Museums and public collections have purchased my paintings or graphic works of which we mention The State/ NATIONAL MUSEUM- Museum of Art Arad, Transylvania – Eastern Europe (including the successful European event organized at international level: Night of Museums, 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
1992 – 1994 Studied choreography and dance
note: I worked with great masters in Europe where I also studied prehistoric cultures (as in Transylvania for ex.)
*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, [SOLO] AENY19; Notable artists who have benefited from AENY: Andy Warhol, Peter Max, Robert Rauschenberg;
2018 Stanley Borenstein Gallery (for 40 years art dealer in Paris & Montreal), Complexe Canal Lachine, Montreal;
2017 Primary Raw – invitation 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 Suburban Square, 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 curated by Malcolm Cecil, San Francisco;
2006 [Re]Configurations, Lower Manhattan Tribeca, 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 Contemporary Arts Gallery, Crescent St., Montreal Artist Representation till 2010;
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] 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 176p, 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;
1998 Florian Liber’s painting or to be or not to be “modern” by Eleonora Costescu art critic AICA, UNESCO.
The body ego, as Freud said, that is, the most primitive and physical and organic ego.
It becomes clear that the violent explosions that have recently taken place were decisively influenced the re-definition of body images, of body perceptions.
Fifty years ago, the Francis Bacon thought, aimed to restore the body “to a kind of dignified, animal resignation”. For him, art was about ribs and forearms and eye sockets. It was about flesh over bone. Bacon never forgets that flesh is meat. ( Myfanwy Piper )
In my case, the bone become excessory, the flesh becomes inflesh, an inorganic redefinition. The purveyor of inflesh of all kinds, as an inflection, of livid and brilliant hues: emerald and phthalo greens, eerie cobalt blue or saturate red and shocking yellows, sepulchral titanium whites and ritually primitive lines. The excessories of my sculptures, steel and fiberglass erection, conjure unlikely anatomies and intelligent devices, as prosthesis of actual humankind.
My artistic approach acclaims the spectacular extremes of bodily manipulation by new technologies, the deconstruction of corporality and evaporation of the body into virtual, moving towards to a new aesthetics, butchering of the ideal body as a gift from nature. These departures first liberated the body from societal codification, aesthetics delimitation and the “prison of Godlike embodiment”. (F.Liber, Montreal, 2019)