CRITICAL REVIEW


          Sorin Oncu studied painting in Timisoara, but the orientation to a conceptualist approach of his research themes lead him towards using the recovered object, towards assemblage and instalment. Being attentive to social and political realities, Oncu practices a critical and subversive discourse, a type of protesting art directed towards what is discriminating, against the functioning anomalies of a society that pretends to be civilized and free of judgement. He develops autobiographical projects through which he questions his own ethnic identity in terms of belonging to the Romanian or the Serbian nationality (YU/RO series).
          Contextual and well anchored in contemporary reality, his art investigates uncomfortable and acute topics such as militarization and its effects on the civilian population (Still Life I, Still Life II), homophobia and the civil rights of the sexual minorities (Ah/HwTL, Isomorphism) or the public anti-environmental policies (One Day in Oil, Eco, Still Life III). The method of using the ready-made object or the picture-object varies depending on which discourse integrates it. In the Eco series, the polluting objects for the environment are associated with soil and scions of plants. In Still Life II, the dollhouse painted in yellow makes 
references to the conflict in Kosovo and to the practice of trafficking organs taken from the kidnapped population during it. The anti-discriminatory discourse towards the LGBT community members is sustained by creating an instalment set on medicine boxes with the inscriptions: acceptance, tolerance, stop prejudice. The same message is pursued in another instalment of the series Antihomophobic - Halfway Through Legalization, in which the artist associates the objects specific to a church altar with the ones specific to a civil status office.


Maria Orosan Telea (2014)
 


BIOGRAPHY


PROJECTS


BIBLIOGRAPHY