vector 2_1.cdr - Universitatea de Arte "George Enescu"

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Latifa Ekchach - Triste en son pays. floor linocut, Palace of Culture, Iaşi If we were to seize in a few words the general frame of the event, we could say that Periferic 7: Focussing Iaşi was in relation to the previous editions of the Biennial, but also in the context of the limited and fragmented dynamics manifesting itself on the Romanian artistic stage a coherent curatorial response in which all forms of cultural snugness have been doomed to vanish. building contexts_networking contexts NOTES ON “SITUATED KNOWLEDGE” Alexandru BOUNEGRU Alexandru Bounegru collaborated with Bik van der Pol for the realisation of Teach Me Something project in the frame of the International Biennial for Contemporary Art Periferic 7: Focussing Iaşi, section: Strategies of Learning, curator: Florence Derieux. The project realized by the Dutch artists Liesbeth Bik and Jos van der Pol, who work collaboratively since 1995 under the name Bik van der Pol, in the frame of the International Biennial for Contemporary Art Periferic 7: Focussing Iaşi in the section Strategies of Learning, curated by Florence Derieux, was called Teach Me Something. The concept on which they built their approach was “knowledge”, seen as a vital connection between information and local situation. The role assumed by the artists, as active observers of the temporal gap between the local factors which drive the changes inherent for a capitalist society and the holders of a knowledge on the verge of extinction, offered them a detached understanding, a distant, but accurate image of a strictly local context, that of the city of Iaşi in 2006. The recovered “knowledge”, which became, after the fall of the communist regime in Romania, the prerogative of people belonging to larger and larger social layers, was the object of Bik van der Pol's investigation. Their interviews with people of an extraordinary array of professional competence (tin workers, watchmakers, book-binders , etc.), conspicuously points out a kaleidoscopelike reality of more or less peripheral professions. The extracted image shows a recrudescence of the old “manual” professions, which continue to exist, apparently invisible within the frantic rhythm of capitalist development in Romania. For this project, Bik van der Pol made a relevant descent in the peripheral social tissue of Iaşi. The interviews taken .in the city's Bazaar, a place of hectic activity where people meet not only for their punctual commercial interests, but also for a specific kind of socialization, unique in the city, show people with extraordinary abilities, felicitously supplemented with an innate improvisational sense. What is immediately striking at all these interviews is the quickness these people re-adapted (all of them are over forty and all had previous professions - the tin worker from the Bazaar worked as a metallurgist, sailor 59
Bik van der Pol - Teach me Something, detail from the installation in the Palace of Culture, Iaşi and chef, the one who repairs umbrellas in the Nicolina Market worked as an engineer, etc.); they acquired their new abilities pressed by the need to survive. Exbeneficiaries of a collective and bankrupt economy, they felt the urge of professional reorientation Beyond these considerations, their approach suggests the importance of this “knowledge”, which may seem, at first sight, inessential and insignificant. The value of this informal knowledge is given by the strict anchorage in the sociocultural reality of the last sixteen years. This type of knowledge, holding nothing in common with the official mediums of disseminating values and information, will probably slowly disappear, engulfed by the new capitalist economical orientation. The only thing that remains is the main idea of this project – this kind of knowledge is just another type of pedagogy, a different approach, informal and more relaxed, of a “science” of producing manually fabricated consumer goods, in which the human involvement is more direct and specific. Teach me Something illuminates some aspects of the local development which, usually, are situated in a territory of anonymity and indistinctness. Translated by Alexandru Bounegru building contexts_networking contexts A few notes about the making of “Everything / Synchronisation”? Laura HORELLI Laura Horelli is a Finish artist living in Berlin. She participated in the Periferic 7 Biennial in the section Social Processes, curated by Marius Babias and Angelika Nollert. I was in Iaşi twice this spring; in January for a week and in April for another three weeks. The environment was new to me and I wanted to learn and understand, to make some sort of a map of the context I was working in. I gathered bits of information about Iaşi and Romania from the Internet and libraries in Berlin as well as on location from different institutions, through informal discussions and organized interviews. I was researching couple of interests in parallel. Firstly I was interested in the “60s generation” Romanian authors Ana Blandiana and Marin Sorescu and “80s generation” writer Liviu Antonesei and how they dealt with censorship at the time of the dictatorship and how after the revolution all of them, even if briefly, were politicians. Secondly I was asking some members of the Vector association to describe and comment on photographs I had taken of various locations in the city. Thirdly I was interested in the Jewish history of Iaşi and how this history was visible in the city today. Obviously much of the research would have been impossible without Vector Association. I had questions, I needed to contact people, I had to have translation and filming help. To begin with I did not have a ready idea to impose on the context, so the project was shaped by the discussions I had in Iaşi. Cătălin Gheorghe especially took much time to explain about things. What surprised me at first was how present the memories of the Ceauşescu dictatorship were among people of my age; the regime was brutal in the 1980s. Since I live in East Berlin I thought of the often slightly nostalgic stories I have heard from people who grew up in East Germany in the 1980's and about the stories I was hearing now. Not that there were only bad memories - Matei Bejenaru said once that at least there used to be time; for walks, for a picnic. Now one is always in a rush. I did wonder how Vector members could manage to teach in the art school, organize the Biennale and work on their own stuff (I suppose it was less of own work as the opening of Periferic 7 drew near). Getting information proved sometimes to be a process. For example, at first we did not find much information about the newly established Centre for Jewish Studies at the "Al. I. Cuza" University. Then we met Adrian Cioflâncă from the Institute of History “A.D Xenopol”, who teaches at the MA programme. He provided us with much information and publications. The Jewish community was easy to approach, even though it was painful for some of its elderly members to think back at the Iaşi pogrom of 1941. The head of the Jewish community, Picu Kaiserman, pointed out monuments like the one of Abraham Goldfaden in the park of the National Theatre, as places he likes in Iaşi. The first Jewish theatre in the world used to exist in that location. Institutions like Literature House Pogor provided us with varied kinds of information, but were helpful in establishing contact with the writer Ana Blandiana, whom I met in Bucharest. Another writer I was interested in, Marin Sorescu, died in 1996. We wrote to the Marin Sorescu Foundation several times with no success before 61
Page 1 and 2: vector v artă şi cultură în con
Page 3 and 4: cuprins / contents construind conte
Page 5 and 6: construind contexte_relaţionând c
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 -
Page 25 and 26: construind contexte_relaţionând c
Page 27 and 28: Mircea Cantor - Images from the Pin
Page 29: Luchezar Boyadjiev - Defragmenting
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
Page 39 and 40: 76 If we had a detached look on thi
Page 41 and 42: Henri IV - Paris Etienne Marcel - P
Page 43 and 44: King Johann I - Dresden Louis XIV -
Page 45 and 46: CASA MODEI Lucas HORVATH Lucas Horv
Page 47 and 48: The architect N. Porumbescu left Bu
Page 49 and 50: Iată-l, noul centru al oraşului S
Page 57 and 58: artişti în context / Bogdan Teodo
Page 59 and 60: date transferate Despre un model li
Page 61 and 62: 120 [21] [Holcombe 2005], p. 8. [22
Page 63 and 64: transferring data [1] The first to
Page 65 and 66: 128 [26] [Nozick 1997], p. 379-380.
Page 67 and 68: 132 [9] Pierre Bourdieu şi Pierre
Page 69 and 70: André Alves, Aunt Nell Gis, 2006 N
Page 71 and 72: critical condition: frontiers 140 T
Page 73 and 74: 144 [22] I refer to theatre public
Page 75 and 76: 148 [31] Paolo Virno, A Grammar of
Page 77 and 78: 152 [16] ibidem. [17] ibidem. estet
Page 79 and 80: 156 [10] ibidem, 211a, 1-3. [11] Se
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160 printr-o camuflare tactică sub
Page 83:
164 of the public's willingness to
Page 86 and 87:
170 [13] vezi Peter Bürger, Theory
Page 88 and 89:
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
Page 94 and 95:
camera de lectură Oraşul şi fron
Page 96 and 97:
The City and the Border: Common Sin
Page 98 and 99:
Mulţumiri / Acknowledgements Danie
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