Beáta Kolbašovská – Revolutia din 1907, Pantelimon

Lujza Magova – Uśmich

Dzieła sztuki są obiektami bez natychmiastowej, praktycznej wartości. Ich wspólną, konstytuującą własnością jest zdolność do odbijania rzeczywistości. Sztuka jest rodzajem lustra odbijającym świat, który nas otacza, odbijając rzeczywistość, którą mamy w sobie. Nawet jeśli sztuka odbija obecny stan rzeczy, ta odbita sytuacja nie została stworzona przez współczesnych mieszkańców świata – jest wynikiem trwających procesów.

Co więcej, sztuka jest lustrem, które może być przekroczone w swoich granicach, jak szkło powiększające Alicji, prędzej niż to, w które patrzymy każdego ranka, to, które zmusza nas do zapominania naszych snów, widzenia tej samej rzeczywistości każdego dnia. Pozwala nam widzieć rzeczywistość jeszcze nie zmaterializowaną.

Teraz, kiedy osiągnęliśmy punkt, gdzie niestabilność systemu, który stworzyliśmy, jest jasno obecny i widoczny, sztuka dostarcza nam czynnik do podniesienia świadomości w tej sytuacji, pomóc nam uświadomić sobie, że jesteśmy jednymi z elementów na którym ten system stoi i może upaść.

Na szczycie tego, sztuka może koić i sprawiać, żebyśmy czuli się lepiej. Nasze ciała kopiują emocje, które dostrzegamy u innych ludzi, z którymi wchodzimy w interakcje, lub obrazami ludzi. Najbardziej przyjemnym manifestem emocji jest uśmiech. Nawet obraz uśmiechu, w swojej prostocie, wystylizowanej formie jest archetypem reprezentującym i produkującym szczęście.

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 – Red chair

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

IMG_0302-1

Collective spontaneous performance

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

IMG_0190-1 IMG_0192-1 IMG_0188-1

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.

 

 

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