artć + societate / arts + society #38, 2011 20 lei / 11 €, 14 USD - idea

e-øi fæceau de lucru prin corturile acoperite cu pæturi colorate, unsuroase øi înnegrite
de la atîta fum fæcut cu ziare øi pungi din plastic.
Insulifla nu era altceva decît o farfurie plutitoare din beton, în mijlocul cæreia fuseseræ
plantate cîteva tufe cu trandafiri sælbatici, din acelea care cresc øi færæ sæ fie udate.
Pe margine, insulifla era flancatæ de un gard viu din sælcii plîngætoare. Intrarea se fæcea
pe sub o arcadæ din beton cu brizbrizuri din marmuræ, copie probabil dupæ una greceascæ.
Iar amfiteatrul, un fel de terasæ cu arcade øi coloane în miniaturæ, avea pe
o parte cîteva pontoane, de unde ar fi trebuit sæ plece bærcile în larg.
– Nu pare totul ca un proiect ambiflios eøuat?
[Rîndul al doilea este format din urmætoarele imagini: un candelabru auriu fotografiat
într-o luminæ caldæ, un bullterier cu îngeri pictat pe piele de cal de G. Fikl øi care
costæ 1500 de euro, douæ stilouri ediflie limitatæ Montblanc, o lustræ „explodatæ“ din
anii ’60 cu bulbi cosmici, o fotografie foarte micæ cu o perdea purpurie dintr-un teatru
în ruine, fost Sofia, din Viena, øi un portret al Carolinei Herrera cu fiicele într-o dupæamiazæ
liniøtitæ de august. În fundal se aude „Statues“, de pe albumul cu acelaøi nume,
al lui Moloko.]
– De ce eøuat?
– Pentru cæ nu a ieøit ceea ce s-a dorit iniflial. Vezi tu bærci sau oameni care sæ stea
la umbræ în amfiteatru?
– Nu mi se pare eøuat, din moment ce pescarii æia de pe pontoane
folosesc spafliul foarte bine, e adeværat cæ în loc de bærci
cu vîsle au camere de cauciuc de la roflile tirurilor, dar locul
nu este complet pustiu. Cel mai trist mi se pare un loc pustiit,
nepopulat nici mæcar de pæsæri sau animale.
– Øtii cæ la un moment dat am vrut sæ fac un documentar
øtiinflific fictiv despre locul æsta. Ar fi fost prezentat de un
englez, în halat alb, cu ochelari øi un arætætor, cum au profesorii
de geografie la øcoalæ. E vorba despre Tom, un DJ
care scrie destul de bine în diverse reviste de lifestyle. Aø fi
prezentat paradoxurile care îl definesc: arhitectura minimalistæ
decæzutæ, cu accesorii opulente, visul înælflætor al „arhitectului“
dictator, pe de o parte, øi condiflia mizeræ a digului,
a apei poluate din cauza covoarelor care se spalæ în lac în
weekenduri, øi a oamenilor care îl populeazæ vrînd-nevrînd, pe de altæ parte. Un
loc cu un imens potenflial, dar care este în ruine.
– Øi de ce nu l-ai fæcut?
– Documentarul? Pentru cæ probabil nu am crezut destul de mult în el.
– Ai fi putut începe cu niøte poze.
– Am fæcut niøte fotografii într-o iarnæ, cu o minge de baschet øi o maøinæ de scris
în zæpadæ. Oricum, atunci nu mæ gîndisem încæ la documentar, nu-i descoperisem
digului pærflile mai sensibile.
– Øi acum?
– Acum, dupæ cum vezi, sînt alte prioritæfli. Poate cæ nu o sæ îl uit øi o sæ mæ întorc
la un moment dat pregætitæ sæ fac acel documentar. E trist, nu, cæ fiecare lucru are
timpul sæu de gestaflie, cæ nu pofli sæ-l faci cînd vrei tu, cæ existæ un moment & context
propice fiecærui lucru în parte.
– A aøtepta nu mi se pare neapærat un lucru groaznic. Cîteodatæ aøteptarea are efecte
pozitive.
–
scena
on horse leather by G. Fickle that costs 1,500 Euros, two Montblanc
fountain pens, limited edition, an “exploded” lamp from the ’60s,
with cosmic bulbs, a very small photograph with a red curtain in a
theatre in ruins, ex Sofia, in Vienna, a portrait of Carolina Herrera
with her daughters in a calm August afternoon. In the background
you can hear “Statues” from the Moloko’s homonym album.]
– Why failed?
– Because it didn’t turn out as it was initially planned. Do you see
boats or people sitting in the amphitheatre’s shade?
– I don’t think it’s failed since those fishermen on the docks use this
space very well. It’s true they have rubber tubes from trucks’ tires
instead of boats, but still the place is not completely deserted.
The saddest place is a deserted one, where not even birds or animals
live.
– Once I wanted to make a fictive scientific documentary about this
place. It would have been hosted by an Englishman, in white coat,
with glasses and a stick, the one that Geography teachers have.
Tom is a DJ and he writes quite well in various lifestyle magazines.
I would have presented the paradoxes defining this place: the
decayed minimalist architecture, with opulent accessories, the ambitious
dream of the “architect” dictator on one hand, the miserable
condition of polluted water due to carpet washing during weekends,
and people inevitably populating it on the other hand. A place with
a huge potential, nevertheless in ruins.
– Why didn’t you make it?
– The documentary? Maybe because I didn’t believe in it as strongly
as I should.
– You could have started with some
pictures.
– I took some pictures one winter, with
a basketball and a writing machine in the
snow. Anyway, I hadn’t thought of a documentary
then, I hadn’t yet discovered the
sensitive parts of the dam.
– What about now?
– Now, as you know, I have other priorities.
Maybe I won’t forget it, and one day
I’ll come back ready to do this documentary.
It’s sad, isn’t it, that every thing has
its own gestation time, that you can’t do it
whenever you want, that there is a time
and context for everything.
– Waiting doesn’t necessarily mean something
dreadful. Sometimes waiting has
positive effects.
–
– What’s your view on contemporary Romanian art?
– What’s yours?
– I can’t really differentiate it from the one in Eastern Europe. In this
region amazing changes happened in the last 15 years. I think it’s
only natural that after the fall of communism the artists be the first
to freely express themselves concerning the political situation, something
that was forbidden for so many years. Now only the names of
Marina Abramovic’, Warhol, who came from Poland and the IRWIN
group cross my mind, but they were not Romanians.
– Well, we have Ion Grigorescu, Dan Perjovschi and subReal.
– I remember, in your emails, you opposed very categorically this
East-European trend, of an art debating local or European political
problems. Why?
– In general it’s good to be preoccupied with the local context in
which you live. I don’t think it’s OK to have only this kind of art,
interested only in the political issues, especially those that superficially
deal with European issues. I find annoying a lot of young artists
who didn’t have anything to do with politics and suddenly taking
over this subject only because it’s trendy. You know how it is, every-
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