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el de rolul curatorului. Totul s-a transformat atît de repede într-un cerc închis. Laorice expoziflie organizatæ de un grup, sînt aceiaøi artiøti cei care se plimbæ dintr-oparte în alta…¬ Aøa este. Într-un fel, artiøtii par sæ aibæ deja un fel de importanflæ secundaræ înraport cu fluxul discufliilor øi al textelor pe marginea artei. Asta mæ sperie puflin.√ Øi poate acesta e un bun motiv pentru a crea astfel de proiecte unde se poateredefini rolul curatorului…¬ Nu væ e teamæ cæ – poate cæ nu e cazul, dar îmi imaginez cæ ar fi posibil sæ fieperceput aøa – ar putea exista un aspect condescendent în toatæ aceastæ chestiune,ceva de genul „acum nu dorim sæ expunem artiøti, dorim doar sæ invitæm artiøti caresæ-i învefle“.√ Dar profesorii sînt øi ei artiøti. Partea bunæ cînd faci un astfel de proiect e cæ devineunul din multele proiecte – existæ diferite modele în curs de desfæøurare, diferitetipuri de expoziflii – øi acest gen de diversitate este important. Nu am vrut sæ facemo altæ expoziflie pe scaræ mare. Nu o respingem cu totul, însæ nu fline de orientareanoastræ.¬ Care sînt impresiile tale dupæ vizita din Ungaria?√ Desigur, nu pot sæ spun prea multe, pentru cæ aceastæ cælætorie a avut loc încontextul prelegerii mele de la Mûcsarnok øi al cîtorva vizite fæcute ici øi colo. Vizitas-a transformat într-o discuflie despre aceastæ øcoalæ, pentru cæ, în cazul acestei Manifesta,accentul cade mai mult pe acapararea atenfliei oamenilor decît, pur øi simplu,pe a merge øi a face totul dupæ-bunul plac. Oricum, am fost puflin surprinsæde mæsura în care lumea se concentreazæ pe chestiunile pragmatice care flin de asta– ca, de pildæ, de unde vin banii, cum pot eu ajunge acolo etc. – øi cred cæ e puflinprea dogmaticæ din acest punct de vedere. Înfleleg cæ anumite circumstanfle sînt foartecomplicate øi cæ viafla e duræ, dar mi se pare cæ, poate, o discuflie despre idei ar trebuisæ preceadæ construcfliile practice care o fac posibilæ.¬ Deci ai simflit cæ Ungaria e un loc sceptic øi cinic?√ Poate. Desigur, am de-a face doar cu un anumit cerc de persoane øi cu o anumitætemæ, aøa cæ nu doresc sæ fac generalizæri în privinfla Ungariei.¬ Øtii, situaflia din Ungaria – cred cæ ai putut observa – stæ în felul urmætor: în ultimuldeceniu, artiøtii maghiari au participat doar arareori la vreo expoziflie internaflionalæde masæ, ceea ce le provoacæ o anumitæ sensibilitate legatæ de asta, care ar puteaduce la un astfel de scepticism. Ungaria resimte efectele negative ale acestui tip derezistenflæ simbolicæ la care te-ai referit, fiindcæ se pare cæ Ungaria nu e un loc suficientde interesant pentru a lua parte la acest joc simbolic.√ Sau poate cæ e doar prea interesantæ, pentru cæ nu prea înflelegi limba øi contextuldintr-o perspectivæ exterioaræ.¬ Da, într-adevær, rezistenfla simbolicæ utilizeazæ întotdeauna criterii foarte superficiale.¬ That’s it. Artists somehow already seemed to have a kind of secondaryimportance in respect to the flow of discussions and textsaround art. That is a bit scary for me.√ And perhaps that is a good reason for having these kinds of projectswhere you can redefine the role of the curator...¬ Are not you afraid of that – maybe this is not the case, butI could imagine that one might perceive – there might have been acertain patronizing aspect in the whole thing in terms of “now we donot want to show artists, we want to invite artists to teach them”.√ But the teachers are also artists. The good thing in doing theproject like this is that it becomes one of many projects – there aredifferent models going on, different kinds of exhibitions – and thatkind of diversity is important. We did not want to do another largescaleexhibition. We are not rejecting it completely, but it is not ourdirection.¬ What are you impressions after this visit of Hungary?√ Of course I can’t really say that much because this trip has beenpretty much in the framework of this lecture of mine in Mûcsarnokand a few visits here and there. The visit has become much moreabout discussing this School because in the case of this Manifestait is much more focused on grabbing the attention of people ratherthan simply going and making your own choices. Anyway, I was a bitsurprised at the extent to which people are very focused on thepractical issues of it – like where is the money coming from, how canI get there etc. – and a little bit too dogmatic in that sense. I understandthat certain circumstances are very complicated and life ishard, but it seems that maybe a discussion about ideas should bein the forefront before the practical constructions of how it can bepossible.¬ So you felt Hungary was a skeptical or cynical place?√ Maybe. Of course, I’m just dealing with a very specific circleof people and a very specific topic so I don’t want to come up withsome generalizations about Hungary.¬ You know, the situation in Hungary is – you might have sensed –,that in the last decade Hungarian artists rarely participated in anyinternational mass exhibitions so that lends a certain sensitivity topeople in regard to these things that might result in this skepticism.Hungary feels the negative effects of the tokenism that you werereferring to, as it seems Hungary does not constitute an interestingenough place to make part of this tokenism play.√ Or maybe it’s just too interesting, as you don’t really understandthe language, and the context from an external point of view.¬ Yes, indeed, tokenism always uses very superficial criteria.Budapest, January, 2006Thanks to Michael Rakowitz for the proof-reading.Budapesta, ianuarie 2006Mulflumiri lui Michael Rakowitz pentru corecturæ.Traducere de Veronica Lazær øi Andrei State90