Grupul Rostopasca a participat cu o etapa a acestui proiect la Bienala de la Venetia, anul acesta, ca insert in proiectul Context Network, curatori Alexandru Patatics, Sebastian Berthalan.( vezi reviews)
Cumva acest proiect reflecta o stare proprie a artistilor care traiesc si lucreaza in contextul romanesc, starea asta de diparitie despre care e vorba in proiect se regaseste si in viata sociala sau economica din Romania si se pot face analogii cu situatia altor tari din sud-estul Europei sau chiar cu anumite tendinte din occident.
Conceptul tau Palpable In –Equilibrium defineste foarte exact starea de instabilitate cu care se confrunta un artist din Romania. Noi cind ne raportam la aceasta instabilitate, ok, lucru cu care dealfel te obisnuiesti dupa 10 ani, o facem cu detasare, nu incercam sa dam vina neaparat pe o anumita mentalitate socialista care se perpetueaza, pe care o regasesti chiar si la cei care au orientari politice diametral opuse fata de stinga, incercam sa nu ne lamentam si sa nu avem o politica de a expune numai in galerii de afara. Practic incercam sa gasim in aceasta stare de disparitie mistica un sens, o oaza, incercind sa construim ceva care oricum e sortit disparitiei. Si daca tot a venit vorba de oaza am avea de povestit o situatie destul de similara cu a noastra, dintr-un film italian: unii pica cu avionul pe o insula stau acolo o vreme, pina cind uita de cind sint acolo, si pe urma intr-o zi, zice unu: Bai voi stiti ce zi e azi? Pai azi este anul nou, si se hotarasc sa-l sarbatoreasca cu niste sampanie care o pitise unu intr-un geamantan in avion. Cam asta e situatia. Daca te opresti o secunda si evaluezi ce e in jur esti pierdut, singura solutie e sa existi si sa faci proiecte.
Instalarea: noi ne-am gindit ca sa situam central dupa un desen circular 6 monitoare plasate pe jos sau suspendate care sa ruleze vidoanele, si in jurul lor sa se organizeze instalatiile si foto related cu videourile care sa creeze un soi de parcurs, modificind spatiu dupa cum vezi si intr-unele dintre imaginile noastre.
The Mystical Disappearance presents:
Angela Bontas – Crinoline /2001, photo installation and object, dimension variable / psycho-pathological
Installation using Crinoline conceived like a trap/ a series of photographs describing people caught in this Crinoline with ironic sexual content.
Nicolae Comanescu – Demo, I trust in progress/ 2001,2000, video about copyright, 25’/ photo-installation using digital prints on plastic painted with spray paint/ social and economical
Demo is a video and a series of digital prints based on the idea of copyright and commercial material protected by copyright laws and some parts of the images are altered by a mosaic of pixels, I trust in progress is a series of photos using pampers painted suggesting an evolution in the shit color.
Alina Pentac – 10 ways to feel better, / 2001, work in progress, video about 10’ including 10 video pieces and photo installation/ social, psychological, sf and autobiographical
1- 10 WAYS TO FEEL BETTER”
2- it contains 10 experimental short films;
3- it is a work in progress , so the number of “ways” may increase(if it’s fine with you,hi,hi);
4- every one has a title (a way/remark, whatever you want to call it);
5- every one is 1 minute and few seconds long; that makes in total around 10-12 minutes (by now);
6- every one express an ironical way to try to feel better trough a solution/a way which is also the title at every one of them, and my “solutions” are inspired from my every day life in Bucharest and from the multitude of the books, very spread in every country I’ve been in, of course also in Romania, the books you can find in gift sections in libraries and all of them include/provide solutions, or ways to feel or to do everything you want or you can think of… Of course my video project inspired my them, is an ironical attitude to this form of false (in my opinion) solutions/ways/ keys to solve every ones problems/to achieve your goals, your happiness in life, bla,bla,bla, and also every one has a liaison with the cultural/ social life here.
7- titles:
1: Enjoy The Muuusic Of The Spheres…= short passage in an after hours house music club in Bucharest, the film is edit in slow motion effect, the image is reworked , exaggerated brightfull colors, the music is also changed , the atmosphere is becoming like an alien abduction.
2: Rerereinvent Yourself …= is a usual morning in my house, when I start preparing myself for the day, washing myself, trying to dress nicer, trying to look better, everything is in fast motion, like a silent movie, in the end I collapse, I’m existed. (by the way, the process seems to me that is very similar to what happens in this country…)
3. Search For The Herooo Inside Yourself…= is just a run into a labyrint and every way has a dead end.
4: Improve Your Sexxxx Life…= is like a slide show of sex-positions drawings, with Romanian voices speaking over (like in a sex intercourse), in the end is a scrolling text that leads to the thought that is nothing to improve, better to take a shower;
5: Clear Your Auuuura…= is just an ironical/funny way to imagine your aura as a chalk( but in flour) trace of a corps on a street, and the action of cleaning it is me sweeping it from the sidewalk.
6: Take Your Day Oooone Step At A Time…= is a one step walk (only feet filmed) with very different type of shoes, and different attitudes in the step take, depending of the shoe type.
7: Stay Coooool…= “ If you are feeling worried, nervous, angry, upset or irritated try the Emotion Cooler: put your right thumb over your right nostril, just lightly closing it off, exhale, inhale, slowly through your left nostril only for 20 complete breaths. Keep your mouth closed as long and smooth as you can. Each time you exhale let go off all tension, hurt, anger, irritability and negative emotions. Visualize these emotions draining out of your body so you feel clear and positive.”
The visualization part is a mixture between street dogs, street aurolaci, organs, shit, durt, misery.
8. Expect A Miiiiracle…
9. Stay Foooorever Young…
10: Make Gooood Vibrations…
Floe Tudor – Zen, The End of Postmodernism, Stroumfloe / 2001, 2000, video 3’, photo installation, digital print/ autobiographical, social
Zen is a video and a series of photographs about seeing things/images in other things/images suggesting various connections between events or objects apparently having nothing in common, also some of them are containing sexual allusions. The End of Postmodernism is a series of photographs made in Pellestrina island by spinning around and making photos 360o documenting common events. Stroumfloe is about manipulating an image and transforming trough Photoshop myself portrait using parts of a smurf portrait and the other way around.
Mona Vatamanu – Outside, Breakfast, Hypertrip / 2001,2000, 2001, video 3’, 14’, photo installation / autobiographical, ecological, social, political
Outside is a video about socio-political issues, Mona projects herself in an afgan women posture by wearing this black fabric mask, Breakfast is a registered performance, ecological about humans disguised in animals taking breakfast in an ironic way. Hypertrip contains touristic ironical references, is a series of photos presenting a little zebra toy voyaging in Italy and New York, studying the social involvement of the little zebra in this common touristic situation.
Rostopasca Group – Rostemplation/ 2000, video 5’/ social, cultural
Rostemplation at first it was thought like a contest who is better in spinning around with the camera but gradually the contestants are falling into deep rostemplation, the camera didn’t dig it and continues to film like nothing was happening.
The Mystical Disappearance
A project by Florin Tudor
in collaboration with 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 post-industrial society operates extremely important mutations and the informatic 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 prefigurative 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 this historical reconsideration. 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 can not 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 can not be objectified as continuos 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 antigrammatical 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 conceptualisation. 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-industrialised society supposes cohabitation between the postindustrial society and a secret alien’s society, allowing us to speak in matter of social phenomenon about a disocial 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 loosers. 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 practised 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 realise 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 rises and grows up as a consequence of a necessity. That’s why the exhibition will compose /classify/describe/tell/research/ various concepts, works, preoccupations, systematised by means of multimedia, video, photography, text of the artists of Rostopasca Group and other alliances and not only.
Space: The monitors fixed on the walls of the same space will display videos* made by authors from Rostopasca Group. On a computer could be accessed folders with documentation and information about the artists presenting the state of mystical disappearance, the texts and images will “build” an archive about artists/ a photo documentation (on CD- Rom ) with artists mystically disappeared or artists in the process of mystical disappearance. The public can consult this “archive”. Coordinator Mona Vatamanu.
*The video films are or not related to the subject (themes as the social, autobiographic, economical, political, psychological, SF, ecological).
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