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v tor art i cultur n context / art and culture in context4 7

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Publicat de /

Asociaia Vector /Iai, Romniatel/fax: 0040 232 237486e-mail: vector.gallery@gmail.com

Vectorparticip la proiectul documenta 12 magazines.

Concept:Matei Bejenaru, Ctlin GheorgheEditori coordonatori /Ctlin GheorgheEditori /Matei Bejenaru,Vlad Morariu, Cristian NaeDesign:Lavinia GermanLogistic /Alexandru BounegruCorector /Proof reader:Luminia Apostu

Tiprit la /

ISSN 1842 - 8657

Pe copert /

Published by:

Vector Association

Vectoris a contributor to documenta 12 magazines.

editors:

Logistic:

Printed at:

Cover:

coordinating editors:

Lavinia German- Replacing Space, 2007,view from exhibition, Vector Gallery, Iai

vector

Revista apare cu sprijinul financiar al Ministerului Culturii i Cultelor dinRomnia, prin PROMOCULT 2007, un program de promovare a arteicontemporane romnetin Uniunea European

Published with the financial support of Romanian Ministry of Culture andCults, PROMOCULT 2007, a program which is promoting Romaniancontemporary art in European Union

MINISTERULCULTURII I CULTELOR

Publicaia Vectorse deschide cu prezentarea unei serii de evenimentanalizeaz reflexul inserrii unor noi idei n contexte de regenerare a atpublice: deschiderea unei biblioteci ntr-un spaiu expoziional, discsituaiei post-finanrii" europene n Ucraina, navigarea poetic ntre ingerate politic, setarea opiniilor personale fa de sisteme (pre)dactivarea critic a spaiului public bucuretean. Sub forma unei inteartistice, printr-un travaliu de comentare i vizualizare a istoriei recRomniei e prezentat scenariul unei viei de artist n socialism. Ddocumenta 12 magazine" prezint posibile rspunsuri la ntrebarea ce fcut (n educaia artistic)?" de la poziiile teoretice ale unor educatosistemul artistic local la poziiile unor artiti care activeaz pe internaional. Seciunea condiia critic: prejudeci" trateaz experiedeconspirrii ideilor preconcepute n situaii concrete ale receptrii aartitilor. Comportamentul colectiv, principiile Food Not Bombi activaresquatting in de construirea unui stil alternativ de via cotidian; rela

contradicie dintre copyright, copylefti creative commonssunt analizangajamente tactice; iar tranziena structurilor electorale este exacartografic ntr-o ordine a vizualizrii situaiei politice.

Vectorpublication presents in the opening a series of events that analyreflexive process of inserting new ideas within the context of the revpolitical attitudes, such as: the opening of a library in an exhibitional spdiscussion on the situation of European "post-funding" in Ukraine, a pnavigation in between politically shifted cultures, the configuration of peopinions regarding the taught systems and the critical activation of thespace of Bucharest. Presented as an artistic intervention, the screenplayartist's biography during socialism is constructed through an efcommenting and visualizing the recent history of Romania. The "documemagazine" dossier provides potential answers to the question: "what idone (in art education)?" from the theoretical positions of certain "educathe local artistic system to the statements of some artists that activateinternational scene. The "critical condition: prejudices" section speaksexperiencing the disclosure of preconceptions in the frame of real situatart and artists' receptivity. The collective behavior, the Food not principles and the activation of squattingare terms related to an altelifestyle; the antinomies between copyright, copyleftand creative commbeing analyzed as strategical commitments and, finally, the transienceelectoral structures is examined through a cartographic view of the psituation.

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cuprins / content

construind contexte_relaionnd contexte / building contexts_networking contexts:

artiti n context / artists in context:

Vasif KORTUNBiblioteca deschis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4OPEN LIBRARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Ingela JOHANSSON, Volodymyr KUZNETSOV, Inga ZIMPRICHPost-finanarea Europei de Est i apariia investitorilor privai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10POST FUNDING EASTERN EUROPE AND PRIVATE INVESTORS APPEARANCE . . . . . . . . . . . . . . . . . . . . . . . . . . 13

tefan RUSU, Laura SCHLEUSSNERNavignd prin poetica eecului . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16NAVIGATING THE POETICS OF FAILURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .23

Ctlin GHEORGHEPersonal Local Settings.Tineri artiti n context. Galeria Vector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32PERSONAL LOCAL SETTINGS. YOUNG ARTISTS IN CONTEXT. VECTOR GALLERY

Vlad MORARIUMobiliznd resursele opoziionalitii:Spaiul public Bucureti | Public Art 2007 . . . . . . . . . . . . . . . . . . . . . . . 52MOBILIZING THE RESOURCES OF OPPOSITIONALITY:Spaiul public Bucureti | Public Art 2007 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . . . . . . . . . . . . . . . . . . . . 63

Dan MIHLIANUViaa de artist n socialism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Matei BEJENARUWHAT ELSE REMAINS TO BE DONE? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Ce mai este de fcut? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Dan ACOSTIOAEITHE NEW ACADEMIC ORDER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96Noua ordine universitar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Ctlin GHEORGHEART AS EXPERIMENTAL JOURNALISM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100Arta ca jurnalism experimental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

Cristian NAESCHILLER+BEUYS=DADA.ON THE NECESSARY USELESSENESS OF AESTHETICS . . . . . . . . . . . . . . . . . .104Schiller+Beuys=Dada. Despre inutilitatea necesar a esteticii . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Milica TOMIC

READING CAPITAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

Svenja MOORNEVIN ALADAG: EVERYTHING FROM THE BEGININGNevin Aladag: Totul de la nceput . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120

Dan PERJOVSCHIEDUCATE WITH CARE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

"documenta 12 magazine":what is to be done (in art education)? / ce este de fcut (n educaia artistic)?

stiluri de via cotidian / everyday lifestyles:

angajamente tactice / tactical commitments:

cartografii politice / political mapping:

condiia critic: prejudeci / critical condition: prejudices

experiene expoziionale / exhibitional experiences

camera de lectur / reading room

Bogdan CHELARIUColectiv. Hran, nu bombe! Squatting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .COLLECTIVE. FOOD NOT BOMBS! SQUATTING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

ANNA NIMUSCopyright, Copylefti Creative Anti-Commons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .COPYRIGHT, COPYLEFT AND CREATIVE ANTI-COMMONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Ionel BOAMF,George URCNAU, Alexandru RUSUTranziena structurilor electorale n Romnia ntre 2004 i 2007 . . . . . . . . . . . . . . . . . . . . . . . . . . .THE TRANSIENCE OF THEROMANIAN ELECTORAL STRUCTURES BETWEEN 2004 AND 2007 . . . . . . . . . . . . . . . . . . . . . . . . .

Dieter LESAGEPortretului artistului n chip de cercettor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .A PORTRAIT OF THE ARTIST AS A RESEARCHER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

SimonaNSTACArt i prejudecat o coproducie 100% RO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ART AND PREJUDICES A 100% RO CO-PRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Ctlin GHEORGHE, Cristian NAEPrejudicii ale judecii de confruntare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PREJUDICES OF THE JUDGEMENT OF CONFRONTATION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

DOCUMENTA 12, Kassel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Cristian NAEDecapitalizri: cum s transmii o cunoatere posibil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . DECAPITALISATIONS: HOW TO TRANSFERA POSSIBLE KNOWLEDGE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Introducnd un prag nefiresc ntre strad i galeria care n mod normal ar aveaperei albi, funciile centrului Platform au devenit neclare. Starea actual puteafi perceput drept bibliotec sau expoziie idiosincratic nfiinarea uneibiblioteci ntr-un spaiu de parter cu chirie scump ar putea fi considerat demuli drept o ratare a unei ocazii de a face bani buni. Ogaleriearfifostmaiacceptabil pentru mrfuri culturale, dar o bibliotec

Studioul de design multidisciplinar din Istanbul Superpoolaconceptualizat

aceast chestiune a spaiului nici-nici prininstalareaunuiauditoriumculocuripeoparte aezate cu faa la o scenfoarte lung avnd un fundal de rafturi cucri. Aceast propunere cu douelementesingulare rafturideopartei staluride cealalt aprodusinteraciuni publice de gradul trei, ntre privit i citit, ntremers i odihn

Nu numai c bibliotecile din Istanbul sunt n general foarte rare, ele nu sunt nicifoarte publice, pentru c nu ncurajeaz n mod activ accesul. Ele nu sunt zonede odihn devisarecuochiideschii, ci lcauri arhaice pentru studeninemulumii i pentru cte un mptimit de lectur sau cte un cercettor. Suntinvizibile i le lipsete simbolismul a ceea ce ar trebui s fie.

Ideea unei biblioteci ntr-o expoziie a vizat familiarizarea publicului care nubnuiete nimic atunci cnd viziteaz spaiul, adesea frvreunorizontdeateptare, fie cu vizionarea unei expoziii, fie cu prelungirea admirrii vitrinelor.Ceea ce ar fipututfrustranite ateptri ar fi fost faptul c nu prea erau multe devzut, n afar de oameni care luau cteo carte, sau citeau, sau moiau. Nimic photo credit: Iw

B i b l i o t e c a d e s c h i s Vasif KORTUN

Vasif Kortuneste curator,scriitor iprofesor.AfostdirectorulfondatoralmuzeuluiCentruluipentruStudiiCuratorialealBardCollege NewYork,directoruli curatorul celeide-a 3-a Bienale Internaionalede la Istanbul (1992) i co-curator al celei de-a 9-a ediii abienalei (2005),curatoralediiilor a ai a 24-a aleBienalei de la So Paulo (1994i1998)i unul dintre

editorii/autorii crii FreshCream,PhaidonPress,LondonNewYork,2000.n prezent estedirector al Platform GarantiContemporary Art Center dinIstanbul.

Ope n L i b r a r y (B i b l i o t e c a d e s c h i s )afostorevizitareaspaiului deexpunere de la Platform sub forma unei biblioteci. [...] Era o experienpublic n cadrul creia nu se putea face nici un schimb de valorimateriale. ntr-o msur mai micafostvorbadeoremaniereaexperienei de galerie. [...] Platform avea n fa ntrebarea: srmnem la fel ca i cum totul ar fi rmas la fel i s nu trim teroareazilnic a economiei experienei? Instituiile nu sunt etichete c e trebuiemeninute la infinit. Ele trebuie s se fac inevitabile.

Bulevardul Istiklal, unde se gsete Platform, a fost recreat n anii 1860, ntimpul unui fel de perioad semi-colonialafostuluiImperiu Otoman, ntreRzboiul din Crimeea i a doua perioad Constituional din 1909. Era singura

stradlat i dreapt din ora Coinciznd aproximativ cu HaussmanizareaParisului, a fost prima strad pe care s-a putut ncerca ideea de arter naceast perioad au existat peste aizeci de expoziii pe aceast s trad uneleorganizaten magazinele mai mici. La fel camulte alte orae care i-au pierdutstatutul de ora-port depopulatntre cele dou rzboaie mondiale iindustrializat n vremurile economiei naionale, Istanbulul a devenit un cu totulalt ora pn la schimbrile economice recente.

ncepnd cu mijlocul anilor '90, multe firme i-auschimbat cu vitez din ce n cemai mare proprietarii. Microeconomia cizmarilor, croitorilor, frizerilor i a micilormagazine de cartier a fost scoas din scen i nlocuit de baruri, bistrouri icafenele, precum i de magazine-reprezentanale firmelor internaionale.Centrele modeste de art au fost i ele scoase din peisaj i nlocuite de galeriicomerciale i centre culturale sclipitoare. Cu toate c a rmas n continuare unloc n care economia experieneieste practicat ntr-un mod mult mai coloratdect n zona cu friciune zero a mall-ului, viitorul su rmne nesigur.

Vizitatorii care vin la Platform nu trec prin detectoare de metal, nu sunt urmriide echipamentele de supraveghere i nu sunt ntmpinai de privireasuspicioasapaznicilornarmai. i nici nu li se ofer un mediu care implicsupremaia cultural Platformi-a tiut dintotdeaunalocul.

Open Library(Bibliotecadeschis)afostorevizitareaspaiului de expunere dela Platform sub forma unei biblioteci. Unul dintrecele mai evidente scopuri aleproiectului a fost de a produce un moment de pauz din fluxul frenetic detrectori prin mediul orientat preponderent spre consum al bulevardului Istiklal,devenit pietonal, i de a ntrerupe verticalitatea acestui flux.

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Open LibraryVasif KORTUN

Vasif Kortuniswriter and teachfounding directomuseum of the Curatorial StudiCollege, New Yoand curator of tInternationalBieIstanbul t

ththe editionofcurator ofthe BiennialsofSoand 1998), and

editors/authors Fresh Cream PhLondonNewYorPresently he is tPlatform GarantArt Center, Istan

Open Library was a revisitation of Platform's exhibition space in theform of a library. [ Itwouldbeapublicexperiencewherenothingofobjectvaluecouldbeexchanged Toalesserdegree itwasaboutreshufflingthegalleryexperience Platformwasfacedwiththequestion shouldwebestayingthesameasifallremainsthesameandwearenotunderthedailyterrorofexperienceeconomy Institutionsarenotlabelsthathavetobemaintainedadinfinitum Theyhavetomakethemselvesunavoidable.

Istiklal Avenue, where Platform is located, was recreated in the 1860s, during akind of semi-colonial period of the late Ottoman Empire between the Crimeanwar and the second constitutiuonal era of 1909. It was the only wide andstraight street in the city. Coinciding roughly with the Haussmanization of Paris,it was the first street where a notion of anonyma could be experienced. Duringthis time, there were more than sixty exhibitions on the street, some takingplace in the smaller storefronts. As many of the cities that lost their port-citystatus, depopulated during two world wars, and industrialized in times ofnational economy, it became a different city altogether until the recent globaleconomic change.

Since the mid-1990s many businesseschangedhandswithincreasingspeed Themicroeconomyofshoemakers tailors barbershopsandcornerstoreswerepushedoutandreplacedbybars chainsandcafs, and flagship stores ofinternational companies. Modest art centers were also edged out and replacedby glamorous commercial galleries and cultural centers. Although it is still aplace where the experience economy is practiced in a more colorful way thaninazerofrictionzoneshoppingmall thefutureremainsuncertain

When visitors come to Platform, they do not pass through metal detectors, arenot under the gaze of surveillance equipment, and are not confronted with thesuspicious gaze of armed security personnel. Nor are they treated to anenvironment that implies cultural supremacy. Platform has always been awareof where it is located.

Open Library was a revisitation of Platform's exhibition space in the form of alibrary. One of the most evident goals of the project was to produce a moment ofpause from the frenetic stream of passers-by through the largely consumptionoriented experience of the pedestrianised Istiklal Avenue, and to break theverticality of that stream.b

uildin

gcontexts_

networkingco

ntexts

nu putea fi luat acas dei, teoretic, tot coninutul aparinea tuturor. Era oexperien public n cadrul creia nu se putea face niciun schimb de valorimateriale. ntr-o msur mai mic a fost vorba de o remaniere a experienei degalerie. Spre deosebire de cinematograf, unde ntregul public trieteintimitatea ca public, dar fr corp, n experiena expoziiei omul privete, dareste potenial privit de un altul, iar instituia vegheazasupracelorceprivesclucrareai asupra celor ce-i privesc pe cei ce privesc lucrarea. n BibliotecaDeschisuntitluoximoronicceindic doar o speran sepoateprividoar

cunoatere nchis oexperien absurd de frumoas

Biblioteca deschis se nchideametaforicseara Petoat lungimea rafturilor setrgea o cortin Cortinadeveneaunecranpefundalulcreia aveau locprograme publice, de la proiecii la prezentri. Programele publice ncepeauliteralmente atunci cnd biblioteca public se nchidea. Biblioteca Deschis agzduit i cteva mini-biblioteci, fiecare cu curatorul ei i cu discuii privindtransformarea proiectului ntr-un spaiu public activ.

Dup ase ani de practic expoziional n pofida ctorva proiecte care se situaula limita practicii expoziionale, instituia s-a sturat de spaiu, spaiul nsui adevenit din ce n ce mai obosit, iar publicul presupunemnoisasturat deinstituie. Ritmul pur pe care l cere practica expoziional are un efect dedesensibilizare i ncepe s satisfac o nevoie care este n mod att deostentativ bazat pe ateptrile unei plaje a posibilului. Aceast tranzacie ntrepublic i spaiu este din ce n ce mai mult reglementatdecodurilenormalizrii.Totui, n cei ase ani de istorie a instituiei, au aprut de ambele pri ale cldiriidou cafenele aparinnd unor reele internaionale, au venit noi magazine, s-au nchis multe din spaiile vechi, i ntregul profil al strzii a nceput s seschimbe. Platform avea n fa ntrebarea: s rmnem la fel ca i cum totul ar firmas la fel i s nu trim teroarea zilnic a economiei experienei? Instituiile

nu sunt etichete ce trebuie meninute la infinit. Ele trebuie s se fac inevitabile.Mai mult, n aceti ase ani, biblioteca centrului Platform a crescut exponenial,arhivele au fost consolidate i s-a nceput un program de rezidene. Funciilesuplimentare ale cldirii au contribuit la separarea din ce n ce mai evident afunciilor instituiei pe msur ce biblioteca i componenta de cercetare audevenit din ce n ce mai puin vizibile pentru publicul larg, ceea ce a dus la oreducere a vizibilitii instituiei Deaceea unaspectfoarteimportantalproiectuluiafostacelade a comunica i de a evidenia arhivele dinamicealecentruluiPlatform n care se ntlnesc att achiziii, ct i mii de donaii de lainstituii-prietene, de la artiti, critici i curatori.

Centrul Platform a fost invitat ca unul din cele dou spaii non-profit careparticiplaproiecteleFriezen 2006. Proiectul nostru, punct de c olectare collecting point afuncionat ca un punct de donareaunorpublicaii iperiodice de art i a altor materiale care au fost expuse pentru consultare laFrieze Art FairTrgul de Art Frieze ConceptulPlatformafostacelade arsturna economia trgului de art i de a nfiina un stand care, n loc s facschimb de bunuri contra bani, s fac ofere n schimb o promisiunepentrupublicaii. Aceste publicaii, care au fost puse la dispoziie pentru cercetare lacentrul Platform, au fost i un s timulent suplimentar pentru proiect.

Este foarte importants nelegem c discursul instituional este invariabil legatde strategiile spaiului artistic, iar experimentul Platform a fost unul legat deospitalitate.

Traducere de Sorana Lupu

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Furthermore, in the six years, Platform's library expanded exponentially, thearchives were solidifed and a residency program was started. The addedfunctions to the building contributed to the increasing severance of theinstitution's functions from each otherasthelibraryandresearchcomponentbecameincreasingly invisible to general audiences, resulting in an institutionthat is half-visible. Hence, a critical aspect of the project was to communicateand display Platforms unrelenting archives, which combine many acquisitionswith thousands of donations from friendly institutions, artists, critics and

curators.

Platform was invited as one of two not-for-profit spaces to participate in FriezeProjects in 2006. Our project collecting point wasadropoffpointforartpublications periodicalsandothermaterialsthatweredisplayedforreferenceattheFriezeArtFair Platformsconceptwastoturntheeconomyoftheartfairaroundtosetupastandthatdidnotexchangegoodsforcash but, on thecontrary, to simply exchange a promise for publications. These publications thatwere made available for further research at Platform were also an additionalincentive for the project.

It is critical to understand that institutuonal discourse is invariably linked to thepolitics of space and Platform's experiment was one in hospitality.

photo credit: Iw

By setting up an uncanny threshold between the street and the normally white-walled gallery, Platforms functions were blurred. The current st atus could beperceived as a library or as an idiosyncratic exhibition. To set up a library in ahigh-rent ground floor space could be seen by many as a waste of anopportunity to make big money. A gallery could havebeenacceptableforculturestock butalibrary

The Istanbul based multidisciplinary design studio Superpoolconceptualized

thisquestionofaneither-nor spaceby setting up an auditorum with seats onone side facing a very long stagewithbooksarrangedasabackdrop Thisproposalwithtwosingularelements shelvingoneside andbleachersontheother producedpublicinteractionsofathirdkind betweenwatchingandreading walkingandresting

Not only Istanbul's libraries are in general far and few between, they are notexactly public spaces because they do not actively encourage access. They arenot zones of rest, and daydreaming, but archaic dwellings for disgruntledstudents, and for the occasional afficianado and researcher. They are invisible,and lack the symbolisms of what they should be.

The notion of a library in an exhibition space was to familiarize an unsuspectingpublic who visited the space, often without any expectation, either to see anexhibition or in extension of window gazing. What would frustrate someexpectations was that there was here a lot to watch, except for people who arepicking up a book, or reading, or dozing off. Nothing could be taken home evenalthough all the contents belonged theoretically to all. It would be a publicexperience where nothing of object value could be exchanged. To a lesserdegree, it was about reshuffling the gallery experience. Unlike cinema, wherethe whole audience experiences intimacy on publicum but without a body, the

experience of the exhibition is that one watches and is also being potentiallywatched by another, and the institution gazes over those who are watching thework, and those are watching those watching the work. In the Open Libraryan oxymoronic title that indicates merely a hopeonecouldsimplywatchnothingmorethanclosedknowledge, an absurdly beautiful experience.

The open library would metaphorically closein the evenings. Curtains weredrawn over the whole span of shelves. The curtain would become a screen onwhich many public programs, ranging from screenings to presentations tookplace. Public programs literally began when the public library closed. The OpenLibrary also hosted mini curated libraries along with disscussions to transformthe project into an active public space.

After six years of exhibition practise, despite a few projects that bordered onlimits of exhibition practise, the institution grew tired of the space, the spacebecame increasingly fatigued, and the audiences we would suspectbecametired of the institution. The pure r hytm that exhibition practise demands, has adesensitizing effect and begins to fulfill a need that is so blatantly based onexpectancies of a range of the possible. This transaction between the audienceand space gets increasingly regulated by the codes of normalization. In the sixyears of the institution's history however, two international chain coffee shopspopped up on either side of the building, new shops came, many older spacesclosed down, and the whole profile of the street began to change Platformwasfacedwiththequestion shouldwebestayingthesameasifallremainsthesameandwearenotunderthedailyterrorofexperienceeconomy Institutionsarenotlabelsthathavetobemaintainedadinfinitum Theyhavetomakethemselvesunavoidable

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Schimbarea comercial i mai ales schimbarea de definire din artacontemporan ucrainean a venit odat cu deschiderea centrului de artPinchuk. Magnatul i fostul politician Victor Pinchuk a creat o nouinstituieucraineande art pentrucareBourriaudafurnizatconsiliereconceptual subminnd n mod impresionant noiunile esteticii relaionale ntr-o campanieesteticde relaii publice. n umbra succesului lui Pinchuk, care a contribuitmult la popularizarea artei i a culturii, mai multe galerii comerciale au nflorit nultimii ani n plus, proiectul Arsenal, finanat de stat, va transforma o enorm

ruinde peste drum de grupul de mnstiri Lavra, unul din cele mai scumpeterenuri din Kiev, ntr-un centru cultural destinat a adposti muzeulpatrimoniului cultural ucrainean, un teatru i o salde operi cel mai probabilindustrii creative. Singurul spaiu-galerie deja realizat desfoarunprogramcomercial expunnd unnumr limitat de lucrri de artcontemporan Faptul cpeisajul instituional este n micare sugereazcdomeniul arteicontemporane se afl ntr-un proces de schimbare. O fost membr apersonalului CCA careastzi lucreazlaoagenie de PR ne explica n timpulunei pauzedemascmodelele funcionale comerciale i noncomerciale nu potfi deosebite n Ucraina: Un centru de artfuncioneazcaostrategiepersonaldePR n timp ce galeriile administrate comercial de obicei se ascund n spateleONG-urilor sau a fundaiilor. Pe de altparte niciONGurile niciguvernulnureuesc si asume responsabilitatea pentrundatoririle lor educaionale.Parendeosebi dificildezvoltareadefaciliti alternative de producie n care saparoreflecie teoreticasuprasituaiei actuale. Rspunztoare, explicJerzyOnuch fostdirectoralCCA esteatitudineaprevalentpescenaartisticucrainean Mulge vaca ct de mult poi darpeurm nu-i da de mncare, ci

1cautaltvac .Dupce Centrul de ArtContemporanSorosafosto vacbunde mulsn anii '90, funda ia Pinchuk contracteazastzi activitateaculturala Ucrainei. Nikita Kadan, membru al grupului de artiti R.E.P numetefenomenul rezultat monocentrism migrator toateinstituiile semnificativeucrainene au fost iniiate de politicieni i/sau oameni de afaceri, iar centrele lor,fiind parte integrantdin campanila lor de relaii publice, a incorporat acel tip deart produs iniial independent. Ducnd mai departe fr piedici logicasistemului sovietic n care Uniunea de Stat a Artitilor controla arta oficial n acest monocentrism migrator, arta contemporanucraineana rmas practic

2aceeai cu arta reprezentatn instituiile Soros (Guelman, Pinchuk) .Transformarea prin care trece la ora actuali Centrul de ArtContemporan

din Kiev explicposibilitatea de a ntreine faciliti de producie, iar n acelai

timp ntruchipeaz n mod dureros o adaptare la realitatea ucraineanautofinanat Directoarea Yuliya Vaganova i pstreazdeschisspaiul fizic. Dinnou, datoritpresiunilor financiare, Centruloferdin ce n ce mai des spaiupentru aborri discursive i conceptuale, pe lngfaptul cse concentreazpe

[1] Post FundinEurope publicaexemplare descrca de la ak.net

[2] CommuniquInvisibility ComFacultateadeIn

exemplarectre pedagogi.

[3] Post FundinEurope TrytoFCow Cu KateryNikitaKadan AleNataliaManzhalMotsiuk JerzyOSoloviov, Yuliya alii 11 iulie200ArtContemporIngelaJohanssoKuznetsov Inga

Post-finan area Europei de Est iapariia investitorilor privai

Inga ZIMPRICH, Ingela JOHANSSON, Voldymyr KUZNETSOV

Pe parcursul unei rezidene la Kiev n august 2006, Ingela Johansson (Suedia),Volodymyr Kuznetsov (Ucraina i Inga Zimprich (Germania)aunceput sinvestigheze istoria, fundalul ideologic i perspectivele Centrului pentru ArtContemporandin Kiev (CCA) n cadrul expoziiei Private with PublicPrivatcupublic Legtura cu istoria unei foste instituii Soros a dus la ideea cercetrii maindeaproape a fostelor Centre de ArtContemporaneCCA i a altor instituiiasemntoare, fondate cu sprijinul sau depinznd de fonduri culturale vest-europene n cadrul proiectului Post Funding Eastern EuropePostfinanareaEuropei de Est) n stadiul actual, Post Fundinginvestigheazmodeleleadeseahibridealeproduciei culturale din Ucraina, mergnd de la apariia investitorilorprivai n domeniul cultural pnla modele marginale de discuie din zonele ne-instituionalizate ale spectruluiInvestiiile internaionale pentru sprijinirea proceselor de democratizare nrile aflate n tranziie au constituit temelia economicpentru nfiinarea unorastfel de instituii ce susin arta contemporann Ucraina. Primul centru de artdin Kiev, n paralel cu alt Centru de Art Contemporan celdinOdessa afostnfiinat n 1993. Realiznd moderaia constituionala scenei artisticefragmentatei n formare din Ucraina, oferindu-i acestei ri primele saleretrospective Warhol i Beuys i primele burse artistice, CCAareuit sfondezeo scen a artei tinere. Introducndu-se bazele pentru ncurajarea

profesionalismului, artiti precum Alevtina Kakhidze i colectivul R.E.P.(Revolutionary Experimental Space precumi curatori i critici i-au nceputcarierele la CCA. Odat cu ncetarea finanrii Soros i cu slbirea poziieiinstituionale a CCA, produsul relativ nou care era arta contemporana fost pusn jocul intereselor concurente la nceputul anilor 2000.

Transformarea prin care trece la ora actuala si Centrul de ArtaContemporana din Kiev explica posibilitatea de a ntretine facilitati deproductie, iar n acelasi timp ntruchipeaza n mod dureros o adaptarela realitatea ucraineana autofinantata. [...] Pozitia institutionalafragila a CCA subliniaza n acelasi timp necesitatea propriei decodificaria Ucrainei catre o negociere publica a argumentelor sale, a intereselorconcurente si a perspectivelor de viitor. [...] Proiectul Po s t F u n d i n g

ncurajeaza dezbaterea tocmai a acelor moduri n care sfera posibila aproductiei artistice este influentata si ntrepatrunsa cu cea a partilor ceau un interes investit n ea. n lipsa unor locuri institutionale dereflectie, proiectul Po s t F u n d i n g promoveaza activarea contextelorlocale prin ncurajarea practicienilor culturali n a-si discuta pozitiile.Astfel, n desfasurarea proiectului Po s t F u n d i n g speram ca prinpublicatii si platforme publice vom putea invita la o discutie n care

interactiunea dintre public, critici si artisti sa fie pusa n centru.

Inga Zimpricheste artist icurator triete i lucreazlaBerlin

Volodymyr Kuznetsovesteartist, membru al grupuluiR.E.P (Revolutionary

Experimental Space) triete ilucreazlaKiev

Ingela Johanssoneste artist triete i lucreazlaStockholm.

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Post Funding Eastern EuropePrivate Investors Appearance

Inga ZIMPRICH, Ingela JOHANSSON, Voldymyr KUZNETS

During a residency period in Kiev in August 2006 Ingela Johansson (SE),Volodymyr Kuznetsov (UA) and Inga Zimprich (DE) started to investigate thehistory, the ideological background and the perspectives of the Center forContemporary Art Kiev (CCA) withintheexhibitionPrivate with Public TheinvolvementwiththehistoryofaformerSorosinstitutionledtotheideatofurtherresearchformerCCAsandsuchinstitutions whichwereestablishedwiththehelpofordependingonWesternculturalfundingintheframeoftheprojectPostFunding Eastern Europe. At the current stage of this process Post Fundinginvestigates the often hybrid models of cultural production in Ukraine, rangingfrom the appearance of private investors in the cultural field to marginal modelsof speaking from non-institutionalized sidelines.International investments to support democratization processes in transitionalcountries, have been the economic fundament to establish such institutionsthat support contemporary art in Ukraine. The first art center in Kiev, in parallelto another CCA in Odessa, was established in 1993. Accomplishing theconstitutional moderation of the fragmented and emerging Ukrainian art scene,providing the country with its first Warhol and Beuys retrospectives and artistsgrants, CCA succeeded in establishing a young art scene. Introducing the basesfor fostering professionalism, artists as Alevtina Kakhidze and the collectiveR.E.P. (Revolutionary Experimental Space) as well as curators and critics

started their careers in CCA. With the cease of Soros fundingandtheweakeningofCCAsinstitutionalposition therelativelynewproductofcontemporaryartwasputatplaytocompetinginterestssincetheearly sThe commercial turn and certainly definitional shift in Ukrainian contemporaryart has come with the opening of Pinchuk art center. Oligarch and former

The transformation, which CCA itself currently undergoes accounts forthe possibility to maintain sites of production while it at the same timepainfully embodies an adaptation to the Ukrainian self-financedreality. [...] CCA's fragile institutional position simultaneously stressesthe necessity of Ukraine's own decoding towards a public negotiationof its arguments, competing interests and future perspectives. [...]Post Funding encourages to debate exactly those ways in which thepossible scope of artistic production is influenced and intertwined withits stakeholders. Lacking institutional sites of reflection Post Fundingpromotes the activation of local contexts by encouraging its culturalpractitioners to discuss their positions. Thus in Post Funding we hopethrough publications and public platforms to unravel and invite fordiscussion, in which the interplay of audience, critics and artists is

centered.

Inga Zimprichartist and a curabased inBerlin/Germany

Volodymyr Kuis an artist livingKiev,Ukraineanmemberofthe R

groupRevolutiExperimentalSp

Ingela Johansan artist based Stockholm/Sweb

uildingcontexts_

networkingcontexts

rezidene artistice i pe Programul pentru Tinerii Artiti. Fr resursesubstaniale i structurale, ncet dar sigur spiritul spaiului condus de artiti s-adeplasat ctre ideea odatpreconceputa unei instituii internaionale de artcontemporan Poziia instituionalfragila CCA subliniazn acelai timpnecesitatea propriei decodificri a Ucrainei ctre o negociere publicaargumentelorsale aintereselorconcurentei a perspectivelor de viitor.Acum, n timpul unei mese rotunde despre post-finanare, desfurate laCentrul de ArtContemporan participanii au fost rugai svorbeascdin

punctuldevederealparametrilorn schimbare: n vreme ce a fost uor ssefacdistincia ntre funcionarea din afar dinspreperiferiesaudininstituii saudintroperspectivsituat ntre cele trei poziionarea ntre putere islbiciune a ntrerupt discuia. Nu numai ctermenul puterecoincide cunoiunea de guvern, dar i posibilitatea puterii, ce se nate din pstrarea

3integritii individuale, este n pragul dobndirii de sensProiectul Post Fundingncurajeazdezbatereatocmaiaacelormodurin caresfera posibila produciei artistice este influenati ntreptrunscu cea aprilor ce au un interes investit n ea. n lipsa unor locuri institu ionale dereflecie, proiectul Post Fundingpromoveazactivarea contextelor locale prinncurajarea practicienilor culturali n a-i discuta poziiile. Astfel, ndesfurarea proiectului Post Fundingsperm ca prin publicaii i platformepublice vom putea invita la o discuie n care interaciunea dintre public, critici iartiti sfie pusn centru.Dei se concentreazpe o chestiune care caracterizeazsituaia din Ucraina,proiectul Post Fundingesten sine o ntrebare, cum ne nscriem noi, n calitatede productori culturali, n conceptul att de larg promovat al schimbuluicultural dintre Esti Vest? Dezvoltarea unei cercetri introduce parametri,influeneazsubiectul investigaiei i este afectatn mare msurde poziiadin care vorbim. Dac ceea ce Nikita Kadan anticipeaz drept viitorpolicentrism respectiv necesitateaalegerii realizatprintr-un nou nivel de

responsabilitate i relaii simbiotice

se

va

dezvolta

poziia din care am nceputsvorbim va fi n cele din urmtransformat

ProiectulPost Fundingeste documentat pe site-ul www.ccc-k.net

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embodies an adaptation to the Ukrainian self-financed reality. Director YuliyaVaganova keeps its physical space open.AlsoduetofinancialpressureCCAincreasinglyprovidesspacefordiscursiveandconceptualapproaches nexttofocusingonartists residenciesandtheYoungArtistsProgram Withoutsubstantialandstructuralresourcesslowlybutsteadilythespiritoftheartistrunspace has moved into the once preconceived idea of an internationalcontemporaryartinstitution CCAsfragileinstitutional position simultaneouslystresses the necessity of Ukraine's own decoding towards a public negotiation of

its arguments, competing interests and future perspectives.Now, during a Post Funding roundtable discussion at the CCA, its participantswere asked to speak from changing parameters: While it was easy todistinguish, whether one operates from the sidelines, the institutions or themargins orbetweenthosethreetopositiononeselfbetweenpowerandweaknessinterruptedthediscussion Notonlydoesthewordpowercoincidewiththenotionofgovernment butalsoisthepossibilityofpower,whichemergesfrommaintainingonesindividualintegrity,justatthevergeof

3acquiringmeaningPost Funding encourages to debate exactly those ways in which the possiblescope of artistic production is influenced and intertwined with its stakeholders.Lacking institutional sites of reflection Post Fundingpromotes the activation oflocal contexts byencouragingitsculturalpractitionerstodiscusstheirpositions ThusinPostFundingwehopethroughpublicationsandpublicplatformstounravelandinvitefordiscussion inwhichtheinterplayofaudience criticsandartistsiscenteredWhile focusing on an issue, which characterizes the Ukrainian situation, PostFunding is itself a question, how we as cultural producers subscribe ourselves tothe widely promoted concept of cultural East-West exchange. Developing aresearch introduces parameters, influences the subject of investigation and isgreatly affected by the position from where we speak. If what Nikita Kadananticipates as future polycentrism thenecessityofchoice anewlevelof

4responsibilityandsymbioticrelationsweretodevelop thepositionfromwhichwehavestartedtospeakwouldhaveultimatelybeenrendered

ThePost Fundingproject is documented at www.ccc-k.net

[3] Post FundinEurope TrytoFCow With: KateNikita Kadan, AlKakhidze, NatalLiudmila MotsiuAlexander SolovVaganova and o11th, 2007, Cen

Contemporary AJohansson, VoloKuznetsov, Inga

[4] CommuniquInvisibility distributedbythwww.faculty.cc

politician Victor Pinchuk has created a new Ukrainian art institution, to whichBourriaud has lent conceptual advice, impressively subverting the notions ofrelational aesthetics into an aesthetic public relations campaign. In the s hade ofPinchuk's success, which greatly contributes to the popularization of art andculture, several commercial galleriesblossomedinrecentyears Additionally thestate-run project Arsenal is going to transform a vast ancient ruin opposite themonastery cluster Lavra, ranging amongst the most expensive grounds in Kiev,into a cultural center meant to house the Ukrainian cultural heritage museum, a

theatre and opera hall and prognosticated creative industries. Its alreadyaccomplished single gallery space runs a commercial program exhibiting thelimited number of contemporary artistic positions.That the institutional landscape is in motion suggests that the field ofcontemporary art is quickly changing hands. A former staff-member of CCA,whoworksinaPRagencytodayexplainsduringlunchbreakthatcommercialand non-commercial working models are not distinguishable in Ukraine An artcenter functions as a personal PR-strategy while commercially run galleriesusually cover up as foundations or NGO's. Whereas in turn neither NGO's northe government manage totakeresponsibility for their educative tasks.Especiallydifficultseemsthedevelopmentofalternativesitesofproduction inwhichatheoreticalreflectiononthecurrentsituationcouldemerge Responsible thusexplainsJerzyOnuch formerdirectorofCCA isanattitudeprevailingamongsttheUkrainianartscene Milk the cow as long as you canbutthendo

1nottrytofeedthecow buttrytofindanothercow.AfterSorosCCAhadbeenavery milky cowduring the nineties Pinchuk foundation contracts the culturalactivity of Ukraine today. Nikita Kadan, member of the artist group R.E.P.,describes the resulting phenomenon as migrating monocentrism AllsignificantUkrainianinstitutionshavebeeninitiatedbypoliticiansandorbusinessmenandtheircenters constitutinganintegralpartoftheirpublicrelationscampaign thusincorporatedthatkindofartwhichhadbeeninitiallyproducedindependently. Smoothly perpetuating the logics of the Soviet systemin which the State Union of Artists controlled the official art inthismigratingmonocentrismUkrainianContemporaryarthasbeensimplythesameastheart

2representedintheinstitutionofSorosGuelman Pinchuk The transformation, which CCA itself currently undergoes accounts for thepossibility to maintain sites of production while it at the same time painfully

[1] Post Funding EasternEurope publication copies Downloadableatwww.ccc-k.net

[2] CommuniquFacultyofInvisibility copiesdistributedbythetutors wwwfacultycc

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motenirii sale istorice. Odatcu extinderea UE, aceast zon a devenit maiaccesibil consumatorului occidental. Deschiderea ctre Est este un procesaproape aleatoriu, n care Occidentul trage cu ochiul s vadcine sun la u,examineaz cu indiferen prin vizor musafirul i apoi hotrte dac srelaioneze cu el sau pur i simplu s nregistreze identitatea dat dreptalta.Un traseu de navigaie prin expoziia Mercury in Retrograde printre lucrrile luiSven Johne, Dimitri Gutov, IRWIN, David Maljkovic i Fernando Sanchez Castilloreprezint un proces de angajare n discutarea istoriilor ascunse care au fostprinse mult timp n capcana gheurilor, datorit unui mediu politic ngheat societi n care valorile politice, culturale, morale i etice erau fixate. Momentul

n care gheaa se sparge este faimosulpunct zero din istorie, un punct deplecare pentru rennoire i revizionism. Aici, punctul de plecare este NovaZembla, un sit n care artefactele au stat prizoniere n ghea mai mult de 300de ani i o naraiune istoric olandez are ca scen ndeprtata Novaia Zemlia,acum teritoriu rusesc. Doar dup dezgheul Rzboiului Rece i dupefecteleGlasnost i Perestroika olandezii au reuit s pun din nou piciorul pe locultaberei de iarn a luiBarents, dup 400 de ani, pentru a cuta urmele materialeale unui trecut ndeprtat ntr-un peisaj schimbat.

"Astfel (am) fost trimii de (ctre) (Burgmeiste)rii din Am(ster)dam An(no)1(596) pentru a cltori prin (N)ord ctre rile Chinei / i ast f(el) dup multenecazuri i cu (mare) primejdie am ajuns prin Apusul Nov(a Zembla) i am vrutnc s cltorim (pe lng) coasta Tartar(iei) pn n rile aici pomenite/ (i nsfr)it am ajuns n acest loc pe 26 Augu(st n anul) sus pom(enit) unde (vasulnostru/dup ce ne) am strduit cu atta brbie (n urm) am rmas nepeniin ghea/i am fost (chiar mai mult) nevoii n aceast strmtoare s cldim oc(a)s (ca s) neinem n via prin iarn pe ct s-a putut mpotriva frigului.Locuit n cas din 12 octombrie anno 1596 toat iarna n ntregime pnpe 13 (iun)ie a anului urmtor 97 n mare frig. Suntem n acelai 13 iun(ie)cnd nava noastr st tot prins strns n (ghea) cu luntrea i cu barca cupnze am cl(torit) de aici ca s mergem acas/ Dumnezeul nostru ne va

ocroti n drumul nostru / i ne va aduce cu sntate n patria noastr / Amin."

-Dup traducerea n englez a unei note semnate de Barents i Heemskerk,ndesat ntr-un corn de pulbere n hornul casei Behouden Huis (Refugiul") depe Novaia Zemlia, 13 iunie, 1596. Descoperit n 1876 de ctre Charles Gardiner.

Laura SCHLEUcurator indepentraductor. Trie2001-2004 a foscuratorul proiec

Rocket Shop. n2001 Laura a luccomisiei de admInternational AdRepresentative Institute, Colleg

Navignd prin poetica eeculuitefan RUSU & Laura SCHLEUSSNER

Nav i g a i a e s t e t i i n a d e t e r m i n r i i p o z i i e i u n e i n a v e i a t r a s r i i u n u i

p a r c u r s c a r e s o g h i d e z e n s i g u r a n d i n t r - u n p un c t n t r - a l t u l .

N a v i g a t o r i i n c e a r c d e ob i c e i s g s e a s c d r um u l c e l ma i s c u r t n t r e

d o u p u n c t e . Pl a n u l i n i i a l i r e z u l t a t e l e f i n a le a l e n a v i g r i i s u n t

d e s e n a t e p e s u p r a f e e p l a n e nu m i t e h r i i d i a g r am e . Pn n s e c o l u l

a l XX - l e a , ce l e ma i s o f i s t i c a t e i n s t r um e n t e i t e h n i c i d e n a v i g a i e

d i s p o n i b i l e , c a l c u l u l es t i m a t i v f o l o s i n d b u s o l a , c r o n om e t r u l i

s e x t a n t u l , e r a u d e s t u l d e i n e x a c t e . N um e r o a s e n a u f r a g i i a u a v u t l o c

a t u n c i c nd e c h i p a j e l e a u l s a t v a s e l e s i n t r e n c o l i z i u n e c u s t n c i ,

r e c i f e , ic eb e r g -u r i s a u c u a l t e v a s e . N a v i g a i a e x a c t e s t e ng r e u n a t

d e v i z i b i l i t a t e a s c z u t p e v r e m e n e f a v o r a b i l .

- m a n u a l d e n a v i g a ie

Istorii ngheate

n 1596, Willem Barents a pornit din rile de J os mpreuncu echipajul suntr-o a treia expediie pentru gsirea Pasajului de Nord-Est spre Asia. Unnumr de busole, un sextant, un astrolab, un manual de navigaie de la 1580 io carte din secolul al XVI-lea despre China i serveau drept ndrumarecartografice i culturale n acel teritoriu nc neexplorat. Cu toate c a fost orealizare n materie de navigaie, expediia final a lui Barents ctre NovaZembla (Novaia Zemlia), a treia de acest fel, a fost un eec total din punctul devedere al obiectivelor propuse iniial. Nu s-a descoperit niciun Pasaj de Nord-Est spre China, vasul a euat pe un iceberg, echipajul a rmas izolat o iarn peghea, iar Barents i-a pierdut viaa. n 1597, restul echipajului a debarcat laAmsterdam, nc mbrcat n blni de urs, dup ce vsliser o parte din drumulde ntoarcere n brci deschise.

Mutarea obiectelor din colecia Nova Zembla de la Departamentul de Istorie alRijksmuseum i reamplasarea lor ntr-un context de art contemporan prinproiectul expoziional al programului de pregtire curatorial (CuratorialTraining Program) iniiat de centrul De Appel s-a bazat pe principiul re-contextualizrii: un proces de schimb de valori culturale ntre dou instituiiculturale importante. n acest sens, scopul includerii coleciei Nova Zembla ntr-

un context de art contemporan a fost de a oferi o nou lectur a coleciei, ncare re-examinarea povetii servete drept metafor pentru chestionarealinearitii i a paternitii siturilor istorice cu straturi complexe. Unul dintreacestea este fostul peisaj socialist din Europa Central i de Sud-Est, care aintrat de mai mult de cincisprezece ani ntr-un proces de renegociere a

16

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tefan RUSUeste artist icurator independent. Triete laChiinu, Moldova i Bucureti,Romnia. Proiectele salerecente se axeaz pe strategiide intervenie n spaiineexplorate ale regiunilor dinOrientul ndeprtat ca AsiaCentral, Siberia sau Mongolia,unde se ocup de investigareamediilor politice i culturale ide aproprierea aspectelorsociale i culturale. ncepnd cu2005 a fost implicat ndezvoltarea TV projectorganizat de [KSA:K] Centrulpentru Art ContemporanChiinu i a lucrat ca editor-

ef la AATV. n 2005/2006 aparticipat la Curatorial TrainingProgram la Shtichting de Appel,Amsterdam unde a co-curatMercury in Retrogradewww.mercuryinretrograde.com

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ncercarea de a re-insera o imagine lips n naraiunea vizual a evenimentelor.

Pe un alt perete din ncpere, seria Vinta, lucrare a tnrului artist german SvenJohne, povestete diferite micro-istorii ale erorilor i eecurilor umane asociateinsulei baltice Vinta. Cu portrete n alb-negru ale persoanelor respective i cupoveti concise dar relevante ale aventurilor lor, Vinta funcioneaz ca ocronologie a expediiilor euate spre o insul att de minuscul , nct esteaproape o noiune abstract o utopien miniatur a ambiiilor i speranelor

personale, situat pe grania dintre Est i Vest n epoca Rzboiului Rece. De laproblemele ce au nsoit turnarea filmului The Woman in the Moon (1929) al luiFritz Lang pe insula Vinta, pn la doctorul est-german fugar care a confundatinsula necartografiat din RDG cu Danemarca, lucrarea vorbete despre destineindividuale afectate de ncercri euate i de ambiii eroice fr reuit.

Rezisten pe ghea

Continund navigarea prin expoziia din spaiul construit i mediat de InstitutulLivi al lui Dimitri Gutov, devine evident faptul c opera sa nu este doar uninstrument eficient de re-citire a esteticii marxiste, ci i o form de supravieuirecolectiv n iarna rus neoliberal i naionalist. Poate c e un ideal utopic smenionm aici noiunea reamintit de iniiativa lui Gutov n ncercarea de arecontextualiza scrierile lui M. Livi i afirmaia sa: idealul rasei umane este sse pun deacord complet. Cine altcineva n afar de Gutov mai prezintmotenirea lui M. Livi drept o opoziie cristalizat la figurile capitalismuluiliberal? Acest lucru este ndeosebi evident n documentarul lui Gutov prezentatn expoziia MiR,n care artiti rui discut snobismulpop art-ului dup cum ldescriu ei, o micare total bazat pe comer i pe atributele sale. Iniiativacolectiv care a aprut la nceputul anilor '90 ntr-un mediu extrem de ostil,sistemul neoliberal n rapid dezvoltare din Rusia, este asociat cu iarnapolitic ce pare s coincid cu itinerariul nostru exploratoriu imaginar. Aceastanu este rezultatul unui accident geografic, ci mai degrab al unei experienefizice i mentale semnificative ce seamn cu tipul de dram a strii paralele curezistena exploratorilor lui Barents prini n capcana gheurilor.

Atunci cnd s-a luat n considerare instalarea unor obiecte din secolul al XVI-lea,strategia echipei de curatori a pornit de la premisa c primele expuneri alecoleciei Nova Zembla n Olanda au fost motivate de idealurile creatoare demituri i de dorinele de fundamentare a unei naiuni ale unui stat naional ndevenire. Recuperate, sau, cumar spune arheologii olandezi, jefuite,n 1871i 1876 respectiv de navigatori danezi i englezi din locul de iernat al expediieilui Barents, obiectele au fost obinute de ctre olandezi i expuse ca trofee

1naionale la deschiderea Rijksmuseum n 1885 n Amsterdam . Conform lui

Lucian Boia, scriitor i istoric romn, Definiia pe care o propunem mitului esteurmtoarea: construcie imaginara (ceea ce, nc odat, nu nseamn nicireal niciireal, ci dispus potrivit logicii imaginarului), destinat s pun neviden esena fenomenelor cosmice i sociale, n strns raport cu valorilefundamentale ale comunitii i n scopul de a asigura coeziunea acesteia.Miturile istorice presupun, evident, preluarea trecutului n sensul acestei

definiii.

Preocuparea principal a evenimentului Mercury in Retrograde a fost de ancepe un proces de negociere i o dezbatere n jurul constructelor actuale aleistoriei n societate. Modul n care artitii decid s re-utilizeze trecutul n faaunui naionalism persistent i a unei comuniti globale asimilatoare revelliniile de fractur ntre aceste dou fore istorice. n acest context, mediul din cen ce mai neo-liberal din Europa de Est a ctigat n mod agresiv influen iadepi care tocmai ntemeiaz turnurile unei noi moteniri. Nimic nou din acestpunct de vedere, deoarece Estul se contopete n albul istoriei ce se repet pesine. Rezistena poate lua forma recoltrii unui trecut demult sau de curnduitat. ntrebarea este dac n momentele de ruptursau de reviziune acesttrecut reprezint o nrdcinare periculoas ntr-o istorieretrograd sau oviziune cluzitoare pentru pietrele de ncercare ale viitorului. Considerate dectre echipa de curatori drept metafore pentru gsirea unei ci ntre aceti poli

ai perspectivelor istorice, instrumentele de navigaie din secolul al XVI-lea alesepentru expunere erau folosite pentru a controla direcia vasului; unele au fostchiar fcute de echipajul tehnic al lui Barents pentru a-i calcula poziia i a cartografia noile teritorii n timpul voiajului lor de explorare. Proclamaterelicvele lui Barents atunci cnd descoperirile au fost fcute publice pentruprima oar n Olanda, obiectele folosesc drept punct de plecare pentru untraseu printre numeroase iceberg-uri istorice, dirijat de planul metodologiilorde cercetare ale artitilor.

Probleme de navigaie

n cazul proiectului Mercury in Retrograde, problemele de navigaie suntevidente de la nceput. Pe un perete al ncperii cu artefactele Nova Zembla segsete un peisaj de ghea, aparent o lucrare a unui pictor istoric din secolul alXIX-lea. Cu toate acestea, Moartea lui Barents (n Wikipedia, la

, titlullucrrii apare caHomeward Bound), lucrare a pictorului realist rus GheorghiKicighin, a fost comandat de echipa de expediie ruso-olandez la mijloculanilor '90 i, prin bunvoina acesteia,mprumutat muzeului. Lipsii de succesn cutarea locului n care a fost ngropat Barents, membrii expediiei aufinanat aceast ilustrare a momentului morii lui Barents pe ghea, ce

comemoreazsacrificiul suprem al eroului,ntr-un teatru de gesturi i dramnaturalist. n mod interesant, aceast scen nu este inclus printre multeleilustraii ale expediiei publicate la nceputul secolului al XVII-lea njurnalulunuia dintremembrii echipajului iniial, Gerrit de Veer. ntr-un stil ce combinretro-romantismul i realismul rus, lucrarea incorporeaz mai multe epoci n

2

http://www.mercuryinretrograde.org/index.php?title=Nova_Zembla

[1] La scurt timp dup ceolandezii ncercaser frsucces o expediie la BehoudenHuis pe Novaia Zemlia;

[2] Luci an Boia, History andMyth in RomanianConsciousness,traducere deJames Christian Brown,Budapest: Central EuropeanUniversity Press, 2001, p. 56.Lucian Boia este profesor deistorie la Universitatea dinBucureti. El este i autorul,

ntre altele, al volumuluiLa Findu Monde: une Histoire sansFin(1989) i co-autor aldicionaruluiGreat Historians ofthe Modern Age(1991);

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Carol I a fost fcut la sfritul anilor '40 statuia lui Lenin, instalat n faa CaseiScnteii. n anii '50, printr-o decizie a Tribunalului de la Haga, statul romn afost nevoit s plteasc despgubiri familiei Mestrovici pentru distrugerea adou monumente, cel despre care vorbim si o ecvestra a regelui Ferdinand carefusese amplasat lng biserica Mavrogheni.

- fragment dintr-un articol de Gabriela Lupu din revista romneascCultura, decembrie 2006.

Plasarea lucrrii video monumentale a lui Fernando Sanchez Castillo, Rich CatDies of Heart Attack in Chicago(Pisica bogat moare de atac de cord n Chicago)chiar la sfrit, la ultimul etaj al expoziiei Mercury in Retrograde, a adus ciclulnavigaiei prin labirintul expoziiei la o prbuire arhetipal, post-climactic unmoment Hegelian de cdere i furie ntr-o dinamic istoric etern. n filmulsu, artistul coregrafiaz o serie de aranjamente i jocuri ce au loc n jurulmaltratrii unui cap de bronz: uncoup d'etat re-pus n scen ntr-unmanej, ndeert, n strad. Atras n spectacolul ritualului reviziunii politice, privitoruldevine parte a aciunilor i a micrilor. n consecin , devine dureros deevident faptul c simbolurile unui regim detronat sunt ndeprtate doar pentru afi nlocuite foarte curnd cu altele. Aa cum spune Fernando Sanchez Castillo:Istoria recent a Spaniei ncearc s elimine de pe stradexcesul densemne isimboluri ce au caracterizat perioada lui Franco. M ntreb unde vor fi depozitatei a vrea s ncerc s vd dac arta le poate folosi drept vestigii, drept crmizipentru construirea istoriei artei actuale. Uneori este nevoie s reconstruimmemoria evenimentelor. Arta se poate exprima metaforic pentru a ne re-amplasa n structurile istoriei n moduri n care alte discipline n-o pot face.

Aceast idee i gsete opusul n realitatea recentpost-socialist din Europade Est. Aici, o paralel frapant este turnarea din nou a statuii Regelui Romniei,

Carol I (1839-1914), o statuie ecvestr distrus i topit n 1948, cndcomunitii au preluat puterea. Conform unui ritual strvechi, nvingtorii aufcut o statuie a lui Lenin din bronzul respectiv. ntr-o rsturnare de regim i desituaie, Guvernul Romniei se gndete s r efoloseasc rmiele sparte ale

n aceast metod clasic, folosit mai ales pe marea deschis, navigatorulutilizeaz corpurile cereti care au fost identificate i grupate n constelaii dintimpuri strvechi. Astronavigaia face posibile voiajurile pe distane de mii demile de ape fr repere. Totui, norii, ceaa, ploaia, zpada sau negura potmpiedica vizibilitatea esenial a corpurilor cereti.Pentru astronavigaie, navigatorul folosetezsextantul i cronometrul. Astrolabul este un instrument utilizat pentru a msurapoziiile corpurilor cereti. Acesta const dintr-un cerc sau arc de cerc marcat n

grade, cu un bra mobil ce pivoteaz n centrul cercului. Pn la inventareasextantului n secolul al XVIII-lea, principalele instrumente folosite de ctrenavigatori erau astrolabii de dimensiuni mai mici.

- manual de navigaie

Cartografiat vizualasemenea unei constelaiide sfere albe pe fundal negru,East Art Map este o iniiativ de durat a colectivului de artiti sloven IRWIN, unproiect prezentat de Miran Mohar, unul din membrii IRWIN la simpozionul WhatSay These S tones. Similar multiplelor expediii ctre Novaia Zemlia ntreprinsede echipe olandeze i ruseti n anii '90 operaiuni de recuperaren cutarede noi obiecte i informaii iniiativa grupului IRWIN a avut ca scop construireaunui sistem complex de orientare printre coordonatele proaspt recuperate aleistoriei artei.Istoria nu este un dat, scriu editorii i autorii proiectului EAM, eatrebuie construit. Afirmaia urmeaz principiul unui ghid prin cultura vizual asocietilor totalitariste i post-totalitariste. Proiectul i publicaia recent East

Art Mapeste cel mai cuprinztor proiect de documentare a artei contemporanentreprins vreodat pentru Est. Acesta ne cluzete prin recenta reconstruciea istoriei printr-o abordare cu autor colectiv i este o ncercare de a echilibransui procesul de producere a istoriei tocmai prin lucrul cu mecanismeleconstruirii i medierii realitilor din perspectiv istoric. IRWIN se ocup deceea ces-a pierdut prin istoriografia de dup ce-al de-al II-lea Rzboi Mondial,o strategie asociat cu abordarea de ctre curatori a episodului Lippmann,Rosenthal & Co.

Istoria revzut

n lucrrile lui David Malijkovic, Scene for a New Heritage (Scen pentru o noumotenire) 1 i 2, vizitatori din mai multe decenii din viitor viziteaz omisterioas sculptur argintie, un monument din munii Petrova Gora pentruvictimele celui de-al II-lea Rzboi Mondial, construit n Croaia n timpulregimului comunist (proiectat de Vojin Bakic). Ceea ce era odat un loc vizitatde colarii croai este acum o cochilie lucioas, aproape distrus n cursulconflictelor ce au sfiat fosta Iugoslavie n anii '90. n lucrrile video,cunotinele despre aceast construcie s-au pierdut. n prima parte, un gruprevine s-i exploreze exteriorul i ncearc s descifreze acest artefact al uneimoteniri pierdute, n timp ce, n partea a doua, un tnr singur se ntoarce de imai departe din viitor i pare a fi condus prin interiorul cavernos i sc orojit almonumentului de un glob auriu fermecat. Lucrarea vorbete despre o istoriefragmentat, distrus, care nu mai poate fi accesat, i despre o construciedintr-o motenire modernist ce devine un artefact straniu. Ca i n cazulrecentelor expediii olandeze ctre Novaia Zemlia, n Scene for a New Heritageprotagonitii se ntorc la un sit distrus pentru a reasambla trecutul. Unsentiment de pierdere i fragmentaresunt reduse la imagini ale unor fragmente

futuriste strlucitoare, pe care se poate construi o nou istorie.

Dei zona central a oraului a fost distrusn parte de bombardamentele dincel de-al II-lea Rzboi Mondial, statuia ecvestra a regelui Carol I a r ezistat pnn 1948, cnd a fost demontat de comuniti i topit. Din bronzul statuii lui

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Navigating the Poetics of Faitefan RUSU& Laura SCHLEUSSNER

Na v i g a t i o n i s t h e s c i e n c e o f w o r k i n g o u t t h e p o s i t i o n o f a s h i p a n d

c h a r t i n g a c o u r s e f o r g u i d i n g t h e c r a f t s a f e l y f r om o n e p o i n t t o a n o t h e r .

A n a v i g a t o r u s u a l l y t r i e s t o f i n d t h e s h o r t e s t r o u t e b e t w e e n t w o p o i n t s .

T h e i n i t i a l p l a n n i n g a n d t h e e n d r e s u l t s o f n a v i g a t i o n a r e p l o t t e d o n f l a t

s u r f a c e s c a l l e d map s a n d ch a r t s . Un t i l t h e t w e n t i e t h c e n t u r y , t h e mo s t

s o p h i s t i c a t e d n a v i g a t i o n a l t o o l s a n d t e c h n i q u e s a v a i l a b l e , d e a d

r e c k o n i n g u s i n g t h e m a g n e t i c c o m p a s s , c h r o n o m e t e r a n d s e x t a n t w e r e

r a t h e r i n a c c u r a t e . Ma n y s h i pw r e c k s h a v e o c c u r r e d w h e n t h e c r ew o f

t h e s h i p a l l o w e d t h e s h i p t o c o l l i d e w i t h r o c k s , r e e f s , i ce b e r g s , o r o t h e r

s h i p s . A c c u r a t e n a v i g a t i o n i s ma d e mo r e d i f f i c u l t b y p o o r v i s i b i l i t y i n

b a d w e a t h e r .

- n a v i g a t i o n m a n u a l

Frozen Histories

In 1596 Willem Barents set out from t he Netherlands with his crew on a thirdexpedition to find a Northeast Passage to As ia. Various compasses, a sextant,

than astrolabe, a navigation manual from 1580, and a 16 century volume onChina served as the cartographical and cultural guides to unexplored territory.Although a navigational achievement, Barents' final expedition to Nova Zembla,the third of thiskind, was an utter failure in terms of its initial goals. NoNortheast Passage to China was discovered, the ship ran aground on an iceberg,the crew was stranded for a winter on the ice, and Barents lost his life. In 1597the remaining crew landed in Amsterdam, still dressed in bearskins, afterrowing back part of the way in open boats.

The displacement of items from the Nova Zembla collection from HistoryDepartment of Rijksmuseum and their re-location into a contemporary artcontext through the CTP exhibition project at De Appel was guided by theprinciple of re-contextualization: a process of cultural value exchange betweentwo major cultural institutions. In this sense, the aim of including the NovaZembla collection in a contemporary art context was to offer a new reading onthe collection, in which a reexamination of the story served as a metaphor forquestioning the linearity and authorship of c omplexly layered historical sites.

One of these is the former socialist landscape of Central and SoutheasternEurope, which has been engaged in a process of renegotiating its historicalheritage for over fifteen years. With the EU enlargement, this whole area hasbecome more accessible to the western consumer. Opening to the East has

Stefan RusuisfreelancecuratoChisinau MoldovBucharest RompracticesfocuseinterventiontowspacesofFarEaasCentralAsiaMongolia whereinvestigation of political environappropriation ofcultural aspectswas involved inTVprojectrunbContemporaryAChisinauandwoinchiefof AATV 2005/2006 he a

Curatorial TrainiShtichting De ApAmsterdam whecurated Mercurywwwmercuryinb

uild

ingcontexts_

networkingcontexts

statuii lui Lenin drmat n 1989 pentru a turna din nou i a reinstala vecheastatuie a lui Carol.

Novaia Zemlia, Nova Zembla, Pmntul Nou

Acum pe insula Novaia Zemlia nu mai umbl dect civa uri polari printrepuinele rmie descoperite ale Refugiului. Astzi, peisajul este presrat cualte structuri abandonatecontainerele grele de plumb folosite ca adposturi

de protecie pentru oameni n timpul testelor nucleare fcute aici de rui n anii'50. Pe partea cealalt a insulei Novaia Zemlia, climatul glacial a conservaturmele lagrelor de concentrare din vremea regimului Stalin, lng aezrieschimose izolate i abandonate. i pentru c ne apropiem de sfritulcltoriei, ar fi momentul s menionm viziunea artistului rus Y. Lederman,care a prezentat o propunere pentru instalaia Barents' Relics, pe care amrespins-o, att din cauza abordrii excesiv de critice, ct i din cauza modului ncare acest lucru se putea reflecta asupra unor obiecte culturale de mare valoareale istoriei olandeze.Ideea lui fusese de anconjura obiectele din colecia NovaZembla cu imagini din gulagul sovietic ca o metafor a prezentului i o r eflecieasupra strii actuale a istoriografiei/ muzeologiei mondiale, n care trecutuleste folosit pentru a reafirma voina i nevoile structurilor actuale de putere.

n cele din urm, noi, navigatorii artitii i curatorii suntem prizonieriitimpului. n momentul de fa, Departamentul de Istorie al Rijksmuseumreconstruiete expoziia coleciei Nova Zembla, i nu putem dect s nenchipuim care va fi aspectul istoriografiei olandeze actualizate. Ce tim sigureste c fostul simbol olandez al patriotismului invocat ca model de r ezistenn timpul celui de-al II-lea Rzboi Mondial va trece printr-o modificare aaccentelor reprezentaionale i poate c vom descoperi o nou fa a mitului nconformitate cu noile realiti contemporane. Iar pe viitor, deoarece gheaacontinu s se topeasc, poate c Pasajul de Nord-Est va deveni o rut denavigaie cu drepturi de acces disputate ntre rile ce se nvecineaz cu el. Aicimerit s reamintim un alt gnd al lui Lucian Boia, care spunea c trebuieneles cnu exist istorie obiectiv,i nu numai cnu exist, dar nici nu poateexista. Este sfritul unei iluzii, ntreinut i amplificat de scientismulultimelor dou secole. coala criticce avea atta incredere n capacitateaistoricului de a stoarce din document ceea ce Ranke numea istoria aa cum afost ea n realitate i teoria marxist cu impecabila-i aezare a tuturorfenomenelor ntr-o schem complet a devenirii umane sunt cele dou puncteextreme atinse de mitul unei istorii perfecte i obiective. (pag.54, Istorie imitn contiina romneasc, Lucian Boia)

n contextul expoziiei Mercury in Retrograde, colecia Nova Zembla reflectasupra unei expediii n trecut al crei rezultat este incert. n general, n calitatede productori i mediatori culturali, ne urmrim scopurile n paralel cu membriiexpediiei lui Barents. Lund cu ei n cltorie tiprituri i cri, exploratoriiduceau elemente ale propriei culturi pe un pmnt necunoscut, ntr-o misiunede iluminare i schimb cultural. n mod clar, un grup de curatori din strintatece intr n apele necunoscute ale contextului politic, istoric i cultural olandezreprezint un potenial pentru eec n ncercarea de a cerceta o complexitate aistoriei n cadrul societii (occidentale) contemporane. Cu toate c acestproces nu poate rezolva dilemele istorice contemporane, el reprezint totui o

ncercare de a construi platforme de negocierentre indivizi pentru realizrileviitoare. Aici, rolurile asumate de ctre curatorii angajai critic n explorare arputea fi descrise cel mai exact parafraznd cuvintele lui Lucien Febvre:Istoricul nu este cel care tie, ci cel care caut.

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personal local settingtineri arti ti n context| young artists in conto serie de evenimente de art contemporan produse de Galeria Vector din Ia in cadrul proiectului de cultur social cARTiede Programul Cultural Elveian n Romnia Pro Helvetia SDC

a series of contemporary art events produced by the Vector Gallery in Iaias part of the social culture projeccARTier sponsored by the Swiss Cultural Program in Romania Pro Helvetia SDC

curator:assistants:

CtlinGHEORGHEasisteni/ Alexandru BOUNEGRU, Livia PANCU

Proiectul Personal Local Settings a fost gnditn direcia (in)formrii uneiplatforme de promovare a artei tineriloieeni n contextul necesitii de a scana, a nregistra i, eventual, a reconfigura noile moduri de situare, de creai de comunicare ale generaiei tinere.ncepnd cu sfritul lunii octombrie 2006, pn spre finalul lunii aprilie 2007, Galeria Vector a organizat o sevenimente de art contemporan avnd ca invitai tineri artiti locali interesai s i expun punctel e de vederecondiiilor producerii relaiilor lor cu diferite le sisteme fa de care i seteaz propriile opiuni personale.

Conceperea unui proiect artistic care s reflecteze asupra condiiilor i aspectelor vieii sociale ale crei confabricate sunt determinate de regularizarea intensiva unor modele existeniale presetate n funcie de putmanipulare a nevoii de capitalizare a habitusurilor i conveniilor unor logici culturale i economice guvernate de presupune semnalarea unei contientizri, auto-motivri i responsabilizri, n sensul unu i rspuns orientat cevaluarea vieii cotidiene, care s indice l uarea unei atitudini, efectuarea unei re-poziionri, iniie rea unei re-sinstanierea unei re-prezentri n opoziie cu acceptarea tacit a canoanelor, clieelor i procedurilor dicversiunile standard ale sistemelor.Personalizarea rspunsului artistic, ca reacie local tactic la strategiile globale ale sistemelor de produmediatizare a valorilor sociale, politice, economice i culturale, impuse artificial de diferitele sisteme de reprodredistribuire a cunoaterii i aciunii, se constituie n funcie de retorica reacionar pe care i-o asum critipropune un proiect artistic.Poziionarea personal n raport cu condiiile locale de co-producie a co-existenei se realizeaz n funcie de costructurare sau simpla orientare a dispoziiilor, preferinelor, observaiilor i protocoalelor de comunicare revizual.

Conceiving an artistic project that would meditate upon the conditions and aspects of social life whose fabconfigurations are determined by the intensive regula rization of some existential models that are preset a ccothe manipulation ability of the need to capitalize the habits and conventions of a cultural and economic logic govethe system requires the pointing out of an awareness, of a self-motivation and of a responsibility amountresponse oriented towards reevaluating everyday life, which would i ndicate the taking of a stand, the performrepositioning, the initiating of a replacing, and the ins tantiating of a re-presentation opposed to the tacit accepthe canons, clichs, and proceedings dictated by the standard versions pertaining to systems.The personalization of the artistic response a s local reaction to the global strategies of the systems tha t prodcirculate social, political, economical, and cultural values, artificially imposed by the different systems of reprand redistributing knowledge and action is c onstituted according to the reactionary rhetoric embraced criticallperson who suggests an artistic project.The personal positioning in relation to the local conditions of co-producing the co-existence is achieved accorthe complex structuring or to the simple orienting of the visually reactivated communication dispositions,preferences, observations, and protocols.

The PERSONALLOCALSETTINGS projectwas designed to (in)form a promotion platform for the art of the younliving in Iasi, in the context of the necessity to scan, record and possibly re-frame the new positioning, creativcommunication possibilities of the young generation.

From the end of October 2006 to the e nd of April the Vector Galleryorganizedaseriesofcontemporaryartinvitinglocalyoungartistswho showed interest in expressing their points of view regarding the conditionsin whictheir relationstothe different systems towards which they establi sh their own personal options.

buildingcontexts_

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ontexts

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Setareazero sunete i imagini neplanificateun eveniment realizat de

MORT LA CREIER& Dan BSU

ntr-o experiendesuneti imagine prelucrate la interferena dintre DJ-ing i Vj-ing, primuleveniment al sesiunii de setri personale n raport cu conveniile sistemelor de producie iexpunere ntr-o galerie de art,aadusmpreundoitineriproductori de muzicexperimentali text vehiculat ca imagine, n contextul facilitrii unei relaii de socializare aunui public eclectic.

Ctlin GHEORGHE

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MORT LA CREIEReste editor al unei serii de almanahuri publicate onlinei fondator al net-label-ului, productor, VJ, DJ de radio i membru al colectivului care organizeazgathering-ul

de la Ciorbeti.http://arhiva7.xro.us

Dan BSUstudiaz foto-video-multimedia la Universitatea de Arte, Iai. Activeaz ca VJ i se ocup cuvideo performance i instalaie video.

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FIGHT!o instalaie multi-media realizat de

Liliana BASARAB & Costel CHIRIL

FIGHT! comenteazcinicinvaziavizual a unei interpelri de stradi simuleaz ironic o contraart.n ora,vedempestlpi, pe garduri sau pe cldiri afie care cheam la iniieri promise n mariale. n filme, vedem lupte abundente i hiper-realiste ntre personaje celebre i figurani a

Cultura urban i industria cinematograficreproducsurplusuriviolentedeadrenalin i simuleexcesive de putere. n lumea artei asistm la lupte ntre generaii i conflicte ntre convenii, laopoziiilor dintre cei care vorbesc despre iniiere, clcnd peste cadavre, i cei care s-au sturaprost scrise, setting-uri instalate dup reguli i distribuii falsificate. Cu t oate acestea, lupta rmi aparent e inutil.Expoziia e un comentariu social i artistic, caricatural i satiric, cinic i ironparte asupra inflaiei de imagini i sloganuri din artele mariale, care apar n strad i n filme, parte asupra regulilor exacte de expunere muzeal,pebazacrora se pretindec ar ajunges tiina arhivrii tematice. Lucrarea video din aceast instalaie multimedia mixeazelementedinterpreteaz momente din istoria picturii. Dincolo de agresivitatea promoional a strzii, de pviolenei patologice din industria cinematografic i de hemoragia cvasi-conflictelor din lumea artelor se afl un scenariu bulversant cu un final deja consumat.

Liliana BASARAB, artist vizual, triete i lucreaz n Iai. A fcut parte din promoia2005-2006 a programului de reziden Le Pavillon,unitateapedagogic a Palais de Tokyo,

Paris, Frana.Costel CHIRIL,artistvizual, triete i lucreaz n Iai. A absolvit cursurile FacultiideArte,Iai, promoia 2006; esteco-organizator,mpreun cu Ioan Pricop, al minifestivaluluide performance i aciuni de stradAzi 12.

ZeroSetting Unplanned Sounds and Images

an event realized by

MORT LA CREIER& Dan BSU

Through a sound and image experienceprocessed as an interference of Dj-ing andVj-ing, the first event of the session ofpersonal settings in relation to the systemconventionsofproductionanddisplayinginanartgallery broughttogether2youngproducersofexperimentalmusicandtextcommunicatedasimageinthecontextofmediatingasocialrelationofaneclecticaudience

Ctlin GHEORGHE

MORT LA CREIERis editor of a series ofalmanacs published online and founder of thenet-label http://arhiva7.xro.us, producer, VJ,radio DJ and member of the collective whichis organizing the gathering from Ciorbesti.

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Dan BSUstudies photo-video-multimedia atthe University of Arts, Iai. He activates as aVJ and deals with video performance and videoinstallation.

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FIGHT!

a multi-media installation by

Liliana BASARAB& Costel CHIRIL

FIGHT! is cynically commenting the visual invasion of a street interpellation andis ironically simart counter-stroke. Inthecity, onthepillars, on the fences or on the buildings walls we can see

are calling us to promised initiations in the Martial Arts. In movies, we can see abundant and hfights between celeb characters and anonymous. Urban culture and cinema industry are reprodsurpluses of adrenaline and simulate excessive situations of power. In the art world, we witnesbetweengenerations, conflictsbetweenconventions, andoppositionsbetweenthosethataretalinitiationwhilesteppingoverdeadbodies, andthosewhoaretiredofbadwrittenscenarios, norminstalledsettingsandcounterfeiteddistributions. Nevertheless, thefightremainsundecidedandapparentlyfutile. Thisexhibitionisasocialandartisticcomment, a caricatured and satirical one describes with cynicism and irony the inflation of images and slogans in the imagery of Martialthe other hand a commentontheexactrulesofthemuseumkindofdisplay, onthebasisofwhica thematicalarchiving practice is pretending to be possibly configured. The video work from thinstallation is mixing elements of action and interprets moments from the history ofpainting. Bpromotionalaggressionfromthestreet, theproductionofpathologicalviolencefromthecinemathehemorrhageofthequasi-conflictsfromthenarrowartworld, thereisapuzzledscenariowithconsumedend.

Liliana BASARAB, visual artist, lives and works in Iai, Romania;in 2005-2006, she

participated in the residency programme of the Pavillon / Palais de Tokyo, Paris, France.Costel CHIRIL,visualartist, livesandworksinIai;BAinvisualartsattheUniversityofArts,Iai, 2006. Together with Ioan Pricop he is co-organizing since 2004 the mini-festival of performance and street actions Today12.

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AUDIO.VIDEOan event organised by

Dan BASU, Daniela PALIMARIU & SILENT STRIKE

The audio-video media and information configure the operation andmediation of new media, which have become the communication andexpression instruments of the young generation. Through digital andanalogue processing of simultaneous video painting and video choreography,Dan Basu and Daniela Palimariu communicate visually the experience ofrealising live a video graphics kit synchronised with the experimental andambient music performed in the gallery by Silent Strike.

Ctlin Gheorghe

AUDIO.VIDEOis something else than an attempt at synchronising the audiocomponent with the video component.The performance explores the humanability of creating an image starting from human corporality and expression.The digital man transforms the image of the analogue man, but everything iscontrolled ultimately by the latter. His movement is subordinated either to asearch for light and colours, or to establishing a profound relationship withthe self. The principle is that each gesture generates new images, stable ornot; the next image is born of the first, it amplifies or reduces it; there is nofinal image and no definite image: it is more than a visual element,becoming organic sensation for the analogue man who tries to touch andcontrol it. They could not be explored thoroughly without the audiointervention designed by Silent Strike, the concrete medium for the imageoffering unity and controlling the rhythm.

AUDIO.VIDEOis not just an experiment based on a technological principlegenerating images. Its three components (two digital and one analogue /two visual and one audio) are in a permanent inter-dependence. Any changein one of the components is sensed by the other two, that are forced to reactin order to synchronise. Sound generates movement, naturally; movementgenerates colour. Their succession is not random, but instead it follows anarrative of sound and integrated image.

Daniela PLIMARIUstudies foto-video-multimedia at the University of Arts, Iai. Sheis interested in performance and video installation.Dan BSUstudies photo-video-multimedia at the University of Arts, Iai. He activatesas a VJ and deals with video performance and video installation.

SILENT STRIKE,musician,involvedincreatinganddevelopingelectronicmusicprojects.www.silentstrike.rowww.myspace.com/silentstrike

AUDIO.VIDEO

un eveniment realizat de

Dan BSU, Daniela PLIMARIU i SILENT STRIKE

Suportul i informaia audio-video configureaz modul de operare i mediere al noilor medii, care audevenit instrumente de comunicare i expresivitate ale generaiei tinere. Prelucrnd digital i analogelemente simultane de pictur video i coregrafie video, Dan Bsu i Daniela Plimariu comunicvizual experiena realizrii live a unui kit de grafic video n sincronizare cu piesele i fragmentele demuzic experimental i ambiental performate n galerie de Silent S trike.

Ctlin GHEORGHE

AUDIO.VIDEOeste altceva dect o ncercare de a sincroniza componenta audio cu cea video. Performance-ulexploreaz capacitatea uman de a crea o imagine avnd ca surs corporalitatea i expresia uman . Omuldigitaltransform imaginea omului analogic, dar totul este de fapt controlat de acesta din urm . Micarea sa sesubordoneaz fie unei cutari a luminii i a culorilor, fie stabilirii unei relaii profunde cu el nsui. Principiul esteacela c fiecare gest genereaz noi imagini, stabile sau nu ; urmtoarea imagine se nate din prima, o amplific sauoreduce; nuexist imagine final i nici imagine sigur ; eaestemaimultdect un element vizual, devenind senzaieorganic pentru omul analogic ce caut s o ating i socontroleze. Acesteanuarputeafiexploratecuadevratfr intervenia audio, conceput de Silent Strike, ce reprezint suportul concret al imaginii, oferind unitate,controlnd ritmul.

AUDIO.VIDEOnu este doar un experiment bazat pe un principiu tehnologic ce genereaz imagini. Cele treicomponente ale sale (dou digitale i una analogic / dou vizuale i una audio) se afl n inter-dependenpermanent. Oriceschimbareauneiaestesesizat de celelalte dou care sunt nevoite s reacioneze pentru a sesincroniza. Sunetul genereaz firesc micarea; micarea genereaz culoarea. Ordinea acestora nu este

ntmpltoare, ci urmrete o naraiune a sunetului i a imaginii integrate.

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Daniela PLIMARIUstudiaz foto-video-multimedia la Universitatea de Arte, Iai. Este interesat de instalaie

video i performance.Dan BSUstudiaz foto-video-multimedia la Universitatea de Arte, Iai. Activeaz caVJi se ocup cu videoperformance i instalaie video.SILENT STRIKE,muzician,implicatn susinerea i dezvoltarea de proiecte legate de muzica electronic.www.silentstrike.rowww.myspace.com/silentstrike

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HEATER

a multi-media installation by

Florin BOBU

Displayingaseriesofobjects-radiatorsinaminimalistformatwhichiscommunicatingwith

theperformativeactionofthevideofilm, themulti-mediainstallationproposedbyFlorinBobuisconstitutinginto a critical approachwhich connects an actual situation to thetreatment of everyday life in Ceauescu'speriod. In full winter, the heater became theobject of an obsessive relation, affectivelyconditioned by the administrative control ofthe body. Could therebeanyre-enactmentofthepastwhichmayre-openanemotionalarchiveofsufferinganditsovertaking?

The works proposed by the artist are appliedas a subversive commentary on an abnormalsituation that some of us lived almost 20 yearsago. The special relation with the heater orwith its simulacrum is defined by an obsessivecare for this device which, in that moment,was being able tosubstituteamultitudeofneedsandthus create a state of fulfilment.

Florin BOBU is born and lives in Tecuci (Romania). Hegraduated AKI, the Academy of Visual Arts andDesign in Enschede (The Netherlands) in 2005. Heparticipated to a series of art events in Rotterdam,Munster and Antwerpen.

HEATER

o instalaie multi-media realizat de

Florin BOBU

Instalaia multimedia propus de Florin Bobu, realizat sub forma unor radiatoare-obiect dispuse ntr-unformat minimalist care comunic cu aciunea performativ din filmul video, se constituie ntr-un demerscritic care conecteaz o situaie actual la trecutul tratamentului vieii de zi cu zi din perioada ceauist. nplin iarn, caloriferuldeveneaobiectuluneirelaii obsesive condiionat afectiv de controlul administrativ alcorpului. Se poate reconstitui un trecut care ar redeschide o arhiv emoional a suferinei i a depirii ei?Lucrrile propuse de artist se aplic sub forma unui comentariu subversiv al unei situaii anormale pe caream trit-o unii dintre noi cu aproape 20 de ani n urm. Relaia specialcucaloriferulsaucusimulacrulacestuiaestedefinit printr-o grij obsesiv fa de dispozitivul ce putea, la momentul acela, subtitui omultitudine de nevoi i implicit de a crea o stare de plenitudine.

Florin BOBU este nscut i triete la Tecuci. A absolvit Facultatea de Arte Vizuale i Design (AKI) din Enschede (Olanda) n2005. A participat la o serie de evenimente de art din Rotterdam, Munster i Antwerpen.

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RESURSE REDISTRIBUITE

un proiect realizat deAndrea HAJTAJERn colaborare cuCristian NAE

Clivajul dintre estul i vestul Europei, identificat la nivelul distribuirii suportului informaiei de.specialitate, produce comportamente excesive de copiere i arhivare automat Practica

,fotografic devine o practic de achiziie acumulativ iarpracticacomunicrii devine o practica (in)formrii unei orientri n cunoatere. O practic documentar-artistic de circumstan edublat de o cercetare artistic n direcia procesrii unei informaii fotografiate. A rezultat ocarte-document care vorbete despre rezistena la limitarea accesului la informaie i despreabandonarea, forat de mprejurri, a funciei fotografiei artistice. Cercetarea documentar-

,artistic a fost expus subforma uneiinstalaii, n spaiul de lucru al Galeriei Vector. Pentruperioada 14 - 23 februarie 2007, Galeria Vector a mprumutat cartea-proiect a Andreei

.Hajtajer i a pus-o la dispoziia publicului n cadrul instalaiei-de-studiu propus de artist

Ctlin GHEORGHEProcesul educaional artistic constituie nu doar un cadru de modelare autoritaraopiunilorstudenilor, ci i un sistem mutual de practici formative i de strategii de cercetarecomunicative. n condiiile precaritii informaiilor teoretice i aleuneiinsuficientepregtiricritice a actului de creaie, generat de o politic educaional local autosuficient i steril,acestprocespoateincludestrategiipersonalededocumentarei practici private de orientare.Tutoriatul informal constituie astfel o formradical de curatoriat personal, iar reeaua deinformaii construit de student, o form alternativ de perfecionare profesional. n urmaunei colaborri informale desfurate pe perioada unei burse de studiu la ManchesterMetropolitan University, s-a constituit o arhiv privat de cri, reader-uri i albume de teoriai istoria artei contemporane fotografiate digital, care a fost ulterior procesat ntr-un simulat

reader pentru uz personal. Prin sistemul de structurare a fotografiilor extr