vector 2_1.cdr - Universitatea de Arte "George Enescu"
vector 2_1.cdr - Universitatea de Arte "George Enescu"
vector 2_1.cdr - Universitatea de Arte "George Enescu"
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62<br />
Laura Horelli,<br />
documentary photo, Iaşi, 2006<br />
Vector member Cristian Nae, who comes from Craiova, the hometown of<br />
Sorescu, helped me to contact the literary critic Sorina Sorescu, Marin Sorescu's<br />
niece. Many <strong>de</strong>tails about Sorescu I received from the Internet or Literature House<br />
Pogor were in conflict with what Sorina Sorescu told me. This ma<strong>de</strong> me think a lot<br />
about the reliability of information and how different interests shape it. Obviously<br />
my relation to Sorescu, whom I had just recently “discovered” was quite different to<br />
his family or Romanians who have known his writing for the last forty or so years.<br />
This is why it became important to quote people in the vi<strong>de</strong>o, first of all to make<br />
transparent how I received information in this context, but also to allow conflicting<br />
information to exist si<strong>de</strong> by si<strong>de</strong>.<br />
Of what relevance is it to give information about a place in the context it was<br />
<strong>de</strong>rived from? Is this just banal for local viewers? Does this quickly feed the touristic<br />
interests of foreign Biennial visitors? Some traps of site-specific practice could<br />
maybe not be avoi<strong>de</strong>d, but the vi<strong>de</strong>o has several layers and does not only tell about<br />
a place. I also had the feeling that there is a need to analyze this context from its<br />
inhabitants, <strong>de</strong>spite the love-hate relationship one often has to the place one<br />
comes from.<br />
Laura Horelli,<br />
documentary photo, Iaşi, 2006