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FLORIAN LIBER


RECENT WORK seleciion

New York, Miami, Toronto, Montreal and Europe


SERIES core collections selection Human (Im)Perfect page 4 Vital Few

page 16

Fate, coincidence and danger page 26 online links page 39 Artist approach/ Critic reviews page 41

JAPAN

European Night of Museums

Art Museum Arad

HTA 2006, NYC

NEW YORK

ART FAIR


RELIEF/ 3D Painting

Regard du chorĂŠgraphe, ni objet ni temps - Virtual dismemberment Sculpture and Relief Painting 36H x 24W x4 inches, 92x61x10 cm; acrylic, industrial primer, cotton, fiberglass on canvas, 2018; CODE: VD18R01


Relief/ oject painting on canvas

Post-organic empowering? - there is a body beyond language, Sculpture and Relief Painting , 51 Hx 37W x4 inches, 129x93x10 cm; acrylic, industrial primer, cotton, fiberglass on canvas, 2018


Totem archaic. 40x22x7 inches, Wood Sculpture, acrylic, and steel, 2017


inspired by *Kibbutz Contemporary Dance Company (KCDC), www.kcdc.co.il

Body (IM)PERFECT- performative deconstruction* ; Sculp-

ture and object painting by F. .Liber; fiberglass, acrylic, industrial primer strength ;Natural human size, 2018


HARD DISK guts


Relief painting 4 inches

Regard du chorĂŠgraphe, ni objet ni temps -Virtual dismemberment, Sculpture and Painting , 36H x 24Wx4 inches, 92x61 x10 cm; acrylic, industrial primer, fiberglass on canvas, 2018; CODE: VD18L02


[SOLO] New York Art Fair 2019, Pier 92. : large size painting on canvas, sculpture, STUDIES for the

installation-montage, new medium etc. (work in progress)


Notable artists who have benefited from AENY: Andy Warhol, Peter Max, Robert Rauschenberg according to Washington Times.


“A tempestuous and immaterial movement reflecting the contemporary plastic language that acts through contemporary dance by ending up in a harmonious unity.� F.S. see also Critic review


Ballet’s destructive power* by F. Liber; 48H x 96W inches, 122 H x 244 W cm; acrylic, gesso, enamel, carved plaster, relief industrial primer on canvas; 2017


This repeated destruction becomes a drug to destroy everything then to rebuild from nothing (S. Polunin).


Ballet is dead by F. Liber; 48H x 96W

inches, 122 H x 244 W cm; acrylic, gesso, enamel, carved plaster, relief industrial primer on canvas; 2018


Hamburg Ballet, “Nijinsky” - a powerful ballet by Neumeier


Nijinsky by F.Liber; 48Hx 72W inches/122x 183

cm; Acrylic, gesso, enamel, lava pumice gel, industrial primer strength on canvas; 2018


Disturbing ruminations - 3D colorful by F.Liber; 48Hx 72W inches/122x 183 cm; Acrylic, gesso, enamel, lava pumice gel, cotton, industrial primer strength on canvas; 2018


“VITAL FEW,” which resonates with a profound visual narrative as you reveal the invisible within the visible through spatial aesthetics” – Ruthie Tucker curator, New York (former executive at the Guggenheim Museum and Phillips Auction House New York)

* Company 605/ 605 Collective, contemporary dance Vancouver


VITAL FEW *; 48 H x 108 W inches, 122 x 274 cm; acrylic, crackle paste, gesso, industrial primer, plastic cement; lava gel, metal on canvas; 2018


Rural Transylvania - installation;

130Hx220W x200 cm; Wood, metal, iron, rope, stones, 2016.


The Clone, 46Hx34Wx6 inches, sculpted GRANITE stone, acrylic, acid and gesso, ready made wood structure (48x48 inches), 2018.


Transylvania collection


http://www.kcdc.co.il/


Segmented primordial - ceci est mon corps; 36Hx48W inches; Acrylic, gesso, black relief media epoxy, and carved in plasteron canvas, 2018


Segmented Primordial-ecriture au corps; 36Hx48W inches; Acrylic, gesso, black relief media - epoxy, and carved in plasteron canvas, 2018


right side of stage


“...aesthetically absorbing oeuvre which reverberates with a dynamic textural sense and powerful visceral shapes. We were enthralled by the emotive quality of “INCONSCIENCE DU CORPS 001” which reflects your fine talent and vibrant visual intensity of texture.” 2017, R.T. former executive at the Guggenheim Museum,New York

Inconscience du corps 001 et 2

by F. Liber; 36W x 48H inches, 91W x 122 cm; acrylic, lava pumice gel, gesso, industrial primer on canvas; 2017


“...aesthetically absorbing oeuvre which reverberates with a dynamic textural sense and powerful visceral shapes. We were enthralled by the emotive quality of “INCONSCIENCE DU CORPS” which reflects your fine talent and vibrant visual intensity of texture.” – Ruthie Tucker curator, New York (former executive at the Guggenheim Museum and Phillips Auction House New York)


Efortlessness of action to thinking images and movements, meanings and contradictions

INTERPASSIVE


Fate, Coincidence and Danger (right detail); 48Hx108W inches, 122H x 274W cm; acrylic, crackle paste, gesso, industrial primer, lava gel, metal on canvas; 2017


LINKS PAPER /Studies https://florianliber.wordpress.com/paper/

DEICIDE/ NONCHALANCE DE SALOME https://florianliber.wordpress.com/deicidenonchalance-de-salome/

Folding paper, space and time https://florianliber.wordpress.com/foldingpaper-space-and-time/

CEAUSESCU efortlessness erect https://florianliber.wordpress.com/ceausescu-effortless%C2%ACness-erect/ [click on link]


Painting, object-painting & Sculpture CONCEPTUAL & CONTEMPORARY ART | GERMAN NE0-EXPRESSIONISM (favorite Master Markus Lüpertz)

Unique techniques, methods and new medium that across the border of existing art genres, the necessary stimuli with undeniable talent and breathtaking energy.

main Art Studio, downtown Montreal, Qc, Canada second Art Studio, Bronx, NY

next pages: Artist Statement and Critic Reviews


ARTIST STATAMENT Human (Im)Perfect Spectacular extremes of bodily manipulation by new technologies, the deconstruction of corporality (Derrida) and evaporation of the body into virtual, moving towards a post-industrial world, butchering of the ideal body as a gift from nature (Muller) ... These departures first liberated the body from societal codification, aesthetics delimitation and the “prison of Godlike embodiment”. It becomes clear that the violent explosions that have recently taken place were decisively influenced the re-definition of body images, of body perceptions. From the Unconscious of the Body My core collections consisted of series including Difference et Repetition (Deleuze), Ballet’s destructive power (Polunin) and Vital Few. These apparently different and divergent series end up achieving continuity and empowering. They enter into contact and connect at certain singular points becoming centers of intensification of the series. Dictated by its finality and its expression (a working process), the origins of movements and forms I did not conceive them totally beforehand, but by experimenting them physically. What is experimenting, “trying”? Arrive at a coordinating point such that the energy goes through naturally. These are flows of motion rather than shapes and figures. By “trying” a sequence of movements and verifying that the energy passes, I find myself in front of multiple possibilities of other movements (abstractions). Then I “try” again and choose, and so on, creating a flow of energy. (Gill) This flow builds the body movements by transforming every conscious sense into an abstraction emerging from the unconscious of the body, from the communication and osmosis between unconscious. When it comes to the body movement, its choreo/ graphy “ecriture au corps” becomes abstraction and translates the embodied meanings into intensive paths, while evolving them in motion and acting through the passage of energy. Segmented Primordial The primitive human been tried to understand without the need for conscious reasoning what the contemporary human been is trying to understand through rational knowledge. (Wundt) At the crossroads of a long-term conflicting body story, borrowing from prehistoric cultures, I have discovered new, pared-down primary expression. The primitive markings and proto archaic signs depict spiritual themes and hark back to the origins of humanity. Marked on my own raw sculptures, in order to induce the effects of power, I have particularly emphasized nonverbal primitive rituals engaging the magic of drawing (Tylor), anthropomorphic symbols and the magic of dance (Richard).


Critic Reviews “Consequently, Liber’s praxis tests the limits of an aesthetic theory of performance that rests upon the exclusion of any [...].In turn, this questioning implies a further examination of the opposition between the whole and the fragment, the living body and the dead, already rendered ambivalent in Plato’s treatment of the body as sōma. Echoing Artaud’s conception of a corps sans organs and Victor Tausk’s machine à influencer, Liber’s experiment in performative stage deconstructs the human/non-human dichotomy and treats the “body” as a discursive […] In this way we are presented with what amounts to an attempt at an “enactment” of a critique. (in Towards A New Aesthetics, by Louis Armand and Brian Rosebury) http://litteraria.ff.cuni.cz/journals/extracts/16.32_intro.pdf « Nonchalance de Salomé. Intrigante exposition de l’artiste plastique Florian Liber à la Galerie d’arts contemporains (2165, rue Crescent, à Montréal) sur la femme sophistiquée des grandes métropoles du XXIe siècle à partir du modèle de Salomé, fille maléfique d’Hérodiade, princesse de Judée. C’est la continuation historique du symbole biblique controversé dans la société urbaine. On dit avoir rendez-vous avec une analyse de psychologie sociale à côté de la vie métropolitaine actuelle. Intitulée Nonchalance de Salomé, cette exposition présente les oeuvres qui font partie de la collection d’art « La pute métropolitaine » 2004. » (Le Devoir, Julie Carpantier, 30 avril 2004) “Montreal based artist Florian Liber is an extremely alert presence in Western, North American and European space alike ... Starting from the premise, almost a profession of faith, that art facilitates communication as communication loads and determines artistic expression or, more firmly expressing that art and communication are the same, Liber combines artistic expression, from painting to digital techniques, with all their consequences in defining the symbolic and virtual space, with the theoretical analysis and the direct investigation of the many aspects of the world contemporary art. “art critic Pavel Şuşară, 2005 Pre-Apocalipse Now [find out more] “...aesthetically absorbing oeuvre which reverberates with a dynamic textural sense and powerful visceral shapes. We were enthralled by the emotive quality of “INCONSCIENCE DU CORPS” which reflects your fine talent and vibrant visual intensity of texture.” “VITAL FEW” which resonates with a profound visual narrative as you reveal the invisible within the visible through spatial aesthetics” – Ruthie Tucker curator, New York (former executive at the Guggenheim Museum NY, Phillips Auction House NY) 2017 “A tempestuous and immaterial movement ... reflecting the contemporary plastic language that acts through contemporary dance by ending up in a harmonious unity.” University Professor Fantanariu Suzana Ph.D, Art School, West University of Timisoara about “Sergei Polunin’s ballet destructive power” by Florian Liber, 2017 “Under the contemporary aspect, Florian Liber is aware of an update of the assumed difference, of the calm and serene detachment of the pride. Without putting in the text series of great names of plastic art, it is enough to think of Constantin Brancusi, who, in the age of avant-garde since the beginning of the last century, recovered original forms.” art critic Petru M. Has, Arca culture revue ISSN 1221-5104, Ministry of Culture, 2003 “The sketch-like element of the painting... however, with a few precise lines out of elements the figure has something of a dancer.” D. Krystof http://archaicbody.blogspot.ca/ “... a great representation of the value, respect and spiritual esteem accorded to “woman,” because of Liberation Theology since the 1960’ onward” Jerry Smith Ph.D, Princeton University, about Loemij Sculpture by F.Liber “When I first looked at Florian Liber `s works last year , I was disconcerted .l knew he was a student at the Fine Arts Faculty of Timisoara . While examining his works I could not find anything to relate them to. Naturally , I thought of waiting to see what would follow. What followed -this year’s paintings - seemed to be a direct and natural continuation of his first works. Nothing has changed in his vision, which proves that what I saw a year ago was not thew fruit of a , momentary artistic disposition, but the expression of an inner structure ,characteristic to his intimate self . The artist gave shape to this structure , and this shape seemed to have been used unconsciously as if “dictated “. curator and art critic Eleonora Costescu (International Association of Art Critics under auspices of UNESCO)


Florian LIBER, Master Degree in Arts Art Studio, downtown Montreal

i n f o @ f l o r i a n l i b e r. c o m

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Instinct as Knowledge  

Latest artworks only for US and Canada selection For Eastern Europe please contact EACU https://florianliber.com/

Instinct as Knowledge  

Latest artworks only for US and Canada selection For Eastern Europe please contact EACU https://florianliber.com/

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