"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 Carpentier, 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 Liber`s 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)
2007 Master's degree, Faculty of Arts and Sciences FAS, University of Montreal, CA; Graduate with honor and excellence *; research director Brian Massumi; Thesis, research, publications, public intervention in the field of technological and contemporary arts;
1996-2000 Studied the Painting first cycle at Fine Arts Faculty, West University of Timisoara**, Professor and international master (Nouveaux Fauves) Romul Nutiu and Constantin Flondor;
*on my diploma and some publications I used my birth name Florin Liber instead of Florian.
**Timisoara City, Eastern Europe – recently named European Capital of Culture 2021.
ART GALLERIES and ART FEST [selection]
2019 Art Fair New York, Spring 2019; Notable artists who have benefited from AENY: Andy Warhol, Peter Max, Robert Rauschenberg;
2018-19 Elite Art Gallery in Bucharest, Romania under the auspices of Elite Art Club UNESCO - EACU;
2018 Painting show and opening at Stanley Borenstein Gallery / CAG (for 40 years art dealer in Paris & Montreal), Complexe Canal Lachine, Montreal;
2017 Primary Raw - artist invited at Van der Plas Gallery in New York, NY;
2017 Celebration at Contemporary Arts Gallery, Crescent St. Montreal, Canada;
2015- 2018 Night of Museums is a successful European event organized at international level UNESCO, Europe;
2010 – 2011 Business Trade Art for corporate buyers, Philadelphia, USA;
2010 Nuit Blanche: The Great Night Fresco, NBTN, Montreal;
2009 Contemporary Arts Gallery, Montreal. Crescent St., Abstract Expression;
2008 The FIMA (Festival International), Art Fair Montreal;
2007 HBD 3.0 Technological Arts performance at S.A.T. Montreal and Atelier en Empirisme Radical UdM (Brian Massumi);
2006 HTA [Re]Configurations, Lower Manhattan, New York, NY;
2006 Paper exhibition at Multiple Impressions Gallery, SOHO, New York city, NY;
2006 Maison de la Culture de Côtes-des-Neiges, Paysages Ephémères ( Canadian Heritage), Conseil des Arts de Montréal (CAM);
2004 Solo exhibition at Contemporary Arts Gallery, Crescent St., Montreal ;
2003 "Tanz von Salome", Isshorst Gallery, GERMANY;
2003 «Once upon a time in Eastern Europe: prostitution», at the Hirschl Theater founded 1817, Arad, Transylvania, Eastern Europe;
2001 Performing and show concept at international level Lyon MC, Cluj, Romania;
2000 Art Fest, Königsfelder Festspiel, Königsfelden, SWITZERLAND;
2000 WFC 8th edition – awarded contest and exhibition, Gifu-Nagoya, JAPAN;
2000 Atelier Studio, Recovered Symbols, Timisoara and Budapest, HUNGARY;
1999 Monumental Painting public collection, the Arad State Philharmonic Jubilee, Eastern Europe;
1997 Candid Mythica Dance Theater, Timisoara dance performance and visual arts show – International Center for Contemporary Arts in Vienna, AUSTRIA.
MUSEUMS OF ART, PUBLIC COLLECTIONS
2009 National Museum of Art. Museum of Art Arad, Europe. Acquisition by art historian Peter Hugel PhD, La Pieta, monumental painting on canvas;
1999 -2009 Arad State Philharmonic founded in 1893, Transylvania, Romania ;
2003 The Administrative Palace of Arad founded in 1872, City Hall collection, Transylvania, Romania;
2002 Groupe Société Générale BRD bank, public collection 2002, Europe;
1998 Art collection of Eleonora Costescu and Vasile Varga, Complex Muzeal Arad, Transylvania, Romania.
1997 National Opera of Timisoara founded in 1871.
2000 Honorable Mention, Japan;
2003 Award of Excellence, USR Romania;
2005 Winner and Personality Art&Culture/ Lauréat et Personnalité, University of Montreal, Canada;
2006 Scholarship merit – research field, University of Montreal,
2006 Paysages Ephémères, Finalist of the contest 2007 , under auspices Conseil des Arts de Montréal (CAM);
2010 Title of Excellence in Visual Arts Merit for outstanding professional and artistic creation, Arad City Hall 2010, Ro.
Austria, Hungary & Timisoara, 2000 – Timisoara recently named European Capital of Culture 2021, Romania.
PUBLICATIONS, art magazines [selection]
2019 New York Art Fair, Pier 90, Spring 2019, show catalog, 293p ;
2018 "Moniteur culturel" , Centre de Culture CCJA, May 2018, Night of the European Museums. E.U.
2010 « Le phénomène actuel de …virtualization du corps humain », art technologique, Author 17p, Saarbrücken, Germany ;
2010 Parcours art et art de vivre art magazine, Montréal;
2008 « 167 mondes à découvrir/ 167 worlds to discover » The Conseil des Arts de Montréal / Arts Council of Montreal (CAM), Canadian Heritage, DAM, Government of Quebec;
2006 [Re]Configurations: Arts, Humanities, and Technology in the Urban Environment, Humanities and Technology Association, Lower Manhattan, New York;
2006 Towards a New Aesthetics: Technology, Intensity, Heterogeneity, , Prague, Czech Republic;
2005 "Dire" art and Culture magazine, cover page and interview, Montreal;
2004 "Le Devoir" Montreal, Canada;
1998 Florian Liber’s painting or to be or not to be “modern” by Eleonora Costescu art critic AICA, UNESCO.
and Press review archives
FRENCH version see more