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Cláudia Cristóvão: Curtains, 2005-06, 12’30”, looped, sound, color, dimensions variable. Courtesy of the artist. [340] Cláudia Cristóvão: Skinflower, 2005-06, 3’45”, looped, sound, color. Courtesy of the artist. [341]
Ângela Ferreira Abandoned Settler's House (Ilha de Benguerra, Mozambique) There is an abandoned house on Benguerra, an idyllic island in the Bazaruto archipelago, just a few miles off Mozambique’s south coast. A house that was never finished and that seems to have been strangely abandoned just when its concrete structure was completed. There was no time for any finishing work to be done, and there’s no sign of there ever having been any doors or frames or window panes. The walls were never plastered, being left with just the grey of the cement and its sanded texture. They are covered with charcoal scrawls and other marks of rural graffiti. The building is like a hollow shell, a symbolic structure that seems to belong to the city suburbs, but which has been erected on an almost deserted island. It has all it needs to be identified as domestic architecture: the correct number of rooms, ceilings, a roof, and even a balcony. The forms are sufficiently well defined for us to be able to identify its style and formal language. It is yet another bizarre classic of modernist architecture in Africa, probably dating from the 1960’s or 1970’s. A structure of simple lines, with large panoramic windows designed to allow the outside to continue into the inside and vice-versa. Some African adaptations have been made, such as the necessarily wider version of the balcony, as well as some almost surreal or tropical sculptural details overlapping one another on the façade. The only sings of destruction are those that have been left by storms and cyclones. Is this an abandoned settlers house? (Angela Ferreira) Casa abandonată a colonistilor , (Ilha de Benguerra, Mozambique) Este o casă abandonată pe Benguerra, o insulă idilică în arhipelagul Bazaruto, la câteva mile de coasta sudică a Mozambicului. O casă care nu a fost niciodată terminată și care pare că a fost abandonată în mod bizar atunci când structura de beton fusese construită. Nu a fost timp pentru finisaje și nu există semne că ar fi avut vreodată vreo ușă sau geamuri. Pereții nu au fost niciodată gletuiți, fiind lăsați doar cu griul cimentului și textura sa poroasă. Sunt acoperiți cu măzgălituri în cărbune și alte urme de graffiti rural. Clădirea este precum o cochilie goală, o strctură simbolică ce pare că aparține suburbiilor orașului, dar care a fost construită pe o insulă aproape părăsită. Are tot ce îi trebuie pentru a fi identificată ca arhitectură domestică: [342] numărul corect de camere, tavane, un acoperiș și chiar un balcon. Formele sunt suficient de bine definite încât să poată fi identitificate stilul și limbajul formal. Este un alt clasic bizar al arhitecturii moderniste în Africa, datând probabil din anii '60 sau '70. O structură de linii simple, cu ferestre panoramice concepute să permită exteriorului să se continue în interior și viceversa. Unele adaptări africane au fost făcute, cum ar fi versiunea mai lată a balconului, precum și niște detalii sculpturale aproape suprarealiste sau tropicale care se întrepătrund pe fațadă. Singurele semne ale distrugerii sunt acelea care au fost lăsate de furtuni sau cicloni. Este aceasta o casă abandonată a coloniștilor? (Angela Ferreira) Ângela Ferreira: Abandoned Settler's House (Ilha de Benguerra, Mozambique), 2007, triptych, c-print, 120 x 150 cm. Courtesy of the artist. [343]
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PAVILION journal for politics and c
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COLUMN HANDLUNG. ON PRODUCING POSSI
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Handlung. On Producing Possibilitie
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ally occurred) can impossibly be re
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Handlung. Despre producţia posibil
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de ansamblu s-a intensificat iară
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“Better Dead than Communist!”.
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esis of a new political identity ca
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formed political party claiming con
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nizing hope.” In Octavian Paler
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goals were never fully attained”
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1999) References - “Alianţa Civi
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Universităţii, precum şi de repe
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mai proeminent purtător de cuvînt
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tece au creat o continuitate spirit
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lui Piaţa Universităţii, a fost
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Referinţe critice: - „Alianţa C
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meetings and the factory square mee
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din fabrică (obicei comunist de a
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materials; the simplification of th
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tion of life which destroys all of
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ile, iar evoluţia luptei proletari
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exces creativ. În al doilea rînd,
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gives the migrants long enough to m
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dwelling place for several families
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Notes: 1. NA. A previous version of
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periferie la alta, de la un adăpos
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spaţiile neocupate. În ciuda necu
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Exploring the Return of Repression
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Explorând întoarcerea represiunii
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Imaginary Radicalisms Notes on the
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to derive its historical intelligib
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hence art’s affirmative function
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ackward-looking conception of isms
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Radicalisme imaginare - însemnări
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modelul avangardist al istoriei art
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obiectul readymade. De fapt în ace
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erne asupra artei în sine, în cad
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Aesthetic realism, fictional docume
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far as Auerbach, in the first chapt
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the one presented by France Dimanch
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Realism estetic, documente ficţion
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ătălii (des étapes d’une lutte
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documentară), ci un instrument ce
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the self. Architecture thus not onl
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tage of a semicircular hall, by con
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the Assemblée fédérative des Ami
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etrageri şi tenacitate. Nu include
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şi a distanţărilor. Mai mult, or
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organizate în circul de la Palais-
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so many issues - bound all of us in
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Our notions of politics have been t
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lows always drifted sideways. For t
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as humans are through opinion polls
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This is exactly what happened when
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degree of realism that is injected
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De la Realpolitik la Dingpolitik sa
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va imagini înceţoşate ce “dove
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cu pasiune, adică ştiinţa, tehno
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întîi asupra politicienilor înş
Page 121 and 122: ar putea fi o problemă mult mai de
Page 123 and 124: sale experienţa trăită odată cu
Page 125 and 126: spectacol. Note: 1. Ron Suskind,
Page 127 and 128: we are better able to understand wh
Page 129 and 130: Democraţia agonistică şi politic
Page 131 and 132: nism agonistic: Hannah Arendt şi p
Page 133 and 134: including the politics embedded the
Page 135 and 136: oper and the rise of the signature
Page 137 and 138: money economy, and especially, the
Page 139 and 140: the building’s pulsating shell ha
Page 141 and 142: [278] cunoaştere, incluzînd şi p
Page 143 and 144: eligiozitate ascunsă, pe care arhi
Page 145 and 146: înlocuită de un set de reprezent
Page 147 and 148: [290] pînze de corabie umflate de
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Page 151 and 152: extent take over their politics. As
Page 153 and 154: deoarece conţine o rămăşiţă d
Page 155 and 156: parte încă dispersate şi teribil
Page 157 and 158: [310] the reality you are only reme
Page 159 and 160: Notes for a Declaration of the Righ
Page 161 and 162: EXTENT PARTICIPANTS AND VENUES OF B
Page 163 and 164: Magnus Bärtås Madame & Little Boy
Page 165 and 166: Kaucyila Brooke Tit for Twat: putem
Page 167 and 168: Cabello/Carceller ARCHIVE: DRAG MOD
Page 169 and 170: Elena Ciobanu Oda Bucuriei Ode to j
Page 171: Cláudia Cristóvão Standing Still
Page 175 and 176: Field Work/Lise Skou & Nis Rømer W
Page 177 and 178: Andrea Geyer Criminal Case 40/61: R
Page 179 and 180: Charlotte Ginsborg The Mirroring Cu
Page 181 and 182: Ion Grigorescu Electoral meeting Ma
Page 183 and 184: Bucharest and its Utopia I feel it'
Page 185 and 186: Is there anyone around who says nay
Page 187 and 188: omului în colectivitate. Multe au
Page 189 and 190: Stina Östberg Floating Island Floa
Page 191 and 192: Emily Roysdon A Motion Picture My w
Page 193 and 194: Fia-Stina Sandlund Julie The artist
Page 195 and 196: Lina Selander When the sun sets it
Page 197 and 198: Åsa Sonjasdotter Small Potatoes Ma
Page 199 and 200: Pilvi Takala Players In the past te
Page 201: Lan Tuazon Riot City/ Parking Lot L
Page 204 and 205: Kalle Brolin Gorgeousaurus, foundin
Page 206 and 207: Pablo Bronstein & Eleanor Vonne Bro
Page 208 and 209: Ștefan Constantinescu An Infinite
Page 210 and 211: Nicoline van Harskamp Any other Bus
Page 212 and 213: Alexander Kluge News from ideologic
Page 214 and 215: Fereshteh Toosi The Only Reason Thi
Page 216 and 217: The Otolith Group Otolith Otolith i
Page 218 and 219: CENTRE FOR VISUAL INTROSPECTION CEN
Page 221 and 222: Maryam Jafri Independence Day 1936-
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Mona Vătămanu & Florin Tudor Poem
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PAVILION UNICREDIT center of contem
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Zachary Formwalt: In Place of Capit
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Sabrina Gschwandtner Wartime Knitti
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Christine Meisner Recovery of an Im
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Asier Mendizabal Otxarkoaga (M-L)/U
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Olivia Plender & Unnar Örn Table R
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Société Réaliste Spectral Aerosi
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Judi Werthein Brinco Brinco, 2005,
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laBOMBA Rahova-Uranus Community Cen
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Curator Felix Vogel Felix Vogel (b.
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Derrida, Michel Foucault and Gilles
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Londra și Viena. Expozițiile ei p
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London, the Jeu de Paume, Paris and
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Sweden în 2006 și a absolvit Acad
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Mellon School of Art. Printre expoz
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sions and debates connected to the
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Simultaneus parallel events Narrati
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ory, oral archive - testimony, writ
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2009-2010 Parallel Events Free Acad
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“Chestiunea realismului” are ca
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Media Partners: Official Coffee: Pr
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Felix Vogel - Handlung. On Producin
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