Everything is elopement, from or towards. We are somewhere and want to be someplace else. This does not please me, this does not please me, that other situation does not suit me well. The artist is a better escaper, he creates his own worlds and his own emergency exits. ”Where there is dispersion in space there cannot be concentration and where is concentration there cannot be occupation of territory” or something of the like, said Octav citing a philosopher – or this is what I understood of it.
Let us see our margins (and how often we runaway from them)!
Let us acknowledge what remains after the deduction of all the running and the jogging!
I will wait for you in the balcony, to do this jointly for half an hour!
At 22 sharp.
The best player will be rewarded with books from our PAVILION RESOURCE ROOM.
Every player will be rewarded with a copy of Reforma newspaper, Pavilion #15 and a Bucharest Biennale shopping bag.
Registration until 22.00
The beautiful terrace will be open until dawn. Music mix by PAVILION & REFORMA team.
We do not sell drinks, but everyone is free to bring their own drinks.
For more details about the program, map and other venues: www.noapteagaleriilor.ro
Image: Nicolae Constantin Tănase, “Blu”, shortfilm, 21 min., 2009.
Curator: Eugen Rădescu
Participants: Dan Raul Pintea (RO), Ștefan Sava (RO), Nicolae Constantin Tănase (RO), Swel Noury (MAR)
Nostalgia shackles the exercise of the future. Nostalgia, by definition enforces the abdication of perspective and re-penetration of the past. It is some sort of melancholy driven by the wish of re-seeing something or someone from the past; such as when the nostalgic subject goes on with the narcissist identification with the lost object/place; and this subject remains faithful to the lost object, with a pathological wish of not giving up this attachment.
Nostalgia is nor fado, nor the romantic swiss term of “kuhreihen”. I see it more as an “ostalgie”. A common sense of a loss, of a regret – full of demons. I emphasize the antihegelian side of the nostalgia, because the “mourning” and the consciousness of the comeback to the past has the structure of the “overflow” from which the essence of the notion of an object/being is kept. This is how the “mourner” grieves the lost object and “kills it the second time” by the typification and concretisation of its loss. The nostalgic isn’t the one who hasn’t got the power to give up of that something from the past, on the contrary, he “kills the second time” before the object is lost for good.
In the exhibition “Common nostalgia”, which will be open between the 4th of April and the 7th of July 2013, I started from the premise that the subjectifying of the loss and the objectifying of the feeling of losing something could reduce the consistency of the nostalgic type of living, because the exhibited works assume to reach all means of the idea of nostalgia. From “love”, a feeling coming from a casual past, which becomes the subject of what can be assimilated, to the “ostalgie” of the family memories, microcosmos, of a place with your own people. (“Ostalgia” is a sociological german term coming from “nostalgia” and “ost” which means “east”, therefore a nostalgia of the East, in its geopolitical meaning.
I hope you’ll like it,
Eugen Rădescu is politologist (specialized in moral relativism and political ethics), cultural manager, curator and theoretician. He writes for various magazines and newspapers. He curated, among others, Bucharest Biennale 1 with the theme “Identity Factories”, “How Innocent Is That?” and “presently i have nothig to show and i’m showing it!” at Pavilion Bucharest. He published the book “How Innocent Is That?” at REVOLVER BOOKS Berlin, Germany. He is co-editor of PAVILION – journal for politics and culture and co-director of Bucharest Biennale (with Răzvan Ion) and the chairman of the organizational board of Pavilion and Bucharest Biennale. He is member of a apexart jury at apexart Franchise and Unsolicited Proposal Programs. He had different lectures all around the world, at University of Arts in Cluj, apex, New York, Badisher Kunstverein, Karlshrue, Germania, Casa Encedida, Madrid. Now he is working on a new book, “Moral relativism – two perspectives”. He is professor at Bucharest University and Babes-Bolyai University, Cluj and PhD candidate at Babes-Bolyiai University. Lives and works in Bucharest.
Followed by an opening party by Reforma & Bogman @Control Club (front), str. Constantin Mille nr. 4, 22.00 hours.
Image: Dan Raul Pintea, “Dragoste”, acrylic spray on concrete, 30 x 94 cm, 2012.
Courtesy of the artist
Exhibition supported by PAVILION – journal for politics and culture.