Indem er seine gesellschaftliche Stellung, seine Rolle und sein Status dekonstruiert, ist Florin Anton Ciubotaru ein (meta)kritischer Maler. Er war, wie viele seiner beachtenswerten Zeitgenossen, Sch\u00fcler am Institut der sch\u00f6nen K\u00fcnste \u201eNicholae Grigorescu\u201c, an der er\u00a01963 seinen Abschluss erhielt. Seitdem folgte er einem Weg der Herausforderung, Ergr\u00fcndung, des Infragestellens und des endlosen \u00dcberdenkens. Das ist zum Teil auf seine mangelnde Geduld f\u00fcr die Maskeraden, d.\u00a0h. die Vorg\u00e4nge in der Welt der Kultur, zur\u00fcckzuf\u00fchren. Seine Kommunikationen in Zusammenhang mit seinen eigenen Ausstellungen als formelhafte, leere Zeremonien sind ausgesprochen vielsagend. Seine Kunst ist \u00e4hnlich reflektiv: Indem der K\u00fcnstler Darstellungsmittel in intimen Kompositionen in Schichten legt und verschleiert, ist es wahrscheinlich, dass er der Einzige ist, der sie vollst\u00e4ndig erkennt und versteht. Ciubotarus Obsession f\u00fcr Meinungsfreiheit und seine Ablehnung, bei Dingen, die er als problematisches System wahrnimmt, nachzugeben, stehen vielleicht hinter der kryptischen Natur seines Werks.<\/p>\n
<\/p>\n
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