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scena<br />
credincios, casa de marcat înregistreazæ øi ea, contabilizînd ironic mîntuirea vîndutæ.<br />
Pentru noi, ca membri ai unei societæfli majoritar ortodoxe, al cærei stat, probabil<br />
pentru a marca suplimentar separaflia sa de bisericæ, a renunflat prin lege la impozitarea<br />
importantelor sume de bani pretinse de cler pentru serviciile furnizate, ironia<br />
degajatæ de aceastæ lucrare nu poate fi decît cu atît mai savuroasæ.<br />
Plan B a început în 2005, la inifliativa lui Mihai Pop øi Adrian Ghenie, ca un artist<br />
run space, dupæ scurt timp transformîndu-se într-o galerie cu profil comercial, iar<br />
din 2008 øi-a deschis øi o extensie la Berlin. În mai 2010 îl are ca invitat la Cluj pe<br />
Navid Nuur, artist olandez de origine iranianæ, cu expoziflia Phantom Fuel [Combustibilul-fantomæ].<br />
Navid Nuur fabricæ un obiect luminos hibrid, dintr-un bec tradiflional,<br />
cu filament de metal, în care introduce neon, contrariind parcæ mersul firesc al lucrurilor.<br />
E interesant cum se foloseøte de contextul local; nu se leagæ neapærat de<br />
reminscenflele istoriei (ale fabricii, ale comunismului etc., care sînt pînæ la urmæ foarte<br />
tentante), ci doar îøi aplicæ conceptul, folosindu-se de posibilitæflile actuale øi locale<br />
øi recunoscînd cæ în Olanda nu i-ar fi stat în putinflæ acest bricolaj, datoritæ stricteflii<br />
rigide a regulilor de securitate tehnicæ. În încæperea cealaltæ, într-un colfl oarecum<br />
opus, expune un tub de neon, cæruia îi confiscæ lumina, vopsindu-l complet în negru<br />
mat. De asemenea, el cautæ obiecte care au o funcflie specificæ, de pildæ ceea ce<br />
folosesc vînzætorii de ziare ca greutæfli, ca foile din teanc sæ nu zboare. Aceste obiecte<br />
banale, pe care le treci cu vederea (o piatræ sau un bulgære de plumb turnat pe fundul<br />
unui pahar), prin „profesionalizarea“ lor cvasiezotericæ, prin faptul cæ cineva le<br />
dæ o funcflie, le transformæ în unelte discrete, capætæ o altæ valoare. Mi se pare cæ<br />
Nuur face aici o analogie directæ cu obiectul artistic. Puternice influenfle fluxus gæsim<br />
în Hold on the Hollow [Menfline golul], sculpturi efemere øi aleatorii din cadre<br />
neregulate de sîrmæ øi peliculæ de sæpun, invitînd parcæ la a face inclusiv baloane cu<br />
ajutorul lor. Borcane cu apæ øi detergent industrial constituie materia øi „combustibilul“<br />
acestor sculpturi, pe care publicul trebuie sæ le alimenteze singur, interacflionînd<br />
cu obiectul. Mirosul pætrunzætor generat de turnul clædit din zeci de cutii de detergent<br />
desfæcute, inclusiv conflinutul lor scurs øi îngropîndu-i, ca o dunæ, baza, este<br />
tic object. Powerful fluxus influences can be found in Hold on the<br />
Hollow, momentary and aleatory sculptures from irregular wire<br />
frames and soap cover, kind of inviting to making including balloons<br />
by their aid. Water and industrial launder jars constitute the matter<br />
and the “fuel” of these sculptures, that the public must charge alone,<br />
interacting with the object. The rich smell generated by the tower<br />
built up of tens of open launder boxes, including their gliding content<br />
and burying its base like a dune, is annihilated by the Welcome/Welcome<br />
curtain, made of emery bands. At the entrance, the faces of the<br />
sandpaper are new, unused, when you go out, the emery is used,<br />
consumed, as if you’d pass through a time compression.<br />
Laika, a gallery initiated in 2008 by Marius Bercea, Vlad Olariu,<br />
Mircea Suciu, and Øerban Savu (who left in 2009), exhibits the sculpture<br />
of Mihufl Boøcu, How it’s Made, built of recycled pieces and<br />
materials (washing machine encasing, a few old radios, etc.), a replica<br />
of the binnacle wherein the Laika doggy has been sent into space.<br />
A subtle analogy is therefore proposed between the gallery as a condenser<br />
or relay of artistic utopias, and the dream of conquering<br />
space. Vlad Olariu’s work, Atomic Projection, reproduces on a plaster<br />
board surface an image, taken from the media, of a victim of the<br />
atomic bomb. The explosion has pulverized the victim and projected<br />
it on a wall, transforming it into a sinister drawing. Being interested<br />
in the mould technique, Vlad Olariu monumentalizes the drawing,<br />
combining this technique with the application of the gold leaf, used<br />
for the Orthodox icons.<br />
Another exhibition space is ClujEst, “point of visual research”, conducted<br />
by gallerist Sebestyén György Székely. In his last exhibition,<br />
Maramureø. 1916 – Erich Hoffmann’s Social Photographs, we can see<br />
130 photographs made by a German officer from World War I, when<br />
the front passed through the Maramureø area, and sent to a family<br />
who sheltered him. Later on, the photographs have been recovered<br />
by photographer Lajos Erdélyi in the ’80s.<br />
The GroundFloor Group Association deals with the promotion of<br />
contemporary dance, organizing contemporary dance courses and<br />
shows, like the Colectiv A Association lead by Nicoleta Braniøte.<br />
Navid Nuur<br />
“light licker”, TL-neon tube, mixed oil paint, 2010, detail, photo: Navid Nuur,<br />
courtesy: Plan B<br />
Navid Nuur<br />
“light licker”, TL-neon tube, mixed oil paint, 2010,<br />
photo: Szabolcs Feleki, courtesy: Plan B<br />
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