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Ștefan Constantinescu An Infinite Blue Rumination on socialist realist aesthetics Stefan Constantinescu’s An Infinite Blue is what we might call an artistic research. Not a nostalgic endeavor, but introspection into a culture, an inquiry that uses painting and not the written word as the preferred medium. Stefan Constantinescu muses in this work on the mechanics of art production in socialist realism, an exploration that is usually reserved for the written word/ for literature. An Infinite Blue is a work in progress that ponders on the creation and the implementation of the socialist realist aesthetics. How was it done/ what were the mechanics behind it? Indeed, socialist realism was developed as a style within the boundaries of literary creation and as such the principle tenant of the socialist realism culture was an ongoing process of literalization of all artistic disciplines. The word, but also the sound and the image had to fall within the regime of communist comprehensiblities. Nevertheless, achieving this utopia of , Lucrarea lui Ștefan Constantinescu, Un Albastru Infinit reprezintă o cercetare artistică. Nu o încercare nostalgică, ci o introspecție într-o cultură, o analiză care folosește pictura ca mediu preferat în loc de cuvântul scris. Ștefan Constantinescu contemplează în lucrarea sa mecanismele producției artei în estetica socialist realistă, o explorare care de obicei există în literatură. Un Albastru Infinit este o lucrare deschisă care investighează creația și implementarea acestei estetici. Cum a fost ea realizată, care sunt mecanismele din spatele ei? Într-adevăr, estetica socialistă a fost dezvoltată în limitele creației literare și prin urmare baza acestui curent cultural a fost un proces continuu de literalizare a tuturor disciplinelor artistice. Cuvântul, dar și sunetul și imaginea trebuiau să se încadreze in comprehensibilitățile regimului comunist. Cu toate total communication by producing a written or visual language that could make the content of life truly visible and the difference between art and life obsolete did not rest on verisimilitude alone. A series of socialist realist practices were put into place aiming to extend the creative process with the scope of truly making art part of life. The act of censorship, redaktura (the corrections, additions, and deletions, performed by an editor/censor with or without the participation of the author) and opened criticism were thought to positively contribute to the written work. The same went for visual arts, for they followed this model. State exhibitions were created as an instrument of correction for the socialist realist aesthetic, while censorship took on the function of guaranteeing the realization of a total work of art, collective in nature and thus perpetually opened to change. (Viviana Iacob) Un Albastru Infinit Ruminatii pe tema esteticii socialist realiste [412] acestea, atingerea acestei utopii a unei comunicări totale prin producția unui limbaj scris și vizual care ar putea face vizibil sensul vieții, precum și diferența dintre artă și realitate nu s- au bazat doar pe verisimilitudine. O serie de practici socialiste au fost puse în loc pentru a extinde procesul creativ, cu scopul de a face arta cu adevărat integrată în viața de zi cu zi, creând astfel o operă de artă totală. Pentru literatură, cenzura, redaktura (corecțiile, adițiunile, eliminările făcute de un editor/cenzor cu sau fără participarea autorului) precum și critica deschisă erau considerate o contribuție pozitivă în literatură. Același proces exista și în artele vizuale. Expozițiile de stat erau create pentru a corecta estetica socialist realistă, în timp ce cenzura prelua funcția de garantare a realizării unei opere de artă totale, colective și astfel mereu deschisă schimbării. (Viviana Iacob) Ștefan Constantinescu: Infinite Blue (3), 2009, oil on canvas, 65x50 cm. Courtesy of the artist. [413]
Ștefan Constantinescu: Infinite Blue (7), 2009, oil on canvas, 148x109 cm. Courtesy of the artist. [414] Ștefan Constantinescu: Infinite Blue (2), 2009, oil on canvas, 55x33.5 cm. Courtesy of the artist. [415]
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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
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ar putea fi o problemă mult mai de
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sale experienţa trăită odată cu
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spectacol. Note: 1. Ron Suskind,
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we are better able to understand wh
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Democraţia agonistică şi politic
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nism agonistic: Hannah Arendt şi p
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including the politics embedded the
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oper and the rise of the signature
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money economy, and especially, the
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the building’s pulsating shell ha
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[278] cunoaştere, incluzînd şi p
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eligiozitate ascunsă, pe care arhi
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înlocuită de un set de reprezent
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[290] pînze de corabie umflate de
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sify, categorise, fix, and identify
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extent take over their politics. As
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deoarece conţine o rămăşiţă d
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parte încă dispersate şi teribil
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2009-2010 Parallel Events Free Acad
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Media Partners: Official Coffee: Pr
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Felix Vogel - Handlung. On Producin
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