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Pentru o artæ alienantæ
Vlad Morariu
Cînd mi s-a solicitat o formulæ textualæ care sæ abordeze tema prezenflei/
prezentærii artei, am apreciat platforma IDEA drept locul potrivit unde aø
putea avansa o reacflie la un fapt devenit deja evident, procesul de estetizare
a cîmpurilor social øi politic românesc, care influenfleazæ în mod direct
schimbærile recente de pe scena artisticæ localæ. Aceastæ preocupare a apærut
pe mæsuræ ce eu însumi eram legat de o instituflie noncomercialæ de
artæ, care cu greu reuøea sæ supraviefluiascæ, iar simptomele acestui fenomen
– dispariflia lentæ a spafliilor-proiect øi a galeriilor independente, însoflitæ
de creøterea numærului galeriilor comerciale, care au epurat, treptat,
orice conflinut politic din spafliile lor de expunere – puteau fi citite peste
tot. Totul a culminat cu ceea ce s-a întîmplat în primævara lui 2008 la Galeria
Nouæ, unde, næscut deja mort, protestul împotriva închiderii galeriei,
în a cærui eficacitate politicæ nici mæcar curatoarea spafliului nu credea, s-a
transformat în simulacrul estetic al unui protest, ca øi cum chiar øi acest
film færæ happy-end trebuia sæ producæ emoflionarea noastræ. Astfel, ne
cheltuim timpul priveghind critica, sperînd sæ avem de-a face doar cu o
moarte clinicæ, dupæ ce amanflii ei temporari au pæræsit-o pentru a îmbræfliøa
un lifestyle – fie el øi de stînga – al compromisului burghez.
Cæ artiøtii din Est nu mai sînt interesafli de chestionarea condifliilor de producflie
a lucrærilor lor este un lucru deja arætat de Boris Buden într-un text
apærut, recent, øi în limba românæ, în revista IDEA, într-un dosar dedicat
platformei critice a European Institute for Progressive Cultural Policies (e.i.p.
c.p.). 1 Filosoful croat explica fenomenul prin aceea cæ o relaflie fundamental
proprie modernitæflii, aceea dintre crizæ øi criticæ, survenind nemijlocit
din reflecflia de sine a iluminismului de secol XVIII (dialectica iluminismului),
øi care a reuøit sæ impunæ conøtiinfla contradicfliei dintre „vechi“ øi „modern“,
deschizînd apetitul pentru acfliunea revoluflionaræ, este astæzi
fracturatæ, noi fiind incapabili, spune Buden, de a mai exersa experienfla
timpului prezent drept cea a unei crize. Dacæ experienfla crizei a presupus
pentru moderni experienfla unei rupturi, critica reprezentînd ruptura
însæøi, astæzi sîntem incapabili de a mai survola spafliul acestei scindæri. Percepflia
interacfliunii dintre criticæ øi crizæ a fost anulatæ, iar rezultatul este,
potrivit lui Buden, o criticæ permanentæ, oarbæ faflæ de crizæ, øi o crizæ permanentæ,
surdæ faflæ de criticæ.
Întrebærii despre motivafliile artiøtilor pentru alegerile proprii sau, mai ales,
ce anume ar putea justifica proiectul de artæ criticæ îi poate ræspunde cel
mai bine, din multe puncte de vedere, un demers în acelaøi timp sociologic
øi psihologic concentrat asupra locuitorilor lumii artei. Nu e locul aici
pentru a ræspunde unei astfel de întrebæri. Am putea totuøi sæ observæm
cæ provenim dintr-un spafliu care a experimentat cele douæ valuri de criticæ
instituflionalæ doar prin medierea volumelor de istoria artei øi a cataloage-
FOR AN ALIENATING ART
Vlad Morariu
Being asked for a text formula on the subject of art’s presence/presentation,
I reckoned that the IDEA platform would fit my reaction to an already obvious
fact, namely, the aesthetization of the Romanian social and political field, which
directly affects the recent changes on the local art scene. This disquietude
occurred as I myself had had ties with a non-commercial art institution which
barely managed to survive and one could have read everywhere about the
symptoms of the phenomenon – the gradual extinction of project-spaces and
independent galleries, along with the growing number of commercial galleries,
which progressively purged all political content from their exhibition spaces.
Everything culminated in what happened in the spring of 2008 at the Galeria
Nouæ [New Gallery] in Bucharest, where the protest, already born dead, against
the closing down of the gallery, in whose political efficiency the curator herself
did not believe, turned into an aesthetic simulacrum of a protest, as if even this
movie, which lacked a happy-ending, had to touch us. Thus, we spend the time
we live mourning the critic, hoping that we’re only dealing with a clinical death,
after its temporary lovers have left her for a lifestyle – be it a left-wing one –
of bourgeois compromise.
That the Eastern artists are no longer interested in questioning the production
conditions of their works has already been shown by Boris Buden in a text recently
translated into Romanian for the IDEA magazine, in a brief dedicated to the
critical platform of the European Institute for Progressive Cultural Policies
(e.i.p.c.p.). 1 The Croatian philosopher explained this phenomenon through the
fact that a fundamental relation specific to modernity, that between crisis and
criticism, occurring directly from the self-reflection of the 18th century Enlightenment
(the dialectics of the Enlightenment) and which managed to assert the
acknowledgement of the contradiction between “old” and “modern”, whetting
the appetite for revolutionary action, is fractured today, since we are incapable,
as Buden says, of exercising the experience of the present time as the experience
of a crisis. If for the moderns the experience of the crises equaled the experience
of a break, as the criticism represented the break itself, today we are incapable
to access the area of this cleavage. The perception of the interaction between
criticism and crisis was annihilated, which resulted, according to Buden, in a permanent
criticism, blind to the crisis, and a permanent crisis, blind to criticism.
The question of the artists’ motivation for their own choices, or especially of
what motivation could justify the critical art project, could best be answered,
from several points of view, by both a sociological and psychological approach
focused on the art world inhabitants. This is not the place to answer such
a question. We may, however, note that the space we come from has only expe-
VLAD MORARIU urmeazæ în prezent studii aprofundate în cadrul unui program de masterat în
filosofie la universitæflile „Humboldt“ din Berlin øi „Al. I. Cuza“ din Iaøi. Este membru al asociafliei
Vector, Iaøi, organizatoare a Bienalei de Artæ Contemporanæ Periferic.
VLAD MORARIU currently pursues a master degree programme in philosophy at the
Humboldt University from Berlin and A. I. Cuza University Iaøi. He is a member of
the Vector Association from Iaøi, the organizer of the Periferic Biennial for Contemporary
Art.
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