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galerie
Secfliunea numitæ galerie a revistei IDEA artæ + societate a servit mereu la satisfacerea a douæ deziderate principiale, strîns legate din punctul nostru
de vedere: o vizibilitate sporitæ a proiectelor artistice din România øi o participare activæ a revistei în coproducerea artei contemporane øi a
discursului sæu. În general, revista nu se vrea un canal mediatic neutru, pasiv în simpla reprezentare a unor evenimente culturale deja existente
øi mai mult sau mai puflin vizibile. Dimpotrivæ, ea mizeazæ programatic pe inifliativæ, una angajatæ faflæ de exigenfla relevanflei social-politice a imaginii,
care sæ creeze ea vizibilitate pentru o practicæ artisticæ mai mult decît necesaræ.
Considerente legate de evoluflia în ultimii ani a scenei artistice din România, de ceea ce a ajuns sæ poatæ fi pus în contul contextului acesteia, ne-au
fæcut sæ regîndim limitele de „reprezentare geograficæ“ pe care le impusesem iniflial galeriei øi sæ eliminæm constrîngerea de a conlucra doar cu
artiøti identificabili ca aparflinînd în primul rînd scenei locale. Astfel, am hotærît ca, din 2007, aria de acoperire a acestui context, care nu renunflæ
numai pentru atît la identitatea sa „localæ“, sæ depæøeascæ frontierele spafliului cultural românesc, într-un mod nedefinit, dar concentric.
Conform acestei noi agende editoriale, primul invitat stræin în galerie este artistul bulgar Nedko Solakov. Proiectul sæu Discussion (Property), pe
lîngæ cæ atinge tema sensibilæ, de o actualitate globalæ, a drepturilor de autor øi a protecfliei drepturilor industriale, se axeazæ pe o disputæ între
Bulgaria øi Rusia în noul context geopolitic øi economic la scara continentului. Întîmplarea face ca, la scurt timp de la primirea în redacflie a propunerii
de proiect din partea artistului (proiectul urma sæ fie prezentat øi la ediflia din acest an a Bienalei de la Veneflia), pe fluxurile agenfliilor de øtiri
din lumea întreagæ sæ aparæ comunicatul Kremlinului cu ocazia împlinirii a 60 de ani de la inventarea pistolului automat Kalaønikov. Conform acestei
declaraflii a lui Vladimir Putin, „Kalaønikovul nu reprezintæ doar un exemplu de gîndire inovatoare, ci øi un simbol al talentului øi al geniului creativ
al poporului rus“. Aceastæ declaraflie intræ în rezonanflæ cu apelul inventatorului Mihail Kalaønikov, acum în vîrstæ de 87 de ani, care a cerut intensificarea
luptei împotriva contrabandei cu armament, un trafic care, potrivit anumitor surse, produce anual daune majore Rusiei. fiintind direct cætre aceste
chestiuni, proiectul lui Nedko Solakov pune dintr-o perspectivæ neaøteptatæ problema drepturilor de autor, prin alegerea de a folosi ca revelator
al ei contextul proprietæflii industriale asupra armamentului øi conflictul diplomatic iscat în jurul acesteia între douæ state aliate în fostul bloc comunist,
dar concurente (øi chiar rivale din punct de vedere militar) în cadrul noului bloc neoliberal. (IDEA artæ + societate)
The Gallery section of the IDEA arts + society magazine has always aimed to comply with two major challenges, closely related from our point of view: an increased visibility
for the art projects in Romania and the magazine’s active participation at the co-production of contemporary art and of its discourse. Generally speaking, the magazine
doesn’t mean to be a neutral, passive media channel, simply re-presenting already existing, more or less visible, cultural events. On the contrary, it programmatically
relies on initiative, one engaged in regard to the exigency of the social-political relevance of the image, meant to create visibility for a more than necessary artistic practice.
Considerations related to the past years evolution of the art scene in Romania, to what it came to be accounted for in its context made us rethink the limits of the “geographical
representation” we initially imposed to the gallery and eliminate the constraint of cooperating only with artists identifiable as belonging mainly to the local
scene. Thus, we have decided that, as from 2007, the coverage of this context, which does not, for this reason alone, give up its “local” identity, should cross the frontiers
of the Romanian cultural space in an undefined, but concentric way.
According to this new editorial agenda, the first foreign guest in the gallery is the Bulgarian artist Nedko Solakov. His project Discussion (Property), apart from dealing
with the delicate issue, of a global actuality, of the copyrights and the industrial rights protection, focuses on a dispute between Bulgaria and Russia within the new geopolitical
and economical context on a continental scale. As it happened, shortly after receiving, at our editorial office, the artist’s project proposal (the project was about
to be presented at this year edition of the Venice Biennale, too), the news agencies all over the world presented Kremlin’s statement on the occasion of the sixtieth anniversary
of the Kalashnikov automatic weapon. According to this statement of Vladimir Putin, “Kalashnikov represents not only an example of innovative thinking, but also
a symbol of the Russian people’s talent and creative genius”. This statement resonates with the appeal made by the inventor Mikhail Kalashnikov, now 87, who demanded
that the fight against weapon contraband should be intensified, a traffic which, according to certain sources, produces major annual prejudices to Russia. Pointing directly
to these issues, Nedko Solakov addresses the problem of copyright from an unexpected perspective, by choosing to reveal it through using the context of the industrial
property on weaponry, as well as the diplomatic conflict arouse around it between two states allied within the former communist bloc, but concurrent (and even rival, military
speaking) within the new neo-liberal bloc. (IDEA arts + society, translated by Alex Moldovan)
Nedko Solakov: Discussion (Property)
NEDKO SOLAKOV was born in 1957, Cherven Briag, Bulgaria; lives and works in Sofia.
Since the beginning of the 1990s, has exhibited extensively in Europe and the United States. His work was featured in Aperto ’93 (Venice Biennale); the 48th, 49th,
50th and 52nd Venice Biennale; the 3rd, 4th and 9th Istanbul Biennial; São Paulo ’94; Manifesta 1, Rotterdam; the 2nd and 4th Gwangju Biennial; the 5th Lyon Biennial,
Sonsbeek 9, Arnhem, the 4th and 5th Cetinje Biennial, the 1st Lodz’ Biennial; the 7th Sharjah Biennial, United Arab Emirates; the 3rd Tirana Biennial; the 2nd Seville
Biennial; the 2nd Moscow Biennial and documenta 12. Recently he had solo shows at Museu do Chiado, Lisbon; Stichting De Appel, Amsterdam; CCA Kitakyushu, Japan;
Museo Nacional Centro de Arte Reina Sofía, Madrid, The Israel Museum, Jerusalem; Centre d’Art Santa Monica, Barcelona and Kunsthaus Zurich. In 2003–2005
an extensive mid-career A 12 1/3 (and even more) Year Survey was presented at Casino Luxembourg, Rooseum Malmö and OK Centrum Linz.
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