Beáta Kolbašovská – Revolutia din 1907, Pantelimon

Lujza Magova – Smile

Art pieces are objects with no immediate practical value. Their common constitutional property is the ability to reflect reality. Art is a kind of a mirror reflecting the world that surrounds us, reflecting the reality we contain. Even though art reflects the present state of things, this reflected situation was not constructed by the present inhabitants of the woorld, it is a result of an ongoing process.

Whatsmore, art is a mirror that can be trespassed, like Alice´s looking glass, rather than the mirror we look into each morning, the one that makes us forget our dreams, see the same reality every day. It allows us see realities not yet materialized.

Now that we have reached a point where the unsustainability of the system we have created is clearly present and visible, art can provide us a factor to raise the awareness in this situation, help us realize that we are one of the elements on which this system stands and falls.

On top of this, art can soothe and make us feel better. Our bodies copy emotions we perceive on people we interact with, or images of people. The most pleasant emotions manifest themselves as a smile on a face. Even image of a smile in its simplest, stylized form is and archetype representing and producing happiness.

Beáta Kolbašovská

Bucharest - Beáta Kolbašovská

Roman Dziadkiewicz – MUNUS

permanent performance / collaborative research project
The term « munus », what comes from old Latin language, means: a service, office, employment; a burden, duty, obligation; a favor; a spectacle, public show and a gift, in the same time. This « knot » of contents is the core of the family of terms, like following: com-muni-sm, communite, to commune, to communicate, communication. There are semantic fields (with common or divided elements) I would like to deal with – by myself, with my body, my perception, my basic, poor communication tools in relation to the workshop team and others. The proposal can be taken as an experimental engine for interpersonal activities. The searching for the vanishing point (core) for interpersonal relations is a mythical, performative goal for the project. I start with nothing, absolutely nothing, point “zero”, “O”, empty sign, pure potentiality, a question mark and invitation to the collaboration and/or support… Then (I/we) will make first steps, will move, develop, exchange, search, link, give and take, take and give. With any expectations… So…

“Take me to the station
And put me on a train
I’ve got no expectations
To pass through here again”
[M. Jagger / K. Richards] Roman Dziadkiewicz is explaining his performance to the group, and pack a box with all his things to send to Krakow

Kubo Pisek and Beáta Kolbašovská – Barcode DJ’S

Video from Seydou Grépinet

Lujza Magova – What is authority?

In this essay Arendt asks a question: How to deal with the totalitarian power and violence, when the authority, which works only without violence and assumes freedom, has disappeared from the modern world. She puts the totalitarian government in opposition to the authoritarian form of government as well as to the tyranny, suggesting that authority, which began to fulfill the same function as violence, forcing people to obey, has become violence: Everyone who calls modern dictatorships authoritative, or mistakenly regards totalitarianism as an authoritative structure, have implicitly equated the violence and the authority. These views are blurring the boundaries that separate totalitarianism from the other forms of government and bring controversial bases to the political thinking. The elimination of the only political element of traditional religion, fear of hell, as a consequence of Modern age secularization, have resulted in an unprecedented criminality bursting into politics under Hitler and Stalin.

The form of this work will be a performance: sitting on a tiny child’s chair next to the representative communist monument. The intention is to display single human individuals relative to monstrous structures they have constructed over time and the nausea evoked by the impossibility of proper creative conviviality among these structures. To show the society, purpose of which was to serve and protect human individual, to provide him freedom from life’s disquietudes, but which have eventually enslaved him. An arrangement that was supposed to be here for people, but turned against them, overgrowing them to the measures they can never reach. Another object relating to this natural human body is a baby chair representing suppressed spontaneity. According to Hannah Arendt, that the goal of totalitarianism was total domination, which can be achieved by eliminating spontaneity and thus destroying man as a moral agent and as an individual.

Performance on the stairs of the Caucescu Palace in Bucharest/ Romania

Group photo on Ceaușescu Palace

With Beáta Kolbašovská, Edyta MĄSIOR, Jarosław Wójtowicz, Joanna Bednarczyk, Judit Kurtág, Kubo Pisek, László Milutinovits, Lujza Magova, Łukasz Jastrubczak, Mathieu Lericq, kolektyw PALCE LIZAĆ (Barbara Nawrocka), Roman Dziadkiewicz, Seydou Grépinet, Tomas Matauko, Nils Clouzeau, Vasi Hîrdo

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Collective spontaneous performance

How to hold each other on the subway in Bucarest…
(Pictures J.Chovin)

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Mathieu Lericq – Kino Wagon #01

TOMORROW MORNING, I WILL CROSS THE BORDER FOR YOU

The kino_wagon sessions during the workshop started on the 2nd of July at the French Institute of Bucharest with the screening of “Morgen” (2010), a long-feature film directed by Romanian director Marian Crișan. Taking place in a little village near the Hungarian border called Salonta, the action shows a untypical friendship between Nelu, a Romanian inconspicuous villager, and Behru, a Turkish immigrant who illegally tries to reach his family in Germany.
The film starts with a morning motorbike journey of Nelu, from the place he used to go fishing and the place he works. In between, a border separating Romania and Hungary. The sequence turns quickly into a metaphor : the fish that Nelu carries in his side-car cannot cross the border without certification. He thus must throw the fish in Hungary in order to go back to Romania. The fish, without a proper “identity”, will die here, in the total indifference of the authorities. What the spectator does not know yet is that a second fish, in a human shape, will soon appear. And, in contrast with the first one, he will pursue his journey despite a very uncertain road.
The second fish comes from Turkey and wants to go to Germany. Without any sort of interest, Nelu gives him food and hides him in his cellar. Their friendship creates itself beyond languages, conventions, moralities and laws. The film avoids the intentions in order to focus on the confrontation between a specific context and an unexpected relationship. That is probably also the reason why the director prefers to shape his film as a portrait made by series of long shots, instead of a drama based of narrative efficiency.
One of the questions that the film rises is : What immigrating means? The film does not give the answer but draws the outlines : a desire of passage, an impossibility to communicate, a possibility to be deprived from the only things you possess, an abandonment without identity, a long-term loneliness in unknown spaces. An endless in-between.

A second question is developped in the film : What a friendship can be based on ? A trust beyond languages and traditions, a possibility to start to feel again, to surpass the others’ and your own expectations.
The different issues, discussed during the debate, will probably be extended throughout the workshop : How can we define the status of an immigrant? Are we, in a certain way, immigrants? What a collaboration means? How can we find a balance between the creation of a group and a deep approach to the territories around us?
At the end of “Morgen”, Nelu brings Behru in his motorbike side-car through and over the borders. That time, he will not use the official road. Thus, the man who clung to his hook will get the opportunity — the contingency, not the chance — to walk ahead. An helicopter flies in the sky, turning the human will into a dangerous quest of dignity.

KinoWagon_01

Spontaneous temporary collective exhibition

collective exhibition
Place : Restaurant Trattoria-Roma, Bucarest
With works of Łukasz Jastrubczak, László Milutinovits, Joanna Bednarczyk, Guillaume du Boisbaudry, Julie Chovin, Roman Dziadkiewicz, Barbara Nawrocka

Łukasz Jastrubczak – Several motives on letter S

Roman Dziadkiewicz – Drawing with Rene

Roman Dziadkiewicz – Drawing with Rene

Some pictures of the beginning

Mecanismes / Les premiers jours du Workshop from PointBarre asso on Vimeo.

kino_wagon workshop #3 - Vital memorykino_wagon workshop #3 - Mémoire vitalekino_wagon workshop #3 - Vital memorykino_wagon workshop #3 - ŻYWA PAMIĘĆkino_wagon workshop #3 - Vital memory Next postkino_wagon workshop #4 - Moving shadowskino_wagon workshop #4 - Ombres en mouvementkino_wagon workshop #4 - Umbre în mișcarekino_wagon workshop #4 - CIENIE W RUCHUkino_wagon workshop #4 - Sťahovanie tiene
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