The project Mystical Disappearance is about documenting the work and life of various artists that are more or less in a state/process of disappearance. The reasons for this disappearance are socio-political and geographical or without any reason at all.
Mystical Disappearance is not an archive or an exhibition, is more like a series of stages, manifesting in various locations, virtual or real/until now there had been 2 stages: following text and the project in Venice Biennial/2001.
The next stage will be a net project describing disappearance and the following stages will be meeting other artists or supporters who are sharing the same state of disappearance and collaborate in organizing events in different places.
We will be glad if one of the project stages will be held in collaboration with you and your institution.
A stage of this project was included as an insert in the Context/Network project (www.context.ro), curated by Alexandru Patatics and Sebastian Berthalan, at the Venice Biennial / 2001, in the Romanian Pavilion, commissioner Ruxandra Balaci.
In this stage participated:
Rostopasca – Rostemplation, video dv, 5’, 2000
Nicolae Comanescu - Demo, video dv, 3’, 2001
Floe Tudor – Zen, video dv, 3’, 2001
Alina Pentac – X-Treme, video VHS, 1’ 35”, 2001
Mona Vatamanu – Outside, video dv, 3’, 2001
The Mystical Disappearance
A project by Florin Tudor
Co-curators Raluca Velisar, Nicolae Comanescu
Introduction in the History of the Disculture
Or I dreamt one night a dream that there were some bears, a father-bear, a mother-bear with two little bears and they had been made their home beneath a car, on the street. I’ve also seen a dog beside my block, a red one who made the same. And I don’t know what was about those bears, but they seemed to be trustworthy and I entered their den. In the actual context the postindustrial society operates extremely important mutations and the informational crisis operates absurdities accurately reflected by the chats on the Internet All these things determine us to introduce a new concept, that of disculture. References to disculture had already been made. There are even historical records, the disculture not being a phenomenon appeared in this moment or belonging exclusively to the post-informational society. 40 000 years ago a pre-figurative period existed (the niusterian period) or in the III-rd century BC China when, soon after the achievement of the apogee in the classic poetry, the experimentalism started. We don’t insist on these historical reconsiderations. It’s not the case for us to do this. In our case we can only give us as an example. For having dissociated personalities we cannot distinguish it anymore from the immediate reality. Whom? Why? Prophet reaffirms the fact that in the reconstruction of the humans as cyborgs their bodies remain the bases and they preserve the suffering and feeling-pain abilities. The body is no longer a functional complex medically defined but field of forces, which is not limited to what the Western medicine describes as organic. The body’s organs are not functional biologic apparatus but temporal condensations, energetically fluctuations that auto-transform constantly; they cannot be objectified as continuous corporeal elements. It is about a heterogeneous inform field, fractal maybe, where temporal limited events take place. This approach could have connections with the European anti-grammatical tradition that links the “empty body” of Bataille and the “non-organs body” of Artaud with the “intensities body” of Deleuse and Guattari. The development of the computer technology could represent in this sense an opportunity for questioning the European corporeal logic, the speculative and creative applications of the computer permitting the opening of an imaginative space for the body’s re-conceptualization. The nanotechnology could represent the potentiality for inventing hypothetical heterogeneous organs that would develop alternative cultural models, operational for the body. I read in this regard in Dilema something written by Andrei Codrescu who heard too, I don’t remember where, that the body’s organs are some kind of separated entities arrived from different planets and they stay together and we don’t know that. And what’s gravely is we don’t know either when they’ll separate for leaving on the planets they originally came. Aliens I mean. The post-industrialized society supposes cohabitation between the postindustrial society and a secret alien’s society, allowing us to speak in matter of social phenomenon about a dissocial phenomenon. The critic on the human ontological hegemony has not on its base the historical or philosophical reflections but it is a consequence of the human research and creativity. The liminal experience leads to the subjectivisation mechanism, a sort of taking knowledge of itself, attribute (and I avoid to say more) of Humans.
Premises of the Mystical Disappearance
I don’t like Russians. But I did like at a moment a project that had in view the lives of ten losers. And it was not about a special concourse of events. These losers were merely flops for whom never a chance was predicted. It was a project undertaken by Ylia Kabakov that referred to what happens with the art that doesn’t enter the museums, that does enter the museum, but those museums are situated in a wrong geopolitical context; that is not registered or does not enter into some financial or social system, a determined, safety one. I think, I don’t remember very well, Ylia’s critic mentioned all these problems and he was wondering where do the things, the works and the artists disappear. He said something about an almost mystic, total disappearance and then he was changed rapidly the subject talking about another topic he considered as being more interesting.
The Mystic Disappearance
Where disappears the not recorded artists? How many artists did disappear in this manner? Does it matter anymore? I’m scared about the difference between categories that doesn’t exist anymore, which disappeared. What are the categories of artists? Who are these artists anyway? Conceptualists? Performers? Videasts? Old-new-mediasts? New-new-mediasts? Painters? Sculptures? Drawers? Architects? Neo-expressionists? Post-conceptualists? Theoreticians? What is the difference between the corpse of a person who never smoked and that of a person who did? The not-smoker’s corpse is healthier than that of the smoker’s. The problem is where disappear those persons? Which is the disappearance process? What does he do? The Artist? Why was Ylia preoccupied for a while about something that concerned the mystic disappearance? Who gave up later when he was assimilated? This is a wide territory. The state of mystic disappearance. There always existed artists stationed in this territory. A territory of mystic predisappearance (in fact) where the artists gifted for study are studying, influencing, determining the state of mystical disappearance. Their study has finality (or two finalities?). Or, first, they mystically disappear. Or, bi, they are assimilated to the major territory of contemporary art.
Ceaselessly, for ages, the artists practiced the state of mystical disappearance. Why nobody talked about this so far? In the territory of mystical predisappearance they were in state of elevated consciousness, they were too high-stoned and preoccupied and when they recovered they forgot everything. Or they mystically disappeared for good. What do the artists feel when they mystically disappear? Nothing. Wasn’t anybody who returned from there? No, there wasn’t. No, they feel a complexity of feelings. Bad ones. Mona asked how do we know? ‘Cause they could have good feelings. I don’t like “bad”. How do we know that? Raluca says too that we are cynical. That this is why we don’t understand. We don’t insist. Anyway, the mystical disappearance has nothing in common with the underground, with the mystical, with the disappearance. However, apropos of disappearance, if around 50 species of animals are disappearing everyday, and those who mystically disappear, being in a proportional connection with the growing tendency of human population, have also a growing tendency, we can conclude that in matter of mystical disappearance, this one incline towards infinite.
The last chapter
That Romanian art manifests the symptoms of mystical disappearance. And that’s extraordinary. That the art of minor cultures disappears mystically is once again no news. That from the mystical disappearance perspective the art of major cultures has the same fate as that of the minor cultures, it’s normal. And when you realize that disappearance seems to be a problem of meaning there is no difference anymore. We are to take people that theoretically have no fortune, and we choose them by chance standing on the criteria that we know them. This is not a group exhibition it is an alive organism that borns and grows up as a consequence of a necessity. That’s why the exhibition will compose /classify/describe/tell/research/ various concepts, works, preoccupations, systematized by means of multimedia, video, photography, text of the artists of Rostopasca group and other alliances and not only.
Necessary equipment and materials
10 video monitors fixed with flexible structures on the walls
10 video players
2 computers Pentium II / III, 450-800 Mhz (video plate SVGA + TV video out), software - Windows X, connection with a projector
2 boxes for the photo documentation
Space: A dark room with a white wall for the projection (or a screen, 200x300cm). The monitors fixed on the walls of the same space will display 20 films* made by different authors. On the two computers could be accessed 1) folders with documentations and informations about the artist present or not in the exhibition 2) an e-mail address that will function as an “international” information receiver (artists, groups of artists and not only; they are to be contacted and they are ecpected to respond in text or image, etc.). The texts and images will build an archive about artists, mystic disappearance, works and they will be projeceted successively.
A photo documentation (in boxes) with artists mystically dissappeared or artists that are going to mystically disappear. This “archive” can be consulted by the public. Coordinator Mona Vatamanu.
The minimum of space necessary for the display (estimatively) 10 x 10 m.
*The video films are or not related to the subject (+ themes like the social, autobiographic, psychiatric, psychological, SF, ecological). Except these works will also be projected the film The Contemplation (The Rostemplation 2), video VHS, 6’, a project by Florin Tudor which will bring together the artists present in the exhibition:
The camera spins around continousely. This time, inside of a room. Some boys and girls appear. They come, leave, sit down, they don’t talk too much, they don’t have too much to discuss. Probably they enter in contemplation instantaneously. They don’t realize what is going on. Technically speaking I can’t explain myself anything excepting the image that is getting crazy a little bit. There are two overlaped images. The above layer starts to disolve itself, no, the people is to disolve. The above layer disappears, in fact the people disappears. The camera continues to spin around the empty room. After the artists’ disappearance in contemplation the camera maintains the contemplation effect for a long time on .
Stadiul intermediar la care se referă textul introductiv (Context Network, pavilionul Ro de la Veneția) se găsește pe site-ul ce face parte din proiect www.context.ro, mai precis aici.
Mystical Disappearance is not an archive or an exhibition, is more like a series of stages, manifesting in various locations, virtual or real/until now there had been 2 stages: following text and the project in Venice Biennial/2001.
The next stage will be a net project describing disappearance and the following stages will be meeting other artists or supporters who are sharing the same state of disappearance and collaborate in organizing events in different places.
We will be glad if one of the project stages will be held in collaboration with you and your institution.
A stage of this project was included as an insert in the Context/Network project (www.context.ro), curated by Alexandru Patatics and Sebastian Berthalan, at the Venice Biennial / 2001, in the Romanian Pavilion, commissioner Ruxandra Balaci.
In this stage participated:
Rostopasca – Rostemplation, video dv, 5’, 2000
Nicolae Comanescu - Demo, video dv, 3’, 2001
Floe Tudor – Zen, video dv, 3’, 2001
Alina Pentac – X-Treme, video VHS, 1’ 35”, 2001
Mona Vatamanu – Outside, video dv, 3’, 2001
The Mystical Disappearance
A project by Florin Tudor
Co-curators Raluca Velisar, Nicolae Comanescu
Introduction in the History of the Disculture
Or I dreamt one night a dream that there were some bears, a father-bear, a mother-bear with two little bears and they had been made their home beneath a car, on the street. I’ve also seen a dog beside my block, a red one who made the same. And I don’t know what was about those bears, but they seemed to be trustworthy and I entered their den. In the actual context the postindustrial society operates extremely important mutations and the informational crisis operates absurdities accurately reflected by the chats on the Internet All these things determine us to introduce a new concept, that of disculture. References to disculture had already been made. There are even historical records, the disculture not being a phenomenon appeared in this moment or belonging exclusively to the post-informational society. 40 000 years ago a pre-figurative period existed (the niusterian period) or in the III-rd century BC China when, soon after the achievement of the apogee in the classic poetry, the experimentalism started. We don’t insist on these historical reconsiderations. It’s not the case for us to do this. In our case we can only give us as an example. For having dissociated personalities we cannot distinguish it anymore from the immediate reality. Whom? Why? Prophet reaffirms the fact that in the reconstruction of the humans as cyborgs their bodies remain the bases and they preserve the suffering and feeling-pain abilities. The body is no longer a functional complex medically defined but field of forces, which is not limited to what the Western medicine describes as organic. The body’s organs are not functional biologic apparatus but temporal condensations, energetically fluctuations that auto-transform constantly; they cannot be objectified as continuous corporeal elements. It is about a heterogeneous inform field, fractal maybe, where temporal limited events take place. This approach could have connections with the European anti-grammatical tradition that links the “empty body” of Bataille and the “non-organs body” of Artaud with the “intensities body” of Deleuse and Guattari. The development of the computer technology could represent in this sense an opportunity for questioning the European corporeal logic, the speculative and creative applications of the computer permitting the opening of an imaginative space for the body’s re-conceptualization. The nanotechnology could represent the potentiality for inventing hypothetical heterogeneous organs that would develop alternative cultural models, operational for the body. I read in this regard in Dilema something written by Andrei Codrescu who heard too, I don’t remember where, that the body’s organs are some kind of separated entities arrived from different planets and they stay together and we don’t know that. And what’s gravely is we don’t know either when they’ll separate for leaving on the planets they originally came. Aliens I mean. The post-industrialized society supposes cohabitation between the postindustrial society and a secret alien’s society, allowing us to speak in matter of social phenomenon about a dissocial phenomenon. The critic on the human ontological hegemony has not on its base the historical or philosophical reflections but it is a consequence of the human research and creativity. The liminal experience leads to the subjectivisation mechanism, a sort of taking knowledge of itself, attribute (and I avoid to say more) of Humans.
Premises of the Mystical Disappearance
I don’t like Russians. But I did like at a moment a project that had in view the lives of ten losers. And it was not about a special concourse of events. These losers were merely flops for whom never a chance was predicted. It was a project undertaken by Ylia Kabakov that referred to what happens with the art that doesn’t enter the museums, that does enter the museum, but those museums are situated in a wrong geopolitical context; that is not registered or does not enter into some financial or social system, a determined, safety one. I think, I don’t remember very well, Ylia’s critic mentioned all these problems and he was wondering where do the things, the works and the artists disappear. He said something about an almost mystic, total disappearance and then he was changed rapidly the subject talking about another topic he considered as being more interesting.
The Mystic Disappearance
Where disappears the not recorded artists? How many artists did disappear in this manner? Does it matter anymore? I’m scared about the difference between categories that doesn’t exist anymore, which disappeared. What are the categories of artists? Who are these artists anyway? Conceptualists? Performers? Videasts? Old-new-mediasts? New-new-mediasts? Painters? Sculptures? Drawers? Architects? Neo-expressionists? Post-conceptualists? Theoreticians? What is the difference between the corpse of a person who never smoked and that of a person who did? The not-smoker’s corpse is healthier than that of the smoker’s. The problem is where disappear those persons? Which is the disappearance process? What does he do? The Artist? Why was Ylia preoccupied for a while about something that concerned the mystic disappearance? Who gave up later when he was assimilated? This is a wide territory. The state of mystic disappearance. There always existed artists stationed in this territory. A territory of mystic predisappearance (in fact) where the artists gifted for study are studying, influencing, determining the state of mystical disappearance. Their study has finality (or two finalities?). Or, first, they mystically disappear. Or, bi, they are assimilated to the major territory of contemporary art.
Ceaselessly, for ages, the artists practiced the state of mystical disappearance. Why nobody talked about this so far? In the territory of mystical predisappearance they were in state of elevated consciousness, they were too high-stoned and preoccupied and when they recovered they forgot everything. Or they mystically disappeared for good. What do the artists feel when they mystically disappear? Nothing. Wasn’t anybody who returned from there? No, there wasn’t. No, they feel a complexity of feelings. Bad ones. Mona asked how do we know? ‘Cause they could have good feelings. I don’t like “bad”. How do we know that? Raluca says too that we are cynical. That this is why we don’t understand. We don’t insist. Anyway, the mystical disappearance has nothing in common with the underground, with the mystical, with the disappearance. However, apropos of disappearance, if around 50 species of animals are disappearing everyday, and those who mystically disappear, being in a proportional connection with the growing tendency of human population, have also a growing tendency, we can conclude that in matter of mystical disappearance, this one incline towards infinite.
The last chapter
That Romanian art manifests the symptoms of mystical disappearance. And that’s extraordinary. That the art of minor cultures disappears mystically is once again no news. That from the mystical disappearance perspective the art of major cultures has the same fate as that of the minor cultures, it’s normal. And when you realize that disappearance seems to be a problem of meaning there is no difference anymore. We are to take people that theoretically have no fortune, and we choose them by chance standing on the criteria that we know them. This is not a group exhibition it is an alive organism that borns and grows up as a consequence of a necessity. That’s why the exhibition will compose /classify/describe/tell/research/ various concepts, works, preoccupations, systematized by means of multimedia, video, photography, text of the artists of Rostopasca group and other alliances and not only.
Necessary equipment and materials
10 video monitors fixed with flexible structures on the walls
10 video players
2 computers Pentium II / III, 450-800 Mhz (video plate SVGA + TV video out), software - Windows X, connection with a projector
2 boxes for the photo documentation
Space: A dark room with a white wall for the projection (or a screen, 200x300cm). The monitors fixed on the walls of the same space will display 20 films* made by different authors. On the two computers could be accessed 1) folders with documentations and informations about the artist present or not in the exhibition 2) an e-mail address that will function as an “international” information receiver (artists, groups of artists and not only; they are to be contacted and they are ecpected to respond in text or image, etc.). The texts and images will build an archive about artists, mystic disappearance, works and they will be projeceted successively.
A photo documentation (in boxes) with artists mystically dissappeared or artists that are going to mystically disappear. This “archive” can be consulted by the public. Coordinator Mona Vatamanu.
The minimum of space necessary for the display (estimatively) 10 x 10 m.
*The video films are or not related to the subject (+ themes like the social, autobiographic, psychiatric, psychological, SF, ecological). Except these works will also be projected the film The Contemplation (The Rostemplation 2), video VHS, 6’, a project by Florin Tudor which will bring together the artists present in the exhibition:
The camera spins around continousely. This time, inside of a room. Some boys and girls appear. They come, leave, sit down, they don’t talk too much, they don’t have too much to discuss. Probably they enter in contemplation instantaneously. They don’t realize what is going on. Technically speaking I can’t explain myself anything excepting the image that is getting crazy a little bit. There are two overlaped images. The above layer starts to disolve itself, no, the people is to disolve. The above layer disappears, in fact the people disappears. The camera continues to spin around the empty room. After the artists’ disappearance in contemplation the camera maintains the contemplation effect for a long time on .
Stadiul intermediar la care se referă textul introductiv (Context Network, pavilionul Ro de la Veneția) se găsește pe site-ul ce face parte din proiect www.context.ro, mai precis aici.
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