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.