înfleles, nouæ, celor care lucræm la acest proiect – avem nevoie de o festivitate –,øi, desigur, unei audienfle internaflionale care ar putea fi prezente øi care ar dori sæøtie despre ce e vorba. Aøa cæ, deøi nu am anunflat încæ detaliile legate de el, va existaun program creat special pentru aceste trei zile. Personal, mi-e indiferent cæ lumeaare o atenflie foarte limitatæ, pentru cæ, în esenflæ, acest proiect nu are nevoie deaøa ceva – repet, nu e vorba de prezentare øi de expunere, ci e vorba de experienflæ.Este extrem de problematic sæ încerci sæ-l remodelezi într-o formæ care sæ sereadapteze la acest tip de reacflie rapidæ øi imediatæ. Important e cæ el este permanentactiv øi cæ cei care locuiesc în acest oraø sau oricine e prezent pot lua parte lael, într-un fel.¬ Cui i se adreseazæ, prin urmare? Ce fel de studenfli aøteptafli?√ Practic, cæutæm oameni creativi, critici, cu multe inifliative øi care vor sæ facæ totfelul de lucruri, iar aceastæ øcoalæ e o øansæ excelentæ de a-i face sæ reflecteze la anumitelucruri, sæ se implice øi aøa mai departe.¬ Cu siguranflæ. Va fi încurajatæ producflia de-a lungul semestrului? Dispunefli de oinfrastructuræ care s-o sprijine sau aøteptafli ca participanflii s-o sprijine ei înøiøi?√ Încercæm sæ obflinem cît mai mult posibil, sperînd cæ studenflii vor avea spafliide lucru, vom încerca sæ creæm niøte legæturi cu workshopurile locale, sæ avem propriilefacilitæfli øi acces la in<strong>format</strong>icæ, un minimum de aparaturæ audio-video, dar participanfliipot face øi ei tot felul de lucruri.¬ Ce se va întîmpla cu lucrærile produse aici? Vor fi cumva prezentæri permanenteale rezultatelor diferitelor workshopuri sau nu intenflionafli sæ facefli asta?√ Workshopurile nu sînt gîndite în aøa fel încît accentul sæ cadæ pe rezultate, darsper ca acest lucru sæ se întîmple natural, færæ sæ fie planificat. E vorba din nou deinifliativele participanflilor. Speræm ca acei ce sînt implicafli sæ vinæ mereu sæ întrebedacæ e posibil cutare øi cutare lucru sau sæ le facæ ei înøiøi, færæ sæ mai întrebe mæcardacæ sînt fezabile. Atunci cînd se va putea, vom crea condiflii øi vom sprijini cît maimult posibil aceste inifliative.¬ Acest lucru ne trimite înapoi la chestiunea locului: Nicosia, øi la toate problemelecare flin de Nicosia. Cum vefli evita ca acel gen de rezistenflæ simbolicæ la care væ referifliîn text sæ aparæ la bienalæ? Pentru cæ oamenii vor fi încurajafli, într-un fel sau altul –poate nu în departamentul tæu, ci în cel de-al treilea –, sæ se confrunte cu problemalocalæ.√ Dar cred cæ acesta e un lucru bun. Cînd spunem cæ oamenii sînt încurajafli –majoritatea acestor oameni sînt localnici. Ceea ce încercæm e sæ facem aceastæ bienalæfoarte cu picioarele pe pæmînt, conectatæ la aceastæ situaflie concretæ. De exemplu,în loc sæ ne creæm propriul workshop, de ce sæ nu folosim unul deja existent,dacæ e posibil øi dacæ ei doresc sæ lucreze cu noi? Plænuim sæ infiltræm oraøul în aceastæmanieræ reciprocæ de lucru, în loc sæ orchestræm situaflia.¬ Cum vefli evita sæ fifli instrumentalizafli de cætre forflele politice locale?√ Trebuie sæ fim transparenfli în felul în care punem problemele. De exemplu,existæ o situaflie bicomunitaræ pe care încercæm sæ o abordæm. Dacæ sîntem lipsiflide echivoc øi foarte deschiøi în privinfla dinamicii funcflionærii acestui proiect, atuncivom crea realmente un dialog øi, prin urmare, fiecare participant va putea sæ comentezeøi sæ-øi aducæ în discuflie propria poziflie.¬ Asta e foarte important, øi asta era miza întrebærii mele, pentru cæ v-afli asumat,oarecum, un parti-pris, menflionîndu-l pe Noam Chomsky ca pe unul din gînditorii pecare-i considerafli a fi un exemplu øi care e cunoscut ca situîndu-se cu totul de parteagrecilor øi împotriva turcilor, în aceastæ situaflie concretæ. Vor fi prezente øi persoaneaflate de partea turcæ?√ Pæi, tocmai asta e ideea, ca acest proiect sæ fie bicomunitar, sæ includæ cipriofligreci øi turci. Øi nu cred cæ rolul nostru e sæ avem o opinie precisæ despre situaflia√ There is a kind of opening. We do plan this event that we arecalling orientation days, which is three days of activities and intensiveprograms in the beginning, which is of course is in part for thestudents to inform them what is going on and get them to be involvedin what will happen, but it is also for the city, because we think itis very important to create a kind of energy, a feeling that somethingis starting. And of course for us, for the people who work in this project– we need a kind of celebration, and of course for an internationalaudience that might come and that wants to know about what isgoing on. So, although we have not announced the details of it yetthere will be a program that is specifically formulated for those threedays. I am personally not interested in the fact that the world hasa short attention span, because, in essence this project is not aboutthat – again, it is not about presentation and display, but it is aboutexperience. It is very problematic to try to reshape it in a way toadapt to this fast, immediate kind of reaction. It is important thatit is continuously active and that the people in that city or whoevercomes can take part in something.¬ Who is it for, then? What kind of students do you expect?√ We are basically looking for people who are creative, critical andhave a lot of initiatives and want to do things, and this school is agreat opportunity for them to be able to reflect on things, do thingsand so on.¬ That is for sure. Will production be encouraged during thesemester? Do you have some infrastructure to support it or do youexpect the participants to support it on their own?√ We are tying to have as much as we possibly can, so hopefullythe students will have work-spaces, we’ll try to make some connectionwith local workshops; to have our own computing facilities,audio-visual things, a kind of minimum, but people can do things.¬ What will happen with the works produced there? Will there becontinual presentations of different workshops’ results or is this notthe way?√ The workshops are not really intended to be result-oriented butI hope it happens organically, not that it is planned. This is againabout people taking initiatives. We hope that the people involvedwill be constantly coming and asking if this or that is possible, orgoing off and doing it themselves, not even asking if it is feasible.We create conditions when it is possible and support it as muchas we can.¬ This leads back to the question of the site: Nicosia, and all theproblems surrounding Nicosia. How will you avoid that kind of tokenismthat you are referring to in the text, taking place in the biennial?Because people will be encouraged somehow – maybe not in yourdepartment, but in the third one – to deal with the local situation.√ But I think that is a positive thing. When we say that people areencouraged – the majority of those people are locals. What we aretrying to do is to make this biennial very down to earth, very connectedto this situation. For example, instead of creating your ownworkshop why not to use an existing one, if it is possible and theywant to work with us? We plan to infiltrate the city in this reciprocalworking way, rather than orchestrating the situation.¬ How will you avoid being instrumentalised by local politicalforces?√ We need to be transparent about the issues. For example, thereis this situation of bi-communality that we try to address. If we areclear about the dynamics of how this is functioning in a very overtway, then we are actually creating a dialog, and therefore everyparty is able to comment and discuss its own position.¬ That is important and that was the edge of my question, becauseyou’ve kind of taken side by mentioning Noam Chomsky as one of thethinkers that you consider to be an example, who is well known to beabsolutely pro-Greek in this concrete situation, against the Turks.So, will there be people from the Turkish side, too?√ Well, this is the <strong>idea</strong>, that this project is bi-communal, it includesGreek and Turkish Cypriots as well. And I do not think it is our role88
scenapoliticæ. Cînd ne trezim în situaflia de a mæsura aceastæ posibilitate a instrumentalizærii,atunci sarcina noastræ este de a fi capabili sæ creæm o discuflie.¬ Legat de ceea ce væ întrebam înainte despre Joseph Beuys øi despre CatherineDavid, despre organizarea, cu ocazia diferitelor expoziflii, a acestui gen de simpozioncare sæ dezvolte discursul educativ: diferenfla esenflialæ pe care o sesizez aici – øi acestaeste punctul forte al evenimentului organizat de tine – e faptul cæ aøteptafli studenfli,aøteptafli ca oamenii sæ fie prezenfli acolo de-a lungul întregii perioade. Pericolulcare apare întotdeauna cînd se organizeazæ un simpozion sau o discuflie care sæ provoaceconøtiinfla e faptul cæ lumea îøi pierde interesul øi cæ simte apoi cæ e vorba doar de vorbe-nvînt – iar a avea studenfli permanenfli ar putea fi o soluflie la aceastæ problemæ.Va exista vreun cadru oficial creat pentru studenfli, care sæ existe, în mod normal, øiîn øcoli? Li se va pretinde sæ fie prezenfli în fiecare zi? Ar putea fi unii dafli afaræ øi trimiøiînapoi acasæ – studenflii slabi, sæ spunem?√ Multe din aceste lucruri se vor aranja din mers, de la sine. Iar unii dintre ceiinvitafli au trecut deja prin astfel de experienfle øi øtiu cum sæ se descurce, dar vomîncerca, în diverse feluri, sæ creæm o structuræ prin care sæ devinæ obligatoriu dinpartea studenflilor sæ participe într-un fel sau altul. Indiferent dacæ ai un mic rol administrativsau orice altceva nu prea solicitant, existæ o responsabilitate pe care o ai caparticipant. Nu e o vacanflæ de trei luni la soare. Sper cæ vom fi în stare sæ facemalegeri bune, în special în ce-i priveøte pe cei care ne sînt oaspefli – nu-i numim profesori–, cei care organizeazæ activitæflile, øi speræm cæ vom fi în stare sæ luæm deciziicare sæ nu fie prea generale, ci sæ purtæm discuflii concrete despre cum pot decurgelucrurile, øi sæ creæm un fel de intimitate øi o atmosferæ productivæ.¬ Chestiunea educafliei este una crucialæ în cercurile artistice moderniste, iar dacæprivim din perspectivæ istoricæ existæ chiar mai multe modele, ca Bauhaus, de pildæ,care a fost realmente cel mai elaborat model de øcoalæ de artæ. Cred cæ nu puteflievita datoria de a crea un model.√ În primul rînd, ceea ce e extrem de important în legæturæ cu acest proiect estefaptul cæ e o øcoalæ care-øi desfæøoaræ activitatea în contextul unei bienale, aøa cæeste foarte specific…¬ Sunæ a scuzæ…√ Dimpotrivæ, e un fapt cæ nici eu nu sînt educator – vreau sæ spun cæ existæ oamenicare-øi petrec întreaga viafla cercetînd øi lucrînd cu aceste chestiuni – øi nici colegiimei. Øtim puflin øi încercæm sæ øtim cît mai mult cu putinflæ, însæ, repet, aceasta esteo øcoalæ organizatæ de curatori. Prin urmare, ne reflectæ, normal, propriile pozifliiøi nu e un panaceu universal. Øcoala e organizatæ în jurul anumitor teme, de caresînt interesafli doar anumifli oameni. Nu încearcæ sæ ræspundæ la toate întrebærile øinoi nu încercæm sæ concuræm cu programele universitare instituflionale.¬ Am citit cîteva dintre afirmafliile foarte stranii ale urmætorului curator al Documenta,Roger Bruegel. Nu øtiu dacæ tu cunoøti ideea lui despre felul în care încearcæ sæorganizeze urmætoarea Documenta la Kassel, dar mi se pare cæ existæ niøte analogii.Dupæ pærerea mea, cu toate cæ în aceastæ etapæ problema e puflin obscuræ, el descurajeazæîntr-un fel sau încearcæ sæ încetineascæ producflia artisticæ øi sæ se concentrezeastfel mult mai mult asupra contextului, asupra pozifliei artei în societate, în politicæøi aøa mai departe. Mi se pare cæ e un fel de „bine, bine, gata cu expozifliile uriaøe,se expun prea multe lucruri, iar aceste lucruri slæbesc, oarecum, concentrarea“. Subscriiacestei intenflii?√ Ideea noastræ reflectæ o atmosferæ actualæ generalæ – poate în sensul de carevorbeai; cînd mi-ai citit textul, l-ai gæsit puflin cam îmbibat de jargon, pentru cæ înel se discutæ mult aceste chestiuni, øi e foarte bine cæ urmætoarea Documenta esteinteresatæ de lucruri similare. E un pas important, putem crea un fel de dialog înjurul unor teme asemænætoare. Øi, la fel ca Documenta, acest proiect e interesat øito have an exact opinion on the political situation. When we aredragged into this situation, to counter this possibility of instrumentalization,then it is our job to be able to create a discussion.¬ In reference to what I was asking you before about Joseph Beuysand Catherine David, about organizing this kind of educative discoursedeveloping symposia on the occasion of different exhibitions:the main difference I see here – and that is the strong part of yourevent – is that you expect students, so you expect people to be therefor the whole period. The danger that is always there when you organizea symposium or consciousness-generating discussions, is that peoplelose interest and then they’d feel that that’s just speaking in the air– having fixed students can be a solution to that. Will there be any officialframework for the students that they normally have in the schools?Willl they be expected to be present every day? Might there be peoplekicked out and sent back home – the bad students, so to say?√ A lot of these things will work themselves out as we function.And some of the invited people have already gone through thesekind of experiences and know how to handle it, but in many wayswe will try to set up a structure where there is an obligation on thepart of the students to participate in some way. Whether they havea small administrative role or whatever without being too pushy, butthere is a responsibility that you have as a participant. It is not athree-month holiday in the sun. I hope we will be able to make goodchoices, particularly for those people who are our guests – we don’tcall them teachers –, the people who organize activities, and hopefullywe are able to not make generic choices but really have concretediscussions about how things can work, and to create a kindof intimacy and an atmosphere of productivity.¬ The question of education is a crucial one in modernist artist circles,there are several models to look at even historically, like theBauhaus for example, which was really the most elaborate model foran art-school. I think, somehow, that you cannot avoid the duty tocreate a model.√ First of all, what is extremely important about this project is thatit is a school which is taking place in the context of a biennial, so it isreally very specific...¬ It sounds to be an excuse…√ On the contrary, it is a fact that neither am I an educator– I mean there are people who spent their entire lives researchingand working on these issues – nor are my colleagues. We know a littlebit and we try to know as much as possible, but again, this is aschool which is being organized by curators. Therefore it naturallyreflects our own positions and it is not a cure for everything.The school is based around specific topics in which only specific peoplefind interest. It is not trying to answer everything and we are nottrying to compete with established university programs.¬ I have been reading some of the very rare statements by thenext Documenta’s curator, Roger Bruegel. I do not know if you arefamiliar with his <strong>idea</strong> about how he is trying to organize the nextDocumenta in Kassel, but I feel some parallels. Although it is quiteobscure at this stage, according to my personal feelings he is alsosomehow discouraging, or trying to slow down, art production andthen concentrating much more on the framework, much more onthe position of art in society, in politics or whatever. I feel this kind of“ok, ok, enough of huge exhibitions, too many things on display, andthese too many things somehow dissolve the concentration”. Do youagree with this intention?√ Our <strong>idea</strong> reflects a general atmosphere that exists – maybe in asense like you have said, when you were reading my text you foundit was a little bit jargony because there is a lot of talk about theseissues, and it is exciting if the next Documenta is actually interestedin similar things. It is a great step, we can create a kind of dialoguearound similar topics. And similar to Documenta, this project is interestedwith the role of the curator as well. It has moved so fast intothis jargony thing. Whatever group show you have, there are thesame artists circulating....89
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wartæ + societate / arts + society
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Aspirafliile celor care ar vrea sæ
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+ (copii abandonafli. 109 Cînd aba
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arhivaJulie Ault øi Martin Beck s
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arhivatate care contestau radical s
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arhivaÎn acest punct se ridicæ c
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arhivaevenimente care au avut ca re
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arhivadurabilitæflii materialului
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arhivarezistenflei culturale øi so
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arhivasucces considerabil în ce pr
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arhivaWesleyan University Press/Uni
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- Page 50 and 51: Tom SandqvistØtefan Constantinescu
- Page 52 and 53: Øtefan ConstantinescuTom Sandqvist
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- Page 72 and 73: Lia PerjovschiTimelineMarcel Ducham
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- Page 78 and 79: 76Ján MančuškaRepeated Interior,
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- Page 104 and 105: Carlos GaraicoaNow Let’s Play to
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- Page 126 and 127: Mama nu eZsuzsa SelyemVineri, 3 mar
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„prea aproape“ de mine, incande
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cærui raport cu lumea. Proximitate
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Abandon preexterminatorul:societate
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Marile probleme ale României nu s
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Mic tratat despre abandonNe abandon
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toare: prin abandon - aøa-numita
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Frumoasele edificii metafizice, în
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teze øcoala øtiinflelor øi a teh
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priveøte natura. Totodatæ însæ,
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Paulo, 2002, pp. 44-55 - a fost rea
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S-a observat o creøtere statistic
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împotriva cærora nici bogæflia,
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Oraø al paniciiPaul Virilio„Atun
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lor. E o torturæ „civilæ“, ca
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s-o cîøtigæm. Acum, aceastæ lup