Camilia Filipov

She is interested in the cosmic – the term, and mode of making sense of the world, that is mistranslated, with colossal intellectual and aesthetic consequences, in the transition from Greek to Latin. Here is James Hillman’s description of this consequential shift, in his essay ‘The Practice of Beauty’: “Kosmos, when translated from the Greek into Latin, became universum, betraying the Roman penchant for general laws, the whole world turning around one (unus-verto). Kosmos, however, does not mean an all-embracing system; it is an aesthetic term, best translated as fitting order — appropriate, right arrangement, so that attention to particulars takes precedent over universals.” The plural swirls of cosmos, where forms re-engender themselves or metamorphose according to patterns that fit and produce an unstable order in their intricate adequacy, are rendered in Latin as a mass of events which, despite their apparent chaos, revolve around a single axis. Creating or arranging things that fit together is the practice by which the artist pictures a world with many axes, spinning and inscribing itself in the imagination – to take as final image of this text her die onto which pencils have been grafted – as an endless score of chance and discovery, coincidence and loss. (Mihnea Mircan, excerpt from "Camilia Filipov - Notes", exhibition text, Invitro gallery, 2023)

Camilia Filipov (b. 1990, Taraclia, Republic of Moldova) lives and works in the mountains of Hunedoara, Romania. She studied Sculpture at the University of Art and Design in Cluj-Napoca (2010–2015) and at the École Supérieure des Arts Saint-Luc in Liège (2012–2013).

Solo exhibitions include: La nașterea norilor, Schugar Rotariu, Frankfurt am Main (2026); 200–10.000 hertz (with Corina Oprea), White Cuib, Cluj-Napoca (2025); Notes (curator Mihnea Mircan), Invitro gallery, Bucharest (2023); Camilia Filipov, Lutnița, Chișinău (2022); Mies in Mind (with Emilian Mocanu), Plan B, Berlin (2021); Tensiuni (curator Georgiana Buț), K’arte, Târgu-Mureș (2019); Some Things We Know Collapsed into an Unfinished Painting (with Alexandra Mocan), Atelier Patru, Cluj-Napoca (2019); Wit Split by a Windshield (with Mihaela Hudrea), White Cuib, Cluj-Napoca (2019); Surface Actually, SABOT, Cluj-Napoca (2018).

Group exhibitions include: The sun at its zenith holds the balance of the day (curator Norbert Filep), Sector 1 Gallery, Bucharest (2025); I Despise All Movement that Displaces Line (curators Radu Comșa & Horațiu Lipot), Conector / OFF-space, Cluj-Napoca (2023); At the edge of the world (curators Diana Marincu & Ciprian Mureșan), Art Encounters Foundation, Timișoara (2022); Future Perfect #1 (curators Ciprian Mureșan & Șerban Savu), MAGMA Contemporary Medium, Sf. Gheorghe (2020); Exchanging extremes, Automat Artspace, Saarbrücken (2020); Play, MŰTŐ, Budapest (2019); From The Belly Of A Circle Comes Out A Square, Matca artspace, Cluj-Napoca (2019); PPM#4 – copy art show, Aici Acolo Pop Up Gallery, Cluj-Napoca (2019); Once more into the grey, UNA, Piacenza (2018); Things are temporary, but the evidence of their existence, 1st Worldwide Apartment and Studio Biennale, Matca artspace, Cluj-Napoca (2016).