Diptych Art Space presents the group exhibition The future is uncertain, but the end is always near, curated by Ada Muntean. The show comprises the artistic approaches of six artists: Răzvan Neagoe, Robert Andacs, Taisia Corbuț, Ada Muntean, Teodora Cosman, Dragoș Burlacu, preoccupied with “the perishable nature of the matter that gives weight to our surrounding reality. The expression “the future is uncertain, but the end is always near” is often attributed to Jim Morrison, the singer of the band The Doors. This reflects a feeling of inevitability and an admission that, despite whatever uncertainty follows, there is an end to all things and beings that make up the world as we know it.
In a general sense, it touches on the idea that life is finite and, no matter what uncertainty we may face in the future, there is a constant awareness of our own mortality. It encourages a view that treasures the present moment and underlines the importance of making the most of the time we have. The figurative elements present in the artworks are used to suggest the fleetingness and cyclicity of life by showing small and precious fragments of the ephemeral.
The artistic approaches offer starting points in imagining non-narrative scenarios for possible realities based on elements and frameworks that the viewer can recognize. No firm conclusion is given to this temporal dimension, only an organic atmosphere for perceiving specific visual universes that are symbolic for a cut-out and interpreted reality.
The future is uncertain, but the end is always near offers several artistic perspectives on a vast and ambiguous subject – the future as a relative promise within a fragile and fleeting existence. The exhibition is configured as a group project with distinct but complementary visions, creating a metaphorical magnifying glass to observe the microcosmos, the ordinary and the existential fragments that evoke the cycle of life.
Robert Andacs aims to extract the essence and meaning from the motifs he chooses by removing them from their original context. His approach seeks to decontextualize the subject and pass it through his personal filter, which can create a direct and intimate connection between the subject and the viewer simply by forcing the viewer to pay full attention to an object they would probably easily ignore.
Dragoș Burlacu uses a wide range of styles and mediums to create artworks that fuse the abstract and the figurative. His compositions become a symbol of self-exploration through the creative process and an analysis of recognizable reality. The artist’s duality and flexibility are reflected in his creations and in the variety of themes he approaches. In the project, Dragoș Burlacu explores the idea of finding a new home and a possible future in a new context through his artworks.
Taisia Corbuț carries out experiments around the expressiveness of the line and the textures of different support materials, using the human figure as a symbol in its essential form, purged of anecdotal details. This appears in the shapes of genderless characters without any identity that speaks of both personal and collective vulnerabilities in front of the unknown/uncertainty. The dialogue created between the sensitivity of the line and the hardness of the material support emphasizes the ambivalence of being and its capacity for sublimation and transformation.
Teodora Cosman experiments with photography, video, and readymade objects, reflecting a static contemplation in which the familiar environment becomes a theater of epiphany. Using the most modest of tools, a mobile phone, as a means of capturing the essence of things, Teodora’s compositions reflect a spirit of observation in which the act of looking precedes and even becomes self-sufficient to any artistic gesture. The intimate knowledge of the familiar objects and places only deepens their aesthetic significance. The artist explores the expressiveness of still nature and cutouts of everyday life in a minimalistic aesthetic key.
Răzvan Neagoe expresses himself through photography, painting, objects, collage, performance, installation, land art, and new media, as well as developing projects with a social and architectural meaning along with the recovery of classical works. His photographic approach within the exhibition revolves around the industrial landscape and the relationship between image and time. Thus, symbols of time become decisive elements when decrypting the image.
Ada Muntean approaches the issue of contemporary man’s identity, self, ego and the relationship between body and society. In her view, human bodies describe a known reality without binding it with certainty: from a series of possible human typologies/characters to the representation of a culture/society and the confession of a personal history. Her compositions aim to deconstruct the body and conceptually emphasize existential decadence. The artist creates graphic compositions through figurative fragments describing a precious, organic micro-reality, subject to the inevitable transformations determined by time.
The common thread connecting these artists is their approach of matter in connection to time and of time in connection to what is relative, unpredictable and unknown. The artistic experiments search for the expressive quality, technically spectacular, concentrated around details of everyday living, which make up life in all its complexity while simultaneously announcing its demise.” (curatorial text)
The exhibition can be visited until December 17, 2024.











