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scenade a face publicul sæ guste o viaflæ nesupravegheatæ de nicio instanflæ superioaræ; datoritæmijlocului de exprimare, filmul de 13 mm, costumele apar învechite, totul e de o monotoniecenuøie, evocînd mai degrabæ sentimentul de viaflæ al celor mutilafli sufleteøte,al dezamægiflilor, un sentiment care douæzeci de ani mai tîrziu, în „comunismulgulaø“,n-a mai fost deloc cel dominant.Dacæ în categoria botezatæ „Europa de Est“ am putut regæsi artiøti în mare parteacceptabili, acest lucru nu mai e valabil øi pentru artiøtii sovietici/ruøi, în pofidaavantajului lor numeric. Pornografiile alunecoase ale lui Mihailov, respectiv colajeleøi imprimatele la limita kitsch-ului semnate de Brusilovski øi Lobanov, evocînd atmosferaprævæliilor cu suveniruri sovietice, sînt prea puflin reprezentative pentru scenaruseascæ. De asemenea, nici portretele distorsionate ale lui Zarva de pe prima copertæa revistei Ogoniok (în 2001!) nu dezvæluie realitatea trecutului, o realitate pe care– conform explicafliei ce însofleøte lucrarea – falsa bucurie de viaflæ realist-socialistæar fi ascuns-o. Singurul lucru pe care-l dau de væzut aceste portrete este dorinflaca existenfla de dupæ Cortina de Fier sæ poatæ fi væzutæ iar – printr-o simplificare „ultimulræcnet“ – drept ceva grotesc.Au fost omise, în schimb, nume mari ale scenei regionale mai largi, nume færæ de carepovestea nu doar cæ e incompletæ, zugrævind o imagine mai særæcæcioasæ decît a fostea în realitate, dar øi complicæ în mod suplimentar lectura lucrærilor expuse, chiar dacæs-a utilizat un concept curatorial care a vrut sæ evite o trecere în revistæ regional-geograficæ.Omiterea numelor ce dau signatura uneia sau alteia dintre perioadele desprecare discutæm e motivatæ de curatorul expozifliei prin dorinfla de a face cunoscute numenoi publicului de la New York, nume deosebite de acelea care expun în mod regulatîn acest oraø øi trec deja drept artiøti americani, oricare ar fi originea lor (douæ exemple:Kabakov øi Abramović), respectiv nume ale unor artiøti care au avut deja ocaziade a se face cunoscufli (cum ar fi Kozyra sau Żmijewski); punct de vedere ce aminteøtemai degrabæ de acela al unui vînætor de capete comercial aflat în cæutare de „carneproaspætæ“, øi nu de acela al unui argument istorico-artistic.Cuvîntul magic prin care se revendicæ mereu un fel de imunitate la criticæ e „pozifliapersonalæ“, ceea ce vrea sæ zicæ aici conøtiinfla unui traseu de viaflæ, a unei socializæri,a unei poziflii particulare asumate øi determinate de un angajament, o conøtiinflæcare, ca atare, e inevitabil subiectivæ øi nu se autoiluzioneazæ cu intenflia de a dezvæluisingura narafliune „obiectivæ“ posibilæ, dar nici nu legitimeazæ, numai dintr-atîta,un capriciu, øi cu atît mai puflin scuteøte pe cineva, în numele unei poziflii de curator-artist,de exigenfla cercetærii istorice øi a veridicitæflii.În anii nouæzeci, New Museum a fost una dintre institufliile alternative cele mai radicale,fiind prima care sæ zgîndære tot felul de tabuuri øi sæ asume o sensibilitate faflæde social în imediata proximitate a galeriilor comerciale din SoHo. Urmaøa ei deazi pe Bowery, într-un Lower East Side populat cîndva de emigranfli est-europeni,iar azi de yuppies bine remunerafli, pæstreazæ vechile luæri de atitudine doar prin sloganurilela modæ – de ultimæ oræ, chiar – prezente în retorica ei. În spatele mæøtiifurnizate de frazeologia øi de toposurile „de primæ linie“ înøirate în catalogul expozifliei,sînt reintroduse prin contrabandæ aceleaøi cliøee præfuite a cæror dispariflie îmbucurætoareo anunflæ noul discurs critic. Dacæ la nivelul teoriei, al retoricii nu se pot stabiliierarhii øi subordonæri boante, punctul de vedere colonizator devenind pur øisimplu infrecventabil, se pare cæ existæ încæ destule mijloace curatoriale prin carevechile relaflii de putere sæ fie restabilite.Meciul dintre Vest øi VestDacæ New Museum fusese o zgripfluroaicæ øi pusese un blestem pe fostul bloc esticcu expoziflia ei despre ostalgie, MoMA [Museum of Modern Art] a încercat sæ-l protejezepe acesta de efectele nefaste ale blestemului prin lansarea proiectului C-MAPassumed and determined by a commitment, a conscience that,as such, is inevitably subjective and does not deludes itself with theintent of revealing the only “objective“ narrative possible, but definitelydoes not legitimate, from this only, any whim, and much lessexcuses someone, in the name of a curator-artist’s position, fromthe exigency of historical research and accuracy.In the nineties, the New Museum was one of the most radical alternativeinstitutions, the first that rasped all kinds of taboos andassumed sensibility for social issues in the immediate proximityof the SoHo’s commercial galleries. Today, its heir on Bowery, in theLower East Side once populated by Eastern European immigrantsand today by more than conveniently remunerated yuppies, retainsits old attitudes only through fashionable slogans – even up to dateones – present in its rhetoric. Behind the mask provided by buzzwordsand topoi stringing in the exhibition’s catalogue, the samedusty clichés whose encouraging disappearance is announced bythe new critical discourse are smuggled in. If at a theoretic andrhetorical level one cannot establish blunt hierarchies and subordinations,since the colonial viewpoint become simply tasteless, it seemsthat there are still plenty of curatorial means by which the old powerrelations may be restored.West–West MatchIf the New Museum was an old fairy who put a curse on the ex-Easternbloc with its Ostalgia exhibition then it is MoMA (Museum ofModern Art) that made an attempt to shield the region from thecurse’s damaging effect by launching its C-MAP (Contemporary andModern Art Perspectives) project, and by its Sanja Iveković exhibitionentitled Sweet Violence. 8If there is a loser in the changed discursive landscape – the crisis ofmodernism, expansion of the new critical theories, and broadeningof the scene – it is definitely MoMA, once the sacred temple of modernism.Nowadays, it has to tolerate such atrocities which wouldhave been unimaginable earlier; MoMA and its opinion and valuesystem is not so important anymore, as was declared by Ruth Noah,one of the curators of the latest Kassel documenta on the conferenceon Ivekovic’. When a local compatriot questioned what an “unknown“Eastern European woman is doing in MoMA, the answer came fromthe audience again, declaring that the artist is part of the canon(written elsewhere) and that MoMA is the one who is catching up.The main feature of the New York art scene is its aggressive competitiveness.If it gets knocked down, which rarely happens, but is thecase nowadays as a consequence of globalization, it pulls around,and reorients itself. It does not stick to dogmas or specific positions,but is very flexible indeed. The point is to survive and stay in competition.Concerning MoMA, its other virtue is its self-reflective attitude,that it is able to acknowledge the change in orientation, even ifit is not favorable to it; so it is ready to reposition itself. We are in themidst of the dynamic restructuring of the scene in New York City,part of which is an exchange of roles.In the nineties one of the ex-rivals of MoMA, and even a very criticalone, was the New Museum, which for now has lost some of its professionalprestige, offering light, easily digestible exhibitions thatprovide posh small-talk topics. MoMA, on the other hand, stood backfrom the spectacle and glamour of showbiz and made its audiencework intellectually; in the same way as the institution itself workshard for its repositioning. Its ongoing C-MAP project is a kind offace-lift, based on research (a key word of today’s discourse), whichin this case means acceptance of its own limited spectrum and arbitrariness.Thus, it is doing its best to correct the “handicap“ of beingfor quite a while the canonizing center of modernism through learning,travelling, and networking. Our geopolitical region is in the forefrontin this process of broadening the fields of interests of MoMAdue to its accumulated experiences that have become once againrelevant. In the core of this interest lies the region’s politically loaded,critical, and highly innovative art of the sixties and seventies, for89