artć + societate / arts + society #38, 2011 20 lei / 11 €, 14 USD - idea
artć + societate / arts + society #38, 2011 20 lei / 11 €, 14 USD - idea
artć + societate / arts + society #38, 2011 20 lei / 11 €, 14 USD - idea
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
– E foarte frumoasæ.<br />
– Îmi place cînd e liniøte, ca acum, cînd nu e nimeni. Øtii ce îmi vine în minte? Sunetul<br />
acela pe care îl face mingea cînd este bætutæ de parchetul proaspæt spælat, e sunetul<br />
acela care apare în melodia „In the musicals“ cîntatæ de Björk sau Selma, în Dansînd<br />
cu noaptea. E interesant sæ vezi cum o salæ de sport îøi are pulsiunile ei, atunci cînd<br />
e plinæ, publicul este în extaz, iar atmosfera este incendiaræ; pustie, e oarecum golitæ<br />
de funcflionalitatea ei.<br />
– Sau cînd e pe jumætate plinæ, cînd în salæ se fac doar antrenamente, færæ public.<br />
– Atunci e ceva foarte intim, pentru cæ e doar a ta, nu o împarfli cu nimeni, auzi<br />
cam toate zgomotele pe care le faci, cum îfli scîrflîie adidaøii sau cum se aude mingea<br />
dacæ ai pus prea mult clister pe ea.<br />
– Ce-i æla clister?<br />
– E un fel de lipici natural, fæcut din ræøinæ de brad, transparent øi cu un miros foarte<br />
pætrunzætor. Îl pui pe minge ca sæ ai aderenflæ mai bunæ. Se foloseøte, din cîte øtiu<br />
eu, doar în handbal.<br />
– Aø vrea sæ vorbim despre culori.<br />
– Øi despre cuburi.<br />
– Da, øi despre proiectul tæu Evaluæri lunare, pe care l-ai prezentat în Amsterdam.<br />
Dar aø vrea sæ discutæm totul într-un context mai larg. Pomeneai la un moment dat<br />
de schimbærile de perspectivæ pe care fli le-a adus trecerea de la fotografie la sculpturæ<br />
øi literaturæ. Cu toate cæ nu ai vrut<br />
sæ-mi aræfli nicio fotografie de-a ta, am<br />
cæutat pe net øi am gæsit cîte ceva. De<br />
ce aversiunea asta pentru fotografie?<br />
– Aversiunea mea nu este una generalizatæ.<br />
Nu am nimic împotriva fotografiei<br />
ca limbaj artistic, doar cæ am<br />
devenit ceva mai scepticæ faflæ de acest<br />
limbaj, mæ enerveazæ caracterul lui diplomatic,<br />
faptul cæ nu-fli permite sæ fii<br />
foarte direct, excepflie fæcînd poate<br />
genul documentar, dar øi acela poate<br />
fi înscenat.<br />
– De unde acest scepticism?<br />
– Din mai multe pærfli. O parte vine din<br />
cærflile de teorie & filosofie pe care<br />
le-am citit despre fotografie dupæ ce am terminat øcoala, de fapt nu dupæ ce am<br />
terminat øcoala, pentru cæ încæ trebuie sæ îmi susflin licenfla, ci dupæ ce nu am mai<br />
frecventat atît de des øcoala. Optimismul meu naiv din primii ani de øcoalæ, cum<br />
cæ pofli pæstra un duplicat destul de bunicel al lucrurilor, situafliilor øi spafliilor din jurul<br />
tæu, cæ îl pofli „fura“ øi pæstra doar pentru tine, s-a cam spulberat cînd am fæcut cunoøtinflæ<br />
cu partea realistæ a fotografiei, cu istoria ei, cu genurile øi tehnica aferentæ.<br />
Nu puteam sæ-i ignor consistenfla øi nici sæ mæ prefac cæ sînt doar în vizitæ. Eram<br />
în casa ei øi trebuia sæ mæ comport ca atare. Prin urmare, am devenit mai conøtientæ,<br />
am început sæ înscenez situafliile care apæreau în fotografii. Apoi am încercat sæ<br />
împing limitele serialitæflii atunci cînd am fotografiat timp de un an vitrina unui magazin<br />
de modæ din centrul istoric al Bucureøtiului. Pentru un an m-am transformat cu<br />
plæcere într-un fel de stalker psihopat, care noapte de noapte înregistra pe ascuns<br />
schimbærile din vitrinæ.<br />
– E proiectul acela, Behind the Window Shopper?<br />
– Da, este cartea pe care trebuie sæ o fac pentru licenflæ. Apoi a fost rezidenfla de<br />
la KulturKontakt din Viena, unde nu am fæcut altceva decît sæ citesc cît mai mult. Cei<br />
126<br />
to the freshly clean floor, of the sound we hear in the “In the musicals”<br />
tune sang by Björk or Selma in Dancer in the Dark. It’s interesting<br />
to see how a sports hall has its own pulsations when it is full, the<br />
public is in rapture and the atmosphere is on fire, or when it is<br />
deserted, in a way emptied of its functionality.<br />
– Or when it is half full, when there are only trainings going on, with<br />
no public.<br />
– Then it is something very intimate, because it’s only yours, you<br />
don’t share it with anybody, you can hear all the noises you make,<br />
how your sneakers squeak on the floor, the noise made by the ball<br />
if you put too much clister on it.<br />
– What’s clister?<br />
– It’s a sort of natural glue, made of pine resin, transparent, with a<br />
very penetrating odour. You put it on the ball for a better adherence.<br />
It is used, as far as I know, only in handball.<br />
– Let’s talk about colours.<br />
– And about cubes.<br />
– Yes, and about your project, Monthly Evaluations that you presented<br />
in Amsterdam. But I would like to place the topic in a wider<br />
context. You were once saying something about the changes in perspective<br />
brought by your conversion from photography to sculpture<br />
and literature. Even though you didn’t want to show me any of your<br />
photos, I searched on the Internet and I found some. Why this aversion<br />
to photography?<br />
– My aversion is not indiscriminate, all-inclusive. I don’t have anything<br />
against photography as artistic language, it’s just that I’ve<br />
become more sceptical<br />
towards this<br />
language, its diplomatic<br />
nature gets<br />
on my nerves, the<br />
fact that it doesn’t<br />
allow you to be<br />
very direct, with<br />
the exception of<br />
the documentary<br />
genre but that can<br />
be staged too.<br />
– Where does this<br />
scepticism come<br />
from?<br />
– Part of it comes<br />
from the theory<br />
and philosophy<br />
books I’ve read<br />
about photography after I finished school, well I didn’t quite finished<br />
it yet, because I still have to defend my thesis, but after I didn’t go<br />
to school so frequently. My naïve optimism from my first years in<br />
school, that I could hold a rather good duplicate of things, situations<br />
and spaces around me, that I can “steal” it and keep it only for me<br />
vanished when I was introduced to the realistic part of photography,<br />
with its history, its genres and techniques. I couldn’t ignore its consistency,<br />
nor could I pretend to only visit it. I found myself in its<br />
house and had to behave accordingly. Therefore I became more conscious,<br />
I started to stage the situations that appeared in my photos.<br />
Then I tried to push the limits of seriality when I photographed during<br />
one whole year the window of a fashion boutique in Bucharest’s<br />
historical centre. For one year I turned myself with pleasure into a<br />
psychopath stalker, who registered night after night the changes in<br />
the shop window.<br />
– Is this Behind the Window Shopper project?<br />
– Yes, and it is the book I have to make as my thesis. Then came the<br />
residence at KulturKontakt in Vienna, where I did nothing else but<br />
read as much as I could. The people there expected me to take some<br />
photos, which kind of irritated me, so I’ve decided to exhibit some<br />
A4 sheets in which I meticulously exposed how I had spent the