O mie de mîini: performînd Munca øi TimpulO conversaflie între Valentina Vetturi øi Vlad MorariuVALENTINA VETTURI (Reggio Calabria, 1979). Lucrærile sale investigheazæ raporturile dintre performance,scris øi elementele subversive din viafla de zi cu zi. Printre proiectele/expozifliile sale recente se numæræ UnViaggio (Spazio Norbert Salenbauch, Veneflia, 2011), The Playground (Premio LUM, Bari, 2011), La Funzione(Naba, Milano, 2011), La Macchina che produce il Tempo (Masseria Torre Coccaro, 2010), La Pendolare/TheCommuter (Living Layers/Wunderkammern øi MACRO Roma, 2010). E autoarea câtorva cærfli, printre careLa Macchina che produce il Tempo (editatæ de Galleria Bonomo Bari) øi Un Esilio (editatæ de Tenuta delloScompiglio, Lucca). A cîøtigat Premiul Razzano øi a luat parte la numeroase rezidenfle, printre care: FAAP–Fundaçao Armando Alvares Penteado (São Paulo, Brazilia), Viafarini (Milano). E cofondatoare a colectivuluiRadice Quadrata.Vlad Morariu ¬ Aø vrea sæ vorbim despre trei dintre lucrærile tale, Machine ThatProduces Time [Maøina care produce timpul], Commuters [Navetiøti] øi Cheek toCheek [De la obraz la obraz]. Mi-au stîrnit interesul deoarece cred cæ ele produc ofoarte puternicæ rezonanflæ cu ceea ce Deleuze øi Guattari ar numi „asamblajemaøinice“. Bineînfleles, ele comportæ mai mult decît simplul uz al dispozitivelor tehnice,care, de altfel, este reflectat într-o anumitæ mæsuræ în lucrærile tale; mæ refer mai degrabæla modurile prin care acfliunile tale per<strong>format</strong>ive întrerup structurile øi fluxurile vieflii cotidieneøi înlænfluie elemente ale unor regimuri diferite: grafism, litere øi hîrtie, aranjamentesociale, corpuri øi subiectivitæfli.Valentina Vetturi √ Deleuze øi Guattari au introdus conceptul maøinii dezirante.Cred cæ în aceste lucræri propria mea subiectivitate a acflionat ca un fel de maøinædezirantæ: dorinfla mea a fost sæ creez un salt, o întrerupere în procesul vieflii de zicu zi. În performance-urile mele acflionez în parte mimetic dinæuntrul mediilor deviaflæ zilnicæ, însæ totodatæ încerc mereu sæ creez aceste deplasæri. Acesta e sensullucrærilor mele. Øi îmi amintesc cæ Deleuze spunea cam aøa: „Lasæ-fli maøinadezirantæ sæ træiascæ“. Performance-ul are de-a face cu o voinflæ de a acfliona øi sîntinteresatæ sæ activez incertitudini. În toate lucrærile pe care le-ai pomenit, ceea cee construit [de ele] opereazæ cu semnificaflii diferite. Lucrarea e creatæ printr-un dialogstrict cu mediul de viaflæ în care se desfæøoaræ. În Navetiøti am încercat sæîmpærtæøesc condifliile muncitorilor ce cælætoresc dintr-un cartier de la periferiaRomei în centru, în timp ce în Maøina care produce timpul reflectam asupra ideiide lux, asupra a ceea ce e produs øi oferit într-un asemenea loc cum e MasseriaTorre Coccaro de la Savelletri, Apulia.¬ Ce e o masseria?√ O fostæ fermæ fortificatæ la flaræ, o structuræ tipicæ atît în Apulia, cît øi în Sicilia,construitæ în timpul dominafliei spaniole, care este trans<strong>format</strong>æ øi utilizatæ acum caun hotel de lux de cinci stele.¬ Øi ce fel de muncæ desfæøoaræ oamenii acolo?√ Dupæ mine, oamenii muncesc acolo pentru a produce Timp, timp liber, pentruclienfli. Timpul a devenit un lux în ziua de azi øi masseria e un templu al timpuluiliber, un templu al unei lenevii posibile. Clienflii merg acolo pentru a gæsi un rægazde la muncæ øi stresul cotidian. Am fost acolo fiindcæ am fost invitatæ într-o rezidenflæ,øi mi-am petrecut primele zece zile ca un oaspete al stafliunii, încercînd sæ experimentezacest lux, sæ înfleleg ce este luxul azi.¬ Îmi amintesc cæ vizitînd eu însumi aceastæ masseria, am avut o foarte puternicæsenzaflie cæ totul este, într-adevær, prea perfect pentru a fi real.√ Sînt patruzeci de camere øi un personal de cel puflin optzeci de oameni, însæsînt invizibili, nu-i vezi ori auzi. Am locuit acolo timp de zece zile færæ sæ îmi închipuimæcar un asemenea numær de oameni, iar în momentul în care proprietarul mi-aA THOUSAND HANDS: ON PERFORMING WORK AND TIMEA Discussion between Valentina Vetturi and Vlad MorariuVALENTINA VETTURI (b. Reggio Calabria, 1979). Her works investigatethe relationships among performance, writing and the disruptiveelements of everyday life. Recent projects/exhibitions include Un Viaggio(Spazio Norbert Salenbauch, Venice, 2011), The Playground (PremioLUM, Bari, 2011), La Funzione (Naba, Milan, 2011), La Macchina cheproduce il Tempo (Masseria Torre Coccaro, 2010), La Pendolare/The Commuter (Living Layers/Wunderkammern and MACRO Rome,2010). She is the author of several books, among them La Macchina cheproduce il Tempo (produced by Galleria Bonomo Bari), and Un Esilio(produced by Tenuta dello Scompiglio, Lucca). She is the winner of theRazzano Prize and has taken part in various residencies including: FAAP– Fundaçao Armando Alvares Penteado (São Paulo, Brasil), Viafarini(Milan). She is the co-founder of the collective Radice Quadrata.Vlad Morariu ¬ I would like to talk about three of your works,the Machine That Produces Time, Commuters and Cheek to Cheek.I became interested in them because I think that they produce avery strong resonance with what Deleuze and Guattari would call“machinic assemblages“. Of course, there is more to them than amere use of technical devices, of which there exists a certain reflectionin your works; I rather refer to the manners in which yourper<strong>format</strong>ive acts disrupt structures and flows of daily life, and concatenateelements of different regimes: writing, letters, and paper,social arrangements, bodies, and subjectivities.Valentina Vetturi √ Deleuze and Guattari have come up with theconcept of the desiring machine. I think that in these works my ownsubjectivity was acting as a sort of a desiring machine: my desire wasto create a leap, an interruption in the processes of everyday life.In my performances I partly act mimetically within the environmentsof everyday life, but at the same time I am always trying to createthese shifts. This is the point of my works. And I remember thatDeleuze said something like “Let your desiring machine be alive“.Performance has to do with a will to act, and I am interested in activatingdoubts. In all the works you mentioned, what is constructedoperates with different meanings. The work is created trough a strictdialogue with the environment where it takes place. In the CommutersI was trying to share the conditions of workers traveling fromone periphery neighborhood of Rome to the city, whereas in theMachine That Produces Time I was reflecting on the concept of luxury,of that was is produced and offered in a place like the MasseriaTorre Coccaro in Savelletri, Puglia.¬ What is a Masseria?√ A fortified farm in the countryside, a typical structure in Pugliaas in Sicily built during the Spanish domination that now is transformedand used as a five stars luxury hotel.¬ And what kinds of work are people doing there?√ According to me, people there are working in order to produceTime, free time, for clients. Time has become a luxury today and theMasseria is a temple of free time, a temple of a possible idleness.The clients go there to find a break from work and everyday stress.I was there because I was invited in a residency, and I spent the firstten days as a guest of the resort, trying to experience this luxury, tounderstand what luxury is today.¬ I remember that as I visited the Masseria myself, I had a verystrong feeling that everything is, indeed, too perfect to be real.√ There are forty rooms and a staff of eighty people, at minimum,but they are invisible, you don’t see or hear them. I was living therefor ten days without even imagining this amount of people, and as116
scenaLa Macchina che Produce il Tempo [Machine That Produces Time], 2010, detail of the paper scroll, credit: the artistspus, am înfleles cæ am gæsit cheia acestui fel de loc. Træiam într-o maøinæ, un mecanismfoarte sofisticat, însæ complet silenflios. O maøinæ socialæ care producea timp:am decis sæ o fac vizibilæ. Însæ asta presupunea sæ-i investighez componentele umaneøi am considerat necesar sæ îi întîlnesc pe tofli aceøti oameni. Totuøi, întrucît eramun oaspete, nu a fost uøor sæ le obflin încrederea. Cu toate cæ ar fi trebuit sæ ræmînacolo pentru trei sæptæmîni, mi-a luat o lunæ øi jumætate sæ îi væd pe tofli. În cele dinurmæ, am vorbit cu fiecare dintre cei ce alcætuiesc acest corp colectiv, færæ vreo distincflieierarhicæ. Conceptul de timp în sine a devenit punctul meu central de interes.Astfel, vorbind cu ei am început sæ descriu aceastæ imagine a unei Maøini careproduce Timp, øi, trebuie sæ îfli spun, s-au simflit puflin dislocafli. Punctul de pornireal discufliilor noastre a fost: „Aøadar, ce este timpul pentru tine?“, primul rînd din celebrulfragment al Confesiunilor Sfîntului Augustin, unde el spune: „Dacæ nu mæ întreabænimeni, o øtiu; dacæ vreau sæ le-o explic celor care mæ întreabæ, nu mai øtiu“.¬ Øi atunci, ca sæ spunem aøa, întrebarea ta despre timp avea nevoie de timp casæ îøi gæseascæ ræspunsurile?√ O întrebare neobiønuitæ are puterea de a crea o anumitæ intimitate care, altminteri,îi e refuzatæ unui stræin. Eram încæ un stræin acolo, un client, fie øi unul care îiîntreba despre timp. Mai mult decît atît, m-am dus acolo pentru a-i întrerupe peaceøti oameni în timp ce munceau. Nu am fæcut vreo programare, pur øi simplumergeam acolo, mæ prezentam øi îi întrebam despre timp; cu unii dintre ei vorbeamore în øir, cu alflii chiar øi zile întregi, în timp ce cu alflii doar cîteva minute. Timpulde care ei dispuneau a fost decisiv. Însæ ce a fost cu adeværat interesant e cæ pînæla momentul în care vorbisem deja cu o parte dintre ei, vestea despre prezenflamea se ræspîndise, øi se întrebau unii pe alflii ce au ræspuns la întrebærile mele; încele din urmæ au început sæ vorbeascæ despre timp færæ mine. Într-un fel, aceastæîntrebare a generat un proces asupra cæruia m-am bucurat sæ pierd controlul.¬ Spune-mi despre ræspunsurile lor øi despre procesul de asamblare a acestora înlucrarea ta.soon as the owner told me about it I understood that I found the keyof the Masseria. I was living in a machine, a very sophisticated buttotally silent mechanism. A social machine that was producing time:I decided to make it visible. But this presupposed investigating itshuman components, and I found it necessary to meet all thesepeople. However, since I was a guest, it was not easy to obtain theirtrust. Although I was supposed to stay there for three weeks, seeingall of them took me one month and a half. In the end I talked toevery person that made up this collective body with no hierarchicaldistinction. The concept of time in itself became my main point ofinterest. Therefore, in talking with them I started to describe thisimage of a Machine that produces Time, and, I have to tell you, thatthey felt a little bit displaced. The starting point of our dialogues was“What is then time for you?“, the first line from St. Augustine’sfamous fragment from Confessions, which reads “If nobody asks me,I know it; if I want to explain it to those who ask me, I don’t know itanymore“.¬ And then, let’s put it this way, your question about time neededtime to find its answers?√ An unusual question has the power of creating a certain intimacythat otherwise is forbidden to a stranger. I was still a stranger there,a client, though one asking them about time. Most importantly,I went there to interrupt these people while they were working.I didn’t make any appointment, I was going there, presented myself,and asked them about time; with some of them I would talk forhours, with others even for whole days, while with others only forminutes. Their available time was decisive. But what was really interestingis that by the time I had already talked to a part of them,word about my presence was spreading from mouth to mouth, theywere asking each other what they answered to my questions: at theend they started to talk about time without me. In a way, this questiongenerated a process which I was glad to lose control of.¬ Tell me about their answers and about the process of assemblingthem in your work.√ There were many thought-provoking answers. I discovered anunexpected willingness to talk about fragments of life. One womanfrom the laundry answered that time, for her, is 48 years of marriage,five kids and eight nephews. Some of them said that time islack of work. This type of answer came especially from those workingin the kitchen, because their labor was taking place under a lot ofstress. On the other hand, women working in the laundry or someof the waitresses in the rooms said that they had no time, becausethey were working both in the Masseria and at home for their families.With men it was a bit different, for them the distinction betweenworking time and leisure time was clearer. Then there were more– let’s call them philosophical answers, concerning the perceptionof time, some even said that time is a constructed concept, that weinvented it, that it doesn’t really exist as such, that it is useless to talkabout time in itself, that you can understand it only when you measureit. Last but not least, I also discovered that for some of themtime was linked to migration. When you are a waiter for a five starsluxury hotel you have to have a certain level of professionalism, youhave to know many languages, you have to serve in a certain way,you need to know how to talk with clients, how to have conversations.All these people learnt their profession by working in differentparts of Europe, some of them would come to work for the Masseriaonly for a number of months a year, whereas others simply decidedto come back for personal reasons. So I collected stories about timesof wandering through the continent as well. As for my work process,I didn’t record any of their answers, or take any pictures; I just tooknotes at the end of the each day, trying to remember what I havebeen told. These were filtered during the performance, which tookplace in the courtyard of the Masseria: it was the public space of thearea. For one week I was writing on a 20 m long paper scroll roll,I was writing what I remembered about their answers. The video followingthis performance has a straight composition, just a few117
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wartæ + societate / arts + society
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Aspirafliile celor care ar vrea sæ
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insert 138 Tomáš Svoboda: Ultimul
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6ei într-un institut, s-a impus ca
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8l-a condus la formularea unei teor
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26. Vezi Aby Warburg, „Über Plan
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Fig. 3. Battle for the Breeches,Nor
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Note:1. Publicat in Sitzungsbericht
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Fig. 2. Warburg Institute Archive,
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Fig. 5 a, b. From Karl Lamprecht,In
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20Textul pe care îl avea dl Britt
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Was hat aber die italienische Früh
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Traducerea în limba românæ a fos
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Esenflial pentru o øtiinflæ care
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tatea nimfei extatice øi a melanco
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s-a amplificat în tentativa de a
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galerieLIST OF ERASED EXHIBITIONS20
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