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√ Asta a fost øi miza lucrærii. Ea a apærut ca urmare a unei invitaflii de a participa
la o expoziflie intitulatæ To Do Things in the Middle of Nowhere. Încæ de la început mi
se pærea suspect titlul acesta, pentru cæ fuseseræ alese øase oraøe sæ participe la proiect,
iar cele øase numai „nowhere“ nu erau. Am vrut sæ mæ folosesc de aceste douæ
idei „nowhere“ øi „to do things“, aøa cæ la început mæ gîndisem sæ cumpær o bucatæ
de pæmînt în Germania, vreo 10 m 2 , pe care sæ fac o instalaflie. Øi totuøi, pînæ la urmæ,
mesajul lui Homesick Cuisine mi s-a pærut mult mai relevant. În mod paradoxal,
autobuzul care vine la Berlin nu are pasageri prea mulfli, însæ este plin de bagaje,
devenind un mijloc de comunicare foarte rapid, chiar mai rapid decît Fedexul. Pe
de altæ parte, purtætorul mesajului este o geantæ de rafie, care, în virtutea faptului
cæ de-a lungul anilor s-a erijat într-un simbol al migrafliei, a devenit în Est un brand
la fel de puternic ca brandul Louis Vuitton în Vest. Pînæ acum lucrarea a fost expusæ
de øase ori øi, deøi a fost greu sæ aducem mîncarea de fiecare datæ din Moldova,
ea fiind transportatæ cu autocarul numai cu ocazia primei vizionæri, am vrut totuøi
sæ pæstræm ceva din autenticitatea proiectului, familia mea trimiflînd cu ocazia
fiecærei expuneri vinul.
¬ Barons’ Hill, ultima ta lucrare expusæ în ianuarie-februarie la Neue Nationalgalerie
din Berlin, e o lucrare despre noua arhitecturæ a caselor de romi dintr-un cartier
al oraøului Soroca. Pe øase ecrane mari, camera stæruie în mod diferit asupra fiecærui
detaliu al kitsch-ului general, asupra contradicfliilor næscute în urma dorinflei proprietarilor
casei de a împæca modernismul cu propria tradiflie. Sincronizarea celor øase ecrane
se face în tonurile date de muzica lui Bach. Care este istoria acestei lucræri?
√ Øtiam de existenfla acestui cartier de romi din Soroca... de fapt, aøezat pe un
deal, se numeøte chiar aøa, Dealul fiiganilor. Însæ datoritæ faptului cæ tofli cei ce locuiesc
acolo îøi construiesc case foarte mari, prin aceasta exprimîndu-øi intenflia de a
intra în high society, sînt foarte mulfli cei ce numesc partea aceasta a oraøului Dealul
Baronilor. M-am întîlnit cu Mircea Cerari, care este øeful lor, øi i-am spus cæ vreau
sæ fac un film despre arhitecturæ øi design interior. Cu permisiunea lui, ne-a fost mult
mai uøor sæ intræm øi în casele altor romi. Am filmat în timpul verii, în 2003 øi 2004,
cînd puteai sæ îi gæseøti acasæ, pentru cæ la începutul toamnei pleacæ, iar casele ræmîn
pustii. Chiar øi în timpul URSS-ului, aveau tot felul de afaceri underground, iar ele
devin profitabile odatæ cu venirea toamnei. Cu ce se ocupæ exact nu aø putea spune,
unii vorbesc despre trafic de droguri, alflii despre trafic cu fiinfle umane. Nu øtiu cît
de reale sînt lucrurile astea, probabil cæ ceva adevær ascund ele. Dar, ca sæ ne întoarcem
la întrebarea anterioaræ, cert e cæ ei dintotdeauna au construit astfel. Ce
s-a schimbat însæ e rezultatul aceluiaøi proces de adaptare la trendul european. Dacæ
pînæ în 1990 chemau pictori sæ picteze pereflii caselor, acum ele sînt înlocuite de
reproduceri. Interesul se mutæ cætre termopanele la standarde euro, cætre podelele
încælzite etc. Øi totuøi, deøi casele sînt imense, multe dintre ele nu sînt conectate la
refleaua de apæ øi gaz, iar iarna unele sînt complet nelocuite. Funcflia lor e una similaræ
caselor cu zestre de la sat. Ceea ce înseamnæ cæ viafla de zi cu zi, cu toate aspectele
ei murdare, nu are voie sæ intre în aceste case, care se transformæ astfel în
muzee. Pe de o parte, existæ o perfecfliune clinicæ la casele astea, pe de altæ parte,
este o perfecfliune artificial construitæ, aproape contradictorie.
¬ De ce ai ales sæ expui filmul acesta pe øase ecrane?
√ Experienfla mi-a arætat cæ dacæ faci parte dintr-o expoziflie de grup, iar filmul
tæu este foarte lung, publicul este obosit øi nu mai prinde mesajul lucrærii. Pentru
Barons’ Hill avusesem foarte mult material la dispoziflie øi am decis cæ e mai bine
dacæ facem øase proiecflii diferite, pe ecrane diferite.
¬ O alegere care m-a intrigat în privinfla lucrærii acesteia a fost cea a muzicii. Haosul
vizual este însoflit de muzica lui Bach. De ce tocmai Bach? Bach nu e tocmai chiar
accesibil...
cious to me, because six cities had been selected to take part at the
project and those six were anything but “nowhere“. I wanted to use
these two ideas, “nowhere“ and “to do things“ and for starters, I was
thinking about buying a piece of land in Germany, about 10 m 2 , and
use it to build an installation. However, in the end the message of
Homesick Cuisine seemed to me more relevant. Paradoxically, the
bus coming from Berlin doesn’t carry too many passengers, but is
full of baggage, turning into a very fast means of communication,
even faster than Fedex. On the other hand, the carrier of the message
is a raffia bag which, in the virtue of the fact that in the course
of years turned into a symbol of migration, became, in the East,
a brand as strong as Louis Vuitton in the West. Until now, the work
has been exhibited six times and although it was difficult to bring
the food from Moldova each time, as it only came by bus for the first
show, we nevertheless wanted to preserve something from the project’s
authenticity and my family sent the wine for each exhibition.
¬ Barons’ Hill, the last work exhibited by you in January–February
at Neue Nationalgalerie in Berlin, is about the new architecture of
the Roma houses in a neighbourhood of the Soroca city. On six big
screens, the camera insists differently on each detail of the general
kitsch, on the contradiction which appeared as a result of the owners’
wish to combine modernism with their own tradition. The synchronization
of the six screens is made upon the sounds of Bach’s
music. What is the story of this work?
√ I knew about the existence of this Roma neighbourhood in Soroca...
in fact, it is on a hill which is called Dealul fiiganilor [Gypsy Hill].
But as everyone living there builds very large houses, expressing
their intention of entering the high society, there are many calling
this part of the city Dealul Baronilor [Barons’ Hill]. I met Mircea
Cerari, their leader, and I told him that I wanted to make a movie
about architecture and interior design. With his permission, it was a
lot easier for us to get inside other Roma houses, too. I did the shooting
in the summer of 2003–2004, when one can find them at home,
because in the fall they leave and the houses stay empty. Even back
in the time of the USSR, they had all kinds of underground businesses
which become profitable in the fall. I couldn’t say what exactly is
that what they do, some people talk about drugs traffic, others
about human beings traffic. I don’t know how real these things are,
but they may be hiding some truth. But, in order to return to the
previous question, it’s a fact that they have been always building like
this. What did change is the result of the same process of adapting
to the European trend. If by 1990 they used to call in painters to
paint their houses’ walls, now they are being replaced by reproductions.
The interest is moving towards Euro-standards thermal windows
and heated floors etc. However, although the houses are huge,
many of them are not even connected to the water-supply and gas
networks and, during the winter, some of them are totally uninhabited.
Their function is similar to the village dower houses. It means
that everyday life, with all its dirty aspects, is not allowed into these
houses, which are thus turning into museums. On one hand these
houses have a clinical perfection; on the other hand, it’s an artificially
built perfection, almost contradictory.
¬ Why did you choose to exhibit this movie on six screens?
√ Experience showed me that if are part of a group exhibition and
your film is very long the public gets tired and doesn’t get the message
of the work. For Barons’ Hill, I had a great deal of material at
my disposal and we decided that would be better to have six different
projections on different screens.
¬ An intriguing choice regarding this work was that of the music.
The visual chaos is accompanied by Bach’s music. Why Bach? Bach is
not quite accessible…
√ It wasn’t an easy choice, everything was the result of an experimentation
process. Initially, I wanted to have a much more popular
song on the soundtrack, maybe a manea, but now I am convinced
that Bach is most successful in making the viewer pay attention to
what does happen in the work.
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