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Publicat de / Published by: Asociaţia Vector / Vector Association Cuza Vodã 41 Iaşi, România tel/fax: 0040 232 237486 email: vector.gallery@gmail.com vector Revista apare cu sprijinul Ministerului Culturii şi Cultelor din România, prin Administraţia Fondului Cultural Naţional Published with the support of Romanian Ministry of Culture and Cults and the Administration of the Romanian Cultural Fund Concept: Matei Bejenaru, Cătălin Gheorghe Editori coordonatori / coordinating editors: Matei Bejenaru, Cătălin Gheorghe Editori / editors: Alexandru Bounegru, Vlad Morariu, Cristian Nae Design: Matei Bejenaru, Lavinia German Tipărit la / printed at: Serimage, Iaşi Preţ: 10 RON Pe copertă / Cover: Latifa Echakhch - Sans titre (Les Etrangers), 2006 view from exhibition, Periferic Biennial Cel de-al doilea număr al revistei Vector - artă şi cultură în context continuă prezentarea unor iniţiative de construire şi relaţionare a contextelor, punând accent pe diferite proiecte de asumare colectivă a schimbului cultural, a documentării şi organizării evenimentelor care să reflecte specificităţile locale în raport cu reprezentările sistemului dominant al artei. Invitată să participe în cadrul proiectului documenta 12 magazine, revista Vector propune o serie de răspunsuri la întrebarea „Este modernitatea antichitatea noastră?”, pe de o parte printr-o reflecţie discursivă, iar pe de altă parte prin intermediul unor analize vizuale. Interesul pentru poziţionarea teoretică şi critică faţă de receptarea transformărilor practicilor şi producţiilor culturale actuale a motivat deschiderea dosarului Condiţia critică, care va analiza situaţia procesului de edificare cu privire la capacitatea discursului de a restructura câmpul decizional. The second issue of Vector - art and culture in context magazine is continuing to present initiatives for building and networking contexts, focusing on different projects for the collective assuming of cultural exchange, documentation and organizing events in order to reflect the local specificities related to the representations of the dominant art system. Invited to participate in the frame of documenta 12 magazine project, Vector magazine is proposing a series of answers to the question “Is modernity our antiquity?”, on one hand through a discoursive reflection, and on the other through visual analyses. The interest for the theoretical and critical positioning in relation to the reception of the recent cultural practices and production changes motivated the opening of Critical Condition dossier, which will analyze the situation of the edification process regarding the ability of the discourse to reshape the decisional field.
cuprins / contents construind contexte_ relaţionând contexte/ building contexts_networking contexts Branislav DIMITRIJEVIĆ De ce "Backyard Residencies" („Rezidenţe la noi în curte")? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WHY "BACKYARD RESIDENCES"? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Raluca VOINEA e-cart 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . E-CART 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Tamara ZLOBINA Kiev, Ucraina: Construind un context pentru arta contemporană . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . KIEV, UKRAINE: CREATING CONTEXT FOR CONTEMPORARY ART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alina ŞERBAN A întruchipa Iaşiul. Strategii alternative de cunoaştere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . RENDERING IAŞI. ALTERNATIVE COMPREHENSION STRATEGIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Laura HORELLI Note despre realizarea proiectului “Everything / Synchronization” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . A FEW NOTES ABOUT THE MAKING OF “EVERYTHING / SYNCHRONIZATION” . . . . . . . . . . . . . . . . . . . . . Alexandru BOUNEGRU Note despre „cunoaşterea situată” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NOTES ON “SITUATED KNOWLEDGE” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . este modernitatea antichitatea noastră? / is modernity our antiquity? George BONDOR Măştile modernităţii şi jocul dublu al istoriei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . THE MASKS OF MODERNITY AND THE DOUBLE GAME OF HISTORY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Luchezar BOYADJIEV În vacanţă… / ON VACATION… . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Lucas HORVATH Casa Modei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . Andrea FACIU Călătoria minţii (1). Lumea dintre / MIND TRIP (1). THE WORLD BETWEEN . . . . . . . . . . . . . . . . . . . . . . . artişti în context /artists in context Bogdan TEODORESCU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Ahmet ÖGÜT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . date transferate / transferred data Constantin VICĂ Despre un model libertar: copyleft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ON A LIBERTARIAN MODEL: COPYLEFT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . condiţia critică: frontiere/critical condition: frontiers Francesco VENTRELLA Sunt poveşti ce nu pot fi spuse oricui. Învestirea contra-publicului . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 THERE ARE STORIES WE CAN'T TELL EVERYBODY. GIVING ACCOUNT TO COUNTER-PUBLICS . . . . . . . . 141 Vlad MORARIU Artă şi percepţie a spaţiului . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 ART AND SPACE PERCEPTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Cătălin GHEORGHE Proiectul reorientării curatoriale a criticii de artă . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 THE PROJECT OF THE CURATORIAL REORIENTING OF ART CRITICISM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Cristian NAE Hegel după Warhol: limite ale teoriei estetice în artă . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 HEGEL AFTER WARHOL: LIMITS OF AESTHETIC THEORY IN ART . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 experienţe expoziţionale / exhibitional experiences Maeve POLKINHORN Un mic triumf democratic . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 A SMALL DEMOCRATIC TRIUMPH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 camera de lectură /the reading room Cristian NAE Oraşul şi frontiera: singularităţi comune . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 THE CITY AND THE BORDER: COMMON SINGULARITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190
Page 1: vector v artă şi cultură în con
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Page 7 and 8: 12 3. organizarea proiectului cARTi
Page 9 and 10: 16 Platform Center for Contemporary
Page 11 and 12: 20 [4] Acesta este genul de proiect
Page 13 and 14: 24 [1] From the Curating Contempora
Page 15 and 16: 28 Center for Communication and Con
Page 17 and 18: uilding contexts_networking context
Page 19 and 20: 36 Another problem in Ukrainian art
Page 21 and 22: Periferic 7: Focussing Iaşi / Soci
Page 23 and 24: 44 Andrei Ujicã & Harun Farocki -
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Page 27 and 28: Mircea Cantor - Images from the Pin
Page 29 and 30: Luchezar Boyadjiev - Defragmenting
Page 31 and 32: Bik van der Pol - Teach me Somethin
Page 33 and 34: IS MODERNITY OUR ANTIQUITY? Dosarul
Page 35 and 36: către un scop. Max Weber, care îi
Page 37 and 38: THE MASKS OF MODERNITY AND THE DOUB
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artişti în context / Bogdan Teodo
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date transferate Despre un model li
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120 [21] [Holcombe 2005], p. 8. [22
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transferring data [1] The first to
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128 [26] [Nozick 1997], p. 379-380.
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132 [9] Pierre Bourdieu şi Pierre
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André Alves, Aunt Nell Gis, 2006 N
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critical condition: frontiers 140 T
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144 [22] I refer to theatre public
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148 [31] Paolo Virno, A Grammar of
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152 [16] ibidem. [17] ibidem. estet
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156 [10] ibidem, 211a, 1-3. [11] Se
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160 printr-o camuflare tactică sub
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164 of the public's willingness to
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170 [13] vezi Peter Bürger, Theory
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174 [5] Arthur C. Danto, op. cit..
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178 thus photography as an essentia
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A small democratic triumph Maeve Po
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camera de lectură Oraşul şi fron
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The City and the Border: Common Sin
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Mulţumiri / Acknowledgements Danie
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