 and ended its stay at the gallery on 27.04.2025. 

The very list of artists exhibited in the exhibition brings up the issue of life and death from the very beginning, as among Ana Lupaș, Mircea Spătaru and Rodica Svințiu the name of Dorin Panga is also mentioned, the one who died far too soon, but not before having influenced his generation colleagues artistically and conceptually, so much so as to dedicate this exhibition to the great artist he could have become. About life and death and at the same time about the "art of the memory of forgetting", as the attempt to outline the brilliant future of an artist who did not have the opportunity to fulfill himself is described, description placed in the imposing text that greets the visitor at the beginning of the exhibition, a text entitled "Cenotaph for Dorin". 

At the end of the exhibition visit, once the viewer has seen each work individually and has been confronted with each title, they can realize that they have been carried along a very carefully thought-out conceptual thread. The exhibition begins with the series signed by Ana Lupaș, entitled "Memories of the First Life", papier maché, 1996, and continues with another series by Ana Lupaș, “Sketches for a Round Tomb”, pencil on paper, 1977-1978, a series that marks the way to the projection of the film made by the same artist, “Preliminaries for a Round Tomb”, video, Budapest, 1991. These works are followed by Rodinca Svințiu's works, which stage the "Way of the Cross", oil on wood, 1988. Then comes the works of Mircea Spătaru, entitled "The Making of the World, The Point, the Beginning of the Drawing", charcoal on paper, 1973, “Hrist”, bronze, 1990, "The Relics", bronze, 2006, “My Ancestors”, plaster, 1962, “Maternity”, bronze, 60s, “The Entombment”, acrylic on canvas, 1977. Therefore, from the idea of ​​a possibility of a new life after death to the idea of ​​death, forming an organic, fluid, and intellectually exciting cycle. 

The techniques used in the making of the works on display cover a wide range of materialities and formats, from works in more conventional techniques such as bronze sculpture, charcoal drawing, or oil painting to papier mâché or even video art.

Conceptually "On Life and Death" is a deeply spiritual exhibition, conceived on a philosophical and theological foundation very well clarified by the text, in which the existence of man on earth is seen only as a passing stage, an episode of transition, and the exhibited artists try to plastically imprint the traces that man leaves behind this transition, such as "the trembling of the waves from the wake of a boat on water". The idea of ​​the exhibition is a true resistance and rebellion against the end that death places so drastically and cruelly on human creative potential, and this act of rebellion against the finitude of death is guided by the sense of a duty felt by the artistic collective, that of telling the story of "invisible and unfulfilled lives", like that of their former colleague, Dorin Pagna. An exhibition that tries to capture that "ray of eternity" to which, says Rilke, is the goal of every creative life, in an act of revolt against the irreversible death sentence.

On this thread is born the question that guides the entire creative spectrum exhibited in the exhibition: "How to tell the story of the dead, how to think about their presence among us-or their absence—without denying the irreparable nature of their tragic death?" Each work can be seen as an answer to this question.

A few works stand out in the set and deserve to be analyzed in more depth to better understand the artist's response to the exhibition's question.

From the apparent ephemerality of those "waves", which metaphorically transpose the imprint of man in life, the artists try to make something eternal and palpable, as can be seen very well in Ana Lupaș's attempt to visually transpose something as fragile and delicate as the concept of memory into a very impactful form and, at the same time, with a feeling of intimacy. Due to the technique used, the work "Memories of the first life" becomes in itself a visual exploration of a constellation of the most delicate contrasts that wear an expressive materiality. 

The exhibition's relationship with the Christian vision of life and death is evident once we go through the exhibition text where it is highlighted that even the temporal coordinates of the exhibition, during the Triodion period, were thought out in such a way as to make reference to the idea of ​​the transient moment before the event of life after death, but even more so by the series of works, placed above the text, "The Way of the Cross". At first glance, Rodinca Svințiu's work, due to its format, iconography, and theme, might seem like another staging of the "Way of the Cross" theme. Still, once the contemplation of the works in part and as a whole settles in, the viewer realizes the finesse of the artist's intention to paint as if someone is praying, with the simplicity and plastic purity of a pictorial prayer, as once Gian Lorenzo Bernini characterized a painting of  Nicolas Poussin “The painting could be compared to a beautiful prayer that you listen to with tense attention and from which you leave without saying a word, because the effect is felt inside.”. Works that have in their essence the permanent awareness of resurrection, although the path to death traveled by Jesus is illustrated. 

From the canon, to the expressive power of charcoal on paper unleashed in aesthetically and intellectually penetrating rhythms, given the title "The Creation of the World, The Point, the Beginning of the Drawing". A true graphic parable of the birth of the world and a visual transposition of the conglomerate of nothingness and substance. The support itself has a very special expressive quality, the folds and edges coordinating the viewer's gaze and contributing fundamentally to the rhythmic flow of reading the work.

In front of The Relics, all the solemnity that envelops the entire exhibition is concentrated. Their appearance has an intimate and earth-shattering character simultaneously, with games of planes, shadows, and lights, in accordance with the light that penetrates the exhibition space. Thus, the ephemerality and spontaneity of light are found in the same place as the apparent finitude of death. 

The way the exhibition was paneled and staged shows elegance and a deep understanding of the spatial needs of each individual work. "On Life and Death" is an airy and sensitive exhibition from the point of view of the organizers' relationship with the exhibited works, as each work receives a perimeter of its own and is uncrowded by anyone in which to unfold. 

The lighting is also intelligently thought out, with an ideal fusion between artificial and natural light, the natural one falling on the sculptures and acting as an actor in their aesthetic perception. 

The lack of descriptive labels next to the works can cause confusion and slight disorientation in the absence of a brochure or a catalog. 

Finally, the exhibition "On Life and Death" is an almost perfect example for any curator at the beginning of his journey and a profound staging of an essential issue in the existence of every human being: life and death.

Bibliography: 

Rainer Maria Rilke, Scrisori către Auguste Rodin, Editura Meridiane, 1986, București.

John Rupert Martin, Barocul, trad. Ana Oțel Șurianu, Editura Meridiane, 1982, București.

Ana Lupaș - "Memories of the First Life".

Rodinca Svințiu - "Way of the Cross".

Mircea Spătaru - "The Making of the World, The Point, the Beginning of the Drawing".

Mircea Spătaru- The Relics.

Mircea Spătaru- “Hrist”.

Ana Lupaș, “Preliminaries for a Round Tomb”.

Ana Lupaș, “Sketches for a Round Tomb”.

Mircea Spătaru- “The Entombment”.

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TAIL END – VLAD OLARIU - by ROMINA-CRISTINA BUDACĂ -

 Has anything changed over time, or is everything still as it was at the beginning of the world, only now with the promise of transformation and progress? Is power the reason for our evolution, or have certain symbolic forms also played a role? These are the questions Vlad Olariu invites us to consider through his exhibition, TAIL END.  

     The exhibition took place at MATCA art space in Cluj-Napoca, Romania, between  April 12 – May 9 2025. Although the space is modest in size, it is well-suited for an  emerging artist. Consisting of two levels, MATCA was founded by three independent  artists with the goal of showcasing contemporary art that reflects and engages with  today’s social issues.  

 Vlad Olariu is a visual artist specializing in sculpture and installation, both of which are present in this exhibition. A graduate of the University of Art and Design in Cluj-Napoca,  he continues to live and work in the city. His work often revolves around the idea of monumentality, but especially around contrasts and contradictions. Creating at a time when sculpture and especially installation is often met with skepticism, Vlad aims to demonstrate that what he creates is indeed art, by working with unconventional materials,  such as polystyrene, cement, concrete, drywall, and wood, which he transforms to mimic more "precious" materials such as bronze.  

 In terms of medium, the artist’s choices may appear ,,unusual” or even controversial to  some, but this perception is likely shaped by audiences unfamiliar with contemporary art.  A visitor’s first impression upon entering the gallery may be one of confusion – particularly if they are not acquainted with Olariu’s previous work. Why confusion?  Because at first glance, the works resemble other famous sculptures, a reaction the artist  intentionally aims for, challenging the notion that his work lacks originality. But then, we  might ask ourselves: what actually makes these works original? 

 While the sculptures may be ,,inspired”, they carry entirely different messages and  symbolism. Olariu seeks to bring classical themes into the present, reshaping them to  resonate with today’s society – making them relatable, yet prompting viewers to reflect  on the relationship between each work and its title.  

 At first glance, the pieces may appear minimalist or difficult to decode. However, the  key element – and arguably the most significant aspect of Olariu’s works is the materials 

he chooses and how he manipulates them to resemble something else. This technique requires technical skill and deep knowledge.  

 Upon entering the gallery's first room, to the right, one encounters 15 Minutes of  Fame - a row of 14 small terracotta figurines placed on a minimalist shelf. These figurines reinterpret some of the most iconic sculptures in art history, miniaturized as if to be displayed or consumed by visitors. The artist seems to critique these works,  suggesting that even the greatest artistic achievements can be reduced to kitsch or souvenirs, quickly consumed and stripped of their grandeur. Olariu reflects on how the artistic canon is overtaken by contemporary culture, where grandeur becomes notoriety. 

 Also in the first room, commanding attention through its striking blue color and its  position directly across from the entrance, is Flying Monkey, created from resin and  MDF. The piece resembles a three-dimensional graphic composition, outlining a hybrid  creature – a monkey with large wings, caught in a dynamic pose, seemingly ready for flight. The work presents a fusion of the human, animalistic and fantastical. By choosing a monkey (an animal closely linked to human evolution) and combining it with wings (a symbol of transcendence), Olariu creates a powerful visual and conceptual contrast between corporeality and liberation. The fact that the monkey is framed suggests a tension between apparent freedom and imposed boundaries.  

 Arguably the most striking work upstairs is Study After Laocoon After Laocoon, made from cellular concrete – a difficult material to sculpt, but one that Olariu handles masterfully in creating a bas-relief. The title clearly references the famous sculpture Laocoon and His Sons. By repeating the name "Laocoon" and adding the word "study", Olariu comments on the idea of replication, reinterpretation, and the inherited myth of artistic greatness.  

 TAIL END is an exhibition that challenges not only the eye, but also the mind. It is the kind of art that refuses to sit quietly on a pedestal – it draws you in, compels you to reconsider art history, and question inherited values. Through a sculptural language both ironic and powerful, Vlad Olariu transforms the gallery into a field of symbolic tensions between classical form and contemporary distortion. It is a raw, immersive experience,  a reencounter with sculpture as a living, breathing territory, one that does not just fill space, but boldly claims it. 

ANDREI BUDESCU – THE [UN]SEEN | SUBJECTIVE ITINERARIES (an exhibition review by 2nd year student Anamaria Todor, ITA Department)

The Art Museum in Cluj-Napoca, situated in the Bánffy Palace, hosted from April 20 to  April 30, 2023, a remarkable exhibition by the Romanian artist Andrei Budescu. It was a site-specific multimedia art installation that occupied four rooms in the Honor Wing of the palace,  which is not only home to the art museum but also a building of great historical significance for the city of Cluj, being built in the 18th century and serving as the residence of the Bánffy family,  one of the most illustrious and influential aristocratic families in Transylvania. The exhibition was titled “The [Un]Seen | Subjective Itineraries” and was initiated and curated by Alexandra Sârbu and realized with the logistical support of the Photo-Video-Digital Image Processing Department within the University of Art and Design in Cluj-Napoca (UAD). The artist, Andrei Budescu, used various media such as photography, sound, video, and light projection to create immersive and interactive experiences for the visitors.

Room 1

As a visual artist, Andrei Budescu specializes in artistic/alternative/experimental photography, 3D animation, multimedia, and audio-video productions. His vast experience in this area was exceptionally visible in the making and display of this exhibition. The project also included related events such as workshops, lectures, and artist & curator talks along with its regular visiting schedule.

The exhibition was conceived, first of all, as a dialogue and an interaction between it, the interior fine art decorations of the Honor Wing of the Palace and nine paintings of great cultural value for Romanian art, which are part of the museum’s collection and can be viewed in the  National Gallery’s permanent exhibition. This interrelation and conversation between all the things mentioned above were only possible because of the artist's medium; the exhibition's multimedia aspect was central to its success. As soon as the viewer stepped into the space, he was first struck by the eerie sounds and the darkness pierced by the play of light and video projections. In the first few seconds, it was quite a jolt to the system. After a few minutes, the viewer’s eyes would adjust to the environment, and he would start to notice that at the beginning, there was a stillness in the way the light and videos were projected into the space. Slowly the

projections would start to move and change while the sounds became more and more other-worldly with each passing minute. 

Room 2

In this way, the entire space was transformed. All these elements combined resulted in an immersive experience for the viewer. The physical space became the artwork, and the person visiting became both a canvas, a tool, and an artwork, as one’s simple presence and movement influenced how the videos were perceived in the space.

The video works in the exhibition were inspired by the paintings of prominent Romanian artists of the 19th century, such as Nicolae Grigorescu, Ion Andreescu, Ștefan Luchian, and Aloisie  Hora. Through the use of video projections, snippets of the paintings were reflected onto the walls,  the mirrors, and the other elements of décor, using geometric shapes, like circles and rectangles,  or lines that moved and changed color in sync with the soundscapes. Trying to catch glimpses of the original artworks that inspired Andrei Budescu’s video artworks, the viewer was compelled to pay attention to what was happening in front of him, to look for both the similarities and the differences between the original work and its interpretation, to compare and contrast, and to question their own perception and interpretation of what was in front of one’s eyes. The immersive nature of the installation would pull the visitor in, commanding him to be fully present in the space by engaging both his sight and hearing. 

This aspect was brilliantly illustrated by the work in room 3. Here, on one side of the room,  two benches invited the visitors to sit in the dark and quietly observe for a few minutes a video artwork inspired by Ion Andreescu’s painting, “Rider at Sunset”, go through a myriad of changes,  from its most abstract form to its most representational one in sync with the soundscapes. A mirror on the right side of the room reflected the video work, a detail that further enriched the viewer’s experience.

In another room, two of Andrei Budescu’s works were in a direct and frontal dialogue with the two mirrors in the space. The video artworks from this room were inspired by Nicolae  Grigorescu’s painting, “Little Shepherdess,” and Aloisie Hora’s, “Landscape with Animals”. Here,  the viewer could immerse himself in the space more deeply, as his reflection in the mirrors made him one with the works. Rarely is an artist able to achieve such a feat.

Room 3

The title of the exhibition, “The [Un]Seen | Subjective Itineraries,” can refer to the artworks that were inspired by the paintings from the museum’s collection, which can be both seen and unseen,  depending on the viewer’s perspective and attention, or can allude to the personal journey and experience that the viewer has while exploring the art installation. There was no single or objective way to understand or appreciate the artworks, and each viewer could have had his or her own interpretation and reaction.

With “The [Un]Seen | Subjective Itineraries”, the Museum of Art from Cluj-Napoca showcased one of its most remarkable and well-done exhibitions in the past few years, achieving remarkable success. The exhibition was a creative and innovative way to engage the public with art and culture. Through this exhibition, Andrei Budescu showcased his artistic potential and creativity and proved his skills as a photo-video artist.

https://drive.google.com/file/d/1VfikqkFNzmQaPgTYruE6BYlrQAs4bwYc/view?usp=sharing

“Petrichor”, Exhibition by Ioan de Moisa, review by Daniela Domuta, Ita

From the 18th to the 26th of May

 

 When was the last time you saw artwork brought to life in Bali or Togo right in your city?

 Ioan de Moisa created a series inspired by the culture and jungle of the cities where he lived, Bali, Indonesia, and Togo, Africa. This series and the classic Transylvanian one create his last solo show curated by Horatiu Lipod.

The exhibition “Petrichor” by Ioan de Moisa  takes place at Cosmic House cultural laboratory from the 18th to the 26th of May.

 

The artist graduated from our university, Universitatea de Arte si Design Cluj-Napoca, and University Ecole Régionale des Beaux-Arts de Rennes and was a member of Fabrica de Pensule (The Brush Factory). The artist with origins in Satu-Mare used to be known for his success with the Caricatures Corner company. 

 

 

 Ioan de Moisa is extending the authentic Cluj-School style, melancholic and canonical, with the new halophilic attitude. In parallel with the type of image that could be born from realism or abstractionism, Ioan de Moisa is trying to reborn a chromatic tension with gestural broad strokes.

 

The exhibition represents a green bonding between Transylvanian hills and

the luxurious vegetation of the south of Bali or Togo. All the views created come from memories where the distinction between background and figure is almost lost. The Anxious filled artworks have notes of horror vacui, as Horatiu Lipod confesses.

The two types of artwork, the cold-looking, and the exotic ones, are visually organized. One of the most adored spaces was the 2nd-floor sandy room, filled with warm energy. 

Concluding, the exhibition was one I had been waiting for and raised up to my expectations engaging visitors with quality time. 

 

THE SHARE, TAG OR DYE AGAIN, by MARIA COSTIN ITA ANUL II LICENȚĂ

  

 “The Share, Tag or Dye Again” exhibition is a fascinating and engaging experience that everyone should discover. Hosted in the Camera Gallery in Cluj-Napoca, this group exhibition brings to the forefront social media's importance in visibility, promotion, and growth as an artist, especially for the lesser known. 

Share, Tag or Dye Again is the second iteration of the Share, Tag or Dye program run by Asociația Fotografică Allkimik, an art collective from Bucharest, with an emphasis on analog. alternative and experimental photography, in co-production with Marginal, a Romanian NGO with an emphasis on art and science/technology. Share, Tag or Dye Again is financed by the Administration of the National Cultural Fund - AFCN, and developed in loving partnership with Alternative Photography, the Romanian National Textile and Leather Research and Development Institute, Experimental Photo Festival 2023, Camera, Lapsus, Borderline Art Space and gallery 2/3. Special thanks to Tied to Light, Digital: Canvas, Developing Art Association, and maGma.    

One of the remarkable aspects of this exhibition is how it explores and highlights how social media can be a powerful tool for supporting and promoting emerging artists. Each work on display is accompanied by a unique story and engaging social media presence so that the audience can better understand the context and inspiration behind the creations.

The curators of this exhibition have managed to bring together an impressive variety of talented artists, each with their own perspective on the role of social media in the contemporary art world. Each work conveys a powerful and personal message, from vibrant paintings to interactive installations and innovative collages. 

 What makes this exhibition truly special is its ability to encourage public interaction with the artists and the works on display. Through hashtags and invitations to share and tag on social media, the exhibition becomes an interactive and community event. In this way, visitors can actively contribute to the promotion of the artists by sharing their experiences and expanding the visibility of the exhibition on online platforms.

It is rewarding to see how the Share, Tag, or Dye Again exhibition combines art and technology to create a modern and accessible experience for the general public. This exhibition highlights the importance of supporting emerging artists and giving them a platform to promote their work, and social media is a valuable tool in this direction. 

 Share, Tag, or Dye Again exhibition, both for its aesthetic appeal and the impact it has on passers-by on the street due to its atypical space. The relationship between the blue hues of the location and the white canvases and the blue-printed works create a visual harmony and unique atmosphere. The wind whistling in from the street and making the canvases flutter as if flying adds a fascinating and interactive dimension to the experience. This movement of the canvases under the influence of the wind accentuates the feeling of freedom and evokes a connection with the elements of nature. By associating with the image of the sea and the relaxing atmosphere of the beach, the whole chromatic ensemble and the dynamics of the canvases transport you to a special world and allow you to connect to emotions and memories.

 The exhibition succeeds in attracting passers-by's attention and creating a unique, captivating, and enchanting sensory experience. It is an eloquent example of how art can permeate public spaces and bring joy and inspiration into people's lives.

It is wonderful that the exhibition made such a strong impression on you and that you were captivated by its beauty and atmosphere. I hope you continue to enjoy discovering other exhibitions and works of art that inspire and delight you.

 

 The way the canvases were displayed in the exhibition was innovative and exciting. The ability to walk among the canvases and see all of the selected artists' work provides an interactive and intimate experience, allowing you to connect more deeply with each work and notice the details and messages conveyed.

The use of the cyanotype technique for printing cotton canvases adds an extra element of originality and diversity to the exhibition. Cyanotype is an alternative photographic technique that uses a mixture of light-sensitive chemicals to create intense blue images on surfaces. Although commonly associated with photography, it is exciting to use in textiles to create unique and innovative work.

 This unconventional approach means that the exhibition not only brings the artists' work to the fore but also highlights the creative and experimental ways in which different techniques and materials can be used in art. 

 I appreciate the efforts of the curators and artists to bring together a variety of techniques and approaches in this group exhibition. It is a testament to the diversity and innovation in the contemporary art world and allows the public to explore and appreciate new artistic trends and expressions.

 The use of posts from social media platforms such as Instagram and Facebook in the exhibition adds a fascinating and relevant element. Being able to see the likes and comments on the posts brings a touch of reality and authenticity to the audience's interaction with the artwork. This provides an interesting insight into how social media can influence and interact with artists and their works and how these interactions can affect the perception and value of the works. 

 This approach gives audiences the opportunity to connect more deeply with the artists and their work, allowing them to see not only the visual aspect of the work but also the reactions and interactions online. This can add a touch of authenticity and dialogue between artists and the audience and can contribute to a better understanding of the context and impact of the works on display.

CE NE-A ÎNGHIȚIT PĂMÂNTUL, by Boroș Iuliana Istoria și Teoria Artei An II

MARIA BRÎNEȚ 

Expo Maraton, an emblematic event of Cluj, that takes 

place annually comes again this year with a series of 

artistic projects that should not be missed. Casa Matei 

Gallery, the place where this event happens every time, is 

hosting the 11th edition of Expo Maraton between the 2nd and 

26th May. As we all know, the series of exhibitions 

included in this event are taking place every Tuesday and 

Thursday of the week, from 7 pm. So far, this edition 

seems to be full of good art exhibitions, but one of them 

remained imprinted in my mind, mainly because of the 

originality and the personal touch that were so clear to 

see. I guess the visitors to this edition know who I am 

referring to. I am talking about the project of the artist 

Maria Brîneț, who made on 9th May, the day she exhibited, 

a great show. ”Ce ne-a înghițit pământul”, her project of 

this edition amazed the public with the attention paid to 

each element in the exhibition, elements that contributed 

to the unification of space. Her sculptural works made 

with great details, have become more than simple objects 

related to a theme, they have been transposed into the 

exhibition environment, also very carefully arranged, as 

tools for a collective exercise of meditation on certain 

aspects of childhood. 

Maria Brîneț is currently a first-year student at a master's degree in sculpture at the University of
Art and Design in Cluj-Napoca. As a young artist, who still likes to explore new themes and mediums of creation,
she has not defined a particular style yet, nor does she come up with the same recurring themes, but both her
works and concepts always surprise in the most pleasant way possible.

The exhibition project investigated how memory 

distorts the physical property of objects and provides the framework for the rediscovery of objects that embody

preciousness for their owners. The original nature of the objects was reconstructed by the people who owned them,

who were invited to draw the memory of the lost object in the exhibition catalog. What made Maria's project

interesting was the fact that she brought the art object to the stage of a common element, an element that wants

to be put in service of the idea she proposed. In this case, her sculptures were hidden in the soil and put on the

ground, which was specially brought to the gallery for her concept. At the exhibition entrance, the visitors were

told to take some gloves and start digging for the artwork. At that point, the space started to feel timeless;

the sounds of people talking about their childhood memories as they discovered Maria’s objects and the light

that made the soil shine were things that made the difference. Once they found the objects, visitors were invited

to place them in the mailboxes they belonged to. That space managed to become without boundaries, mainly

because of the universality that was felt once people discovered that most of them had those objects as kids.

Also, like no one else, Maria was capable of inducing a feeling of identification towards her works, creating

a state of comfort and a place where communication was free. 

But what made that connection between people so strong in this case and not in other exhibitions? 

The connection felt there was maintained, like nowhere else, through the dynamic of the space. From the collective digging to the conversations that started naturally based on the previous action to the identification process of the works with their place, all of that made the people more connected than ever. 

The works were not very rich in color, most of them wearing the material's color, in this case, bronze.

Maria chose to show her objects only some patches of color, especially in the detailed areas, which was not a bad

idea because the digging process was much easier and more fascinating. Founding in the soil those small gold

pieces of art, with a great impact on our memories, and then talking, laughing, and smiling with them in our

hands showed Maria that her art and her environment had by far exceeded the expectations of all visitors.

The diversity of sculptural objects that capture the elements of childhood life, such as different toys or accessories

from her own memories, are unified in a reinterpreted space, a mailbox. Their placement in each box, next to

their description made by the artist, conveyed in a way the idea of finding some past objects or memories, which,

despite their psychic presence or absence, remain as dear and orderly in our minds. That mailbox meant, in this

case, the place dedicated to those objects-memories where they can live forever. 

The title of the exhibition,” Ce ne-a înghițit pământul”, is also very suggestive, both for the concept she chose

and for the appearance of the compositional space itself. The idea that the ground has been taken away from us

some memories should make us people think of the eternalization of our memories, despite the disappearance of

some physical things to which we relate some feelings. Digging myself into the exhibition, I found a bunny that

Maria made, and then I remembered certain toys I had in my childhood, moments when the feelings I had for those

toys rushed over me. Then, seeing myself going to the mailbox meant a process of eternalization of my own

feelings for them. I am sure that her project produced much more feelings and experiences than she had intended,

which is to be appreciated by an artist.

Ce ne-a înghițit pământul was such a comprehensive and authentic exhibition that, without a doubt, touched

the public both in a psycho-emotional and physical way. Being a truly participatory experience, Maria Brîneț's project took us into a timeless universe, where her talent of using usual tools such as light, soil, and wood highlighted the artistic power valued to the maximum. I am convinced that Maria's projects will become more

and more interesting, and I anticipate and hope that the next exhibition in this genre will be materialized as soon as possible, mainly because it is a special experience with art that no one should miss.