Beáta Kolbašovská – This is not an optical illusion

This is not an optical illusion - Beáta Kolbašovská

Mathieu Lericq – Impacts and Contacts : Variations of skins

Now on the tracks. Arrival at Cluj-Napoca. New approaches to the landscape : our nest is a street without road. Like a body without skin. Each day, we see the workers trying hard to put progressively a cover on the earth. At the same time, we are sweating : new behaviours occur in order to humiliate the sun. Then, we go sliding every day into the water. An issue is emerging progressively : there is a border between bodies and things, and between each object/subjet. In order to understand these limits — which are also points of contact — a question has to be aroused : what are exactly the different layers that distinct us from each other, that create movements or stops in the space — actually rythms and positions, or that are imposed in a whole society by ideologies and political systems ?
The second kino_wagon session, organised at Fabrica de Pensule (art center in Cluj) on the 9th of July, was
an occasion to focus on the issue. As a matter of fact, Krzysztof Kieślowski’s “Train Station” (Dworzec, 1980) shows how different elements (a TV broadcast, walking travellers, and surveillance cameras) connect each other in space. From the first shot on the TV screen, the directing plays with the idea of surfaces. Kieślowski insists on it in order to disconstruct a whole system of authority — which somehow corresponds to the Communist regime of that period in Poland, but not only. In this case, the interconnection visibility/invisibility — a permanent threat — provoks an absence of real relation and trust. The film analyzes less the interconnection than the impacts of skins of reality one on another — people/images/discourses — in such a context. Another film shown during the screening, “89 mm from Europe” (1993) by Marcel Łoziński attempts by contrast to show the gestures — hands and faces of workers — which finally create a contact between the wagons, the generations and the countries.
From contexts to contacts. On another level, the screening was a way to meet some young students from Cluj who are now living abroad. With them, we spoke about the borders, the Hungarian minority of Transylvania, and their relationship with their country. We experiment cultural touches. Besides, these discussions, as well as the interesting lecture of László Milutinovits about Hungarian history, seem a perfect introduction to our following destination : Budapest.
Back to a capital city. Suburban and mysterious connections. The French Institute of Budapest hosts the third screening of kino_ wagon on the 12th of July, shedding lights on an unknown black-and-white film by Mikloś Jancsó “Silence and cry” (1968).
Its action takes place in 1919 in Hungary, just after the collapse of the Soviet republic, in a farm where two women try to protect a Communist partisan. We can analyze Jancsó’s directing on three levels, which give specific dimensions to our issue : an analysis of the different layers of authority, a complex portrait of intimacy, and a choreographic display of bodies within a dictactorship. The film both shows the impacts between bodies when the authority is imposed, and the physical contacts that are exchanged by the protagonists. Jancsó gives one of the most powerful images of combined bodies, surrounded by an almost empty and imposing landscape. The impression given by the documentary film “Black Train” (1970), directed by Pál Schiffer, is opposite. Screened at Bakelit Center on the 14th of July, it presents the social and political gaps between Romas’ workers with the Communist state decisions, between the members of the families themselves (mostly because of alcoholism), and between the interviewed workers and the directors of the film.
Here, the impacts open wounds.
To make a film means to put your hands on reality, to consider it as a zone to shape, a liquid to compress in a baloon, multilayered mechanisms to survey and crease. It is an attempt to manipulate, but phenomena always escape like sand. We can put it this way : the skins can be touched even though they cannot be crossed. Then, it is not worth trying to confuse. Feelings and comprehension are about distance: an irregular friction of sunburning skins.
silenceandcry

Julie Chovin – Sketch on the subway

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A strange man in the subway, moustache, middle-age black clothes, leather with medails bags and ranger-boots.

Kolektyw Palce Lizać – Pic nic in trainstation

entente inside the circle made of chalk

‘entente intérieur
ce qui est tout au sujet, vous pouvez lire en ligne de la mort # 1
si mon français n’est pas parfait s’il vous plaît blâmer le traducteur google’

‘entente inside
what is it all about?
you can read in it in the line of death # 1
if my francais is not perfect, please blame google translator’

The Collective PALCE LIZAĆ started to organise picnics with small groups of people, friends and gradually with bigger groups. They choose and occupy places like abandoned platforms in front of the gated housing estates, once they were travelling with a picnic-trolley along the green path in between two busy streets that used to be a river, and also had picnic during winter.

They are somehow starting some discussion about these parts of the city that are public but not used, and pointing out a lot of interesting spots in Krakow that can be used in a new way, playing between public and private… But first and foremost PALCE LIZAĆ prefers talk about fun, meet people and eat together.

Cristina David – Frunza

The game is called Frunza (n.t. THE LEAF) and I have no idea of its origins, I only know that in Bucharest at least it was very popular in the 80s. I played it million of times, i got swollen lips 3 times and uncounted bruises and nose bleeding from it.

You need to have at least 4 participants, but the best it is play in 6 or 8 or even 10. The participants are divided in 2 teams and each team choose one field of the drawing. The goal of the game is to “conquer”the other team’s field, by touching their leaf that is in one corner. The game ends when one participant manage to enter the other team’s field and touch the leaf.
None of the participants is aloud to step on the lines, if it happens he/she is out of the game. They have to run in the “labyrinth” on the corridor and they can relax or take short brakes in “galuste”. Galuste means dumplings and in the drawing are the ones that look like Mikey Mouse ears.
The teams must do strategies of how to win the games, defending and attacking the opponents.

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