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Miloš Jovanović’s presentation, 2008, credit: Asociaflia Vector, Iaøi
Dora García’s colloquium at Casa Pogor, 2008, credit: Asociaflia Vector, Iaøi
Nofliunea de piaflæ liberæ, unde totul, dacæ e regizat cum trebuie, se poate prezenta
sub forma unui dar, a pætruns relativ recent în România, odatæ cu marile teme
ale globalizærii. Ceea ce însæ nu ne împiedicæ sæ ne întrebæm: recenta intrare în Uniunea
Europeanæ este un dar sau creeazæ o situaflie de compromis?
… øi cel moldovean (2008), videoul Aureliei Mihai, a prezentat într-o manieræ proprie
øi evocatoare o situaflie regretabilæ – dispariflia tradifliei practicii oieritului øi a transhumanflei
în favoarea cumpæræturilor de la supermarket. Brînza fæcutæ de oier nu
mai poate fi vîndutæ legal øi echitabil sau folositæ în procesul economic arhaic de troc.
Ce pierdem prin îmbræfliøarea necriticæ a valorilor occidentale? Este capitalismul singura
salvare pentru statele foste comuniste? Lucrarea investigheazæ, de asemenea,
distanflele impuse între cele douæ Moldove de situaflia economicæ øi politicæ diferitæ,
… øi cel moldovean fæcînd parte, împreunæ cu o altæ lucrare prezentæ în bienalæ,
cea a lui Veaceslav Druflæ, La cumpæræturi (2008), din proiectul RO-MD/Moldova
în douæ scenarii, o colaborare a KSA:K (Chiøinæu) cu Vector (Iaøi).
Filmul Aureliei Mihai poate fi considerat o sintezæ a situafliei României actuale, în pragul
adaptærii la o economie de piaflæ, „o nouæ ordine“ impusæ sau doritæ în cadrul
unui proces de neocolonizare, lucrarea analizînd implicit efectul globalizærii asupra
artei locale, într-o epocæ în care „statul“ este tributar unor companii multinaflionale
aflate în afara puterii de decizie a guvernelor.
Acelaøi subiect a fost tratat de An Artist Who Cannot Speak English Is No Artist [Un
artist care nu øtie vorbi engleza nu este artist] (1991) – litere cusute pe o fîøie de
material de culoare roz sugerînd un steag, una dintre cele trei lucræri prezente ale
View of the Mladen Stilinović works, credit: Asociaflia Vector, Iaøi
to the history of performance, in view of the fact that its first form of
existence, in 1997, was that of a performance festival. By emphasizing
the educative and interactive aspect of the biennial, Johanna
Billing’s workshop, which took place at the Students’ House, brought
together a choreographer from Sweden, musicians from the Iaøi
Philharmonic and young people interested in this genre who created
a piece of contemporary dance which shall be issued as a video.
This work with multiple valences marks out the lack in Iaøi of a platform
for those interested in approaching contemporary dance.
The concept of a free market where everything, if properly directed,
may be presented as a gift, has entered Romania recently, along
with the major themes of globalization. But this should not stop us
wonder: is the recent integration into the European Union a gift or
does it create a situation of compromise?
... øi cel moldovean (2008) [... and the Moldavian One], Aurelia Mihai’s
video, has presented in a specific and evocative manner a regrettable
situation – the disappearance of the tradition related to sheep
breeding and transhumance abandoned in favor of the supermarket
shopping. The cheese made by the sheep breeder can no longer be
sold legally or conveniently or used in the archaic economical process
of barter. What do we lose by uncritically embracing Western values?
Is capitalism the only chance for the former communist countries?
The work also investigates the distances between the two Moldavian
regions which were imposed by the different economic and politic
situations, as ... and the Moldavian One, along with another work
exhibited at the biennial, that of Veaceslav Druflæ, La cumpæræturi
[Shopping] (2008), is part of the project RO-MD/Moldova în douæ
scenarii [RO-MD/Moldova in two scenarios], a collaboration between
KSA:K (Chiøinæu) and Vector (Iaøi).
Aurelia Mihai’s film may be seen as a synthesis of the situation in
today’s Romania, which is on the point of adopting a market economy,
“a new order“ imposed or desired as part of a process of
neo-colonization, as the work analyses implicitly the effect of globalization
on local art in an era when “the state“ is tributary to multinational
companies from outside the governments’ power of decision.
The same topic was approached in An Artist Who Cannot Speak
English Is No Artist (1991) – letters sewn on a piece of pink fabric
resembling a flag, one of the three works of Mladen Stilinovic’ present
here, emblematic, in fact, for the practice of this artist of a conceptual
formation interested in analyzing the complex interactions of
the visual and linguistic signs. Stilinovic’ catches in a visionary manner
the artists’ struggle to overcome the transition process imposed
by the social-economical situation of the non-English speaking countries,
where the uncritical acceptance of the global culture leads to
a devaluation of the local one.
Another exhibition space was the Sports Hall of the Art Faculty, once
a horse stable, the former condition of which was reactivated by
chance: one day during the biennial, at the building entrance one
could see a horse and a carriage tied to the hand rail. A situation suggestive,
in fact, for the context in which the biennial had to develop
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