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story, the essence that is. The cultural relation consists precisely inthis mix of information, in the juxtaposition of kitsch, widely spread,and the terrifying image broadcasted in the media, with kidnappedjournalists menaced with execution; an image that has become in itsturn symbol of an attitude creating and destroying simultaneouslythe dynamic of contemporary history. In this case, the approach iscloser to the themes of projects (the carpet outside the contextmight seem a work in the series Art for the Masses) Pogæceanhas completed with Ciprian Mureøan and István László as Supernovagroup in 2002–2004. It’s just that, if in Art for the Massesirony was permanent (Supernova Cola or Supernova Detergentdestroyed obsessive icons of the consumer society), in Tales fromthe Other Side there is also the strong vibe of “live” drama.Modernist Bird House, a work with apparently low stake, is in factthe most loaded with erudite connotations, coming form a differentstory, and raises the issue of cliché like the first project I’ve justcommented. The object, with the dimensions of an architecturemodel, is a hypothetical surrogate visually dynamiting one of thelast classical forms standing – the bird cage. Cristi Pogæcean buildsthe model of a large house, in the style of Wright’s design, an objectdenoting the potential of a programmatic spirit that has created theart and politics of the last century, its hidden absurdity being,invariably, the source of recent social tragedies.Cristi PogæceanWrong Size – toy soldier (failed project), sculpture, photo: Raymond Bobar, credit: the artistrîndul ei, simbol al unei atitudini care, simultan, creeazæ øi distruge dinamica istorieicontemporane. În acest caz, abordarea este mai degrabæ apropiatæ de temeleproiectelor (scoasæ din context, carpeta ar putea pærea o lucrare din ciclul Art forthe Masses [Artæ pentru mase]) pe care Pogæcean realizat alæturi de Ciprian Mureøanøi István László în cadrul grupului Supernova, de-a lungul anilor 2002–2004.Doar cæ, dacæ în Art for the Masses ironia era permanentæ (Supernova Cola øi DetergentulSupernova distrugeau iconuri obsesive ale societæflii de consum), în Talesfrom the Other Side avem, în plus, vibraflia puternicæ a dramelor træite „în direct“.Modernist Bird House, o lucrare aparent cu mizæ restrînsæ, este de fapt cea mai încærcatæde semnificaflii erudite; desprinsæ dintr-o altæ poveste, problematizeazæ cliøeul,la fel ca primul proiect comentat aici. În traducere aproximativæ Colivie modern(ist)æ,obiectul, de dimensiunile unei machete de arhitecturæ, este un surogat ipotetic caredinamiteazæ vizual una dintre ultimele forme clasice, colivia de pæsæri. Cristi Pogæceanconstruieøte macheta unei case spaflioase, în genul arhitecturilor lui Wright,obiect care denotæ potenflialul unui spirit programatic care a creat arta øi politica ultimuluisecol, absurditatea lui disimulatæ fiind invariabil sursa tragediilor sociale recente.The last element of the exhibition is a kind of cast taken on theshape of a soldier with a gun in his hand, a form representing thesimulacrum of military idolatry that has left its marks on Pogæcean’sgeneration. Let us only remember the picture books about the“heroism” of the Romanian soldiers that the children used to readin the ’80s. It is not by hazard that the profile of the soldier iscopied from those illustrations. The way in which the media is invadedtoday by the image of the soldier is similar but in the dramaticsense that the child from the past, the adult today, watches the warlive. In this sense, Cristi Pogæcean’s sculpture probably evokesthe nostalgia of a time when propaganda was a contingent story,the war was history and the soldiers were toys.None of the projects (including Cristi Pogæcean’s previous work)wouldn’t have the same expressive force and allegoric touchwithout the deep understanding of the meanings of power; politicalpower, religious power, the power of the leader over the crowddispersed in the area of “subliminal history” and the terror forcedupon people with the power of weapons. This knot of tensions incounterweight with more poetical representations (Modernist BirdHouse) shape Pogæcean’s profile as an artist, contrasting and paroxyste,creating one of the most original/adequate definitions of theyoung contemporary artists’ scene.Translated by Izabella BadiuUltimul element al expozifliei este un soi de mulaj pe forma unui soldat cu arma înmînæ, o formæ care reprezintæ simulacrul idolatriei militare, ale cærei traume generaflialui Pogæcean le-a træit din plin. Sæ ne amintim doar cærflile ilustrate despre „erois-54