winged lion magazine 22

about the same topic

“You Yourself Is Different – The Cathedral of the Body” The Adina Pintilie project, sponsored by Cosmin Costinao and Victor Neumann, has remarkably succeeded in immersing itself in a new phase of her long-running artistic research on intimacy and physicality, the research began with the feature film “Don’t Touch Me” and is now continued in the language of arts Optical.

The exhibition presents for the first time worldwide new works by the artist (multimedia installation, video sculpture and VR installation), which expand the dialogue on themes of intimacy, erotic resilience, desire and rejection of contact, the limits and limitations of the body, investigating cinematic language and the relationship between viewer and artistic experience.

It’s a cross-bridge – Venice inspires me – deeply multidisciplinary, meticulously executed and disturbingly done in a suite where dozens of logistical problems, humidity, standardization, etc. have to be overcome. that in every edition of the Biennale, the artistic team and production have surpassed themselves, at the price of tiredness painted brutally on their faces and the happy resignation of opening day.

Lined up in front of the stand, with Adina Pintilie waiting for her turn to speak in the corner, the officers stood at the opening before the microphone, which could not be heard and from which there was only Cosmin Costinaș’s lively and vocal ambition. “Rise from the dead”. Adina spoke with her well-known patron to remember everyone who had already been involved in building the pavilion and thanked first and foremost (and only) the Goethe-Institut. The German Cultural Diplomacy Agency has found a workable solution to provide financial support to the Romanian representative for the project when it is most needed. But I have already written here about the chronic impediments to our representation at the Biennale (https://revista22.ro/cultură/în-acest-pavilion-se-vede-artă).

In my opinion, and without logical reason, the moment of this opening reminded me of the long, winding and as yet unfinished saga of the National Center for Dance, a public institution of national interest that receives the least financial support from the central authority every year. Who founded it – the Ministry of Culture. Constantly struggling to find financial sources, she was in danger of assimilation, she exhausted herself in order for Omnia Hall to become a true center of dance … Yet she has an intense and original programme, dedicated to a young audience, education for movement, interdisciplinary forms, and events that suggest new aesthetics in Performing Arts. Indeed, the presence of Alexandra Peresi in a performance in the Central Gallery of the Biennale – sponsored by Cecilia Alemani – is a testament to the support that the Center initially gave to the talent.

The CNDB was the result of unparalleled creative resistance to management adversity, and it was necessary to demonstrate the success of the community of dancers and choreographers, with strong support from international profile networks and the inflexible alliance of the guild and dancers around it. The result of intergenerational generosity is also fully demonstrated by the unconditional support of Eun, Liana Tojiro, Silvia Gia, Miriam Rodocano, Raluka Injek and many more.

Large protests by dancers and choreographers when the ministry refuses to establish the center, and critical gestures of the revolution in the face of the ongoing administrative sabotage of representatives of the National Democratic Council and the institution itself and the creators’ hard-earned victory. “About Order” came to my mind when I wildly saw the opening of this year’s Roman Pavilion at the Venice Biennale. On Vave Ștefănescu’s face, I only noticed, many times, the signs of exhaustion that I read on Adina Pintilie’s face. No, it is not about overworking the creative artist who gives his positive energy and translates it into creativity. It is about toxic exhaustion, where every inch of creativity is pushed by meters of nervous consumption of financial and administrative obstacles, as if art does not justify the existence of cultural management, but thanks to cultural management there is art in Romania.

When and why did the relationship between artists and those who must provide them with idealized and conditioned expressive frames deteriorate and distorted with such rudeness? Slowly, slowly, new interpretations came to my mind that I had not yet thought of.

Already in 2018, when Adina Pintilie escorted the golden bear to Berlin, we noticed the stereotypical gap between her and Viorica Dăncilă, the prime minister at the time. They looked like two beings living in eras and realities at a very awful distance. The first, connected with world trends, with the universality of creation, themes and the pulse of modernity in its most developed form. And the second, still locked in the closet of pictures of the “comrades” from the party during the communist years, that is, the period when the unruly hairstyle, the honeyed tone and empty formulations wreaked havoc.

Well, expanding this picture, I only now understand that in the 1990s communism fell, through scholarships for mobility, through the ability to engage in long-term artistic exchanges globally, through the creation of the Soros Centers for Contemporary Art, through the continued support of cultural diplomacy Western (as we see, this support is still indispensable today), the artistic community effectively liberated itself. You begin to live mentally, emotionally, and institutionally in a space of the world. He began to breathe and work creatively at this level, freely.

This separation from mental emancipation and the old did not happen with the generations of cultural management, nor with the generations of politics, on the contrary. The development of management took place within a society attacked by all countries and the difficulties of transition, which only served to increase the density of the state apparatus, the consolidation of a cumbersome and dysfunctional bureaucratic structure and legislation, unfortunately irrelevant and outdated.

If we add to this the increasing corruption and marginalization of culture as public policy of the state, and the astonishing and fruitless alternation of thirty ministers of culture in 32 years, we explain why there is such a great schism today between those who make art and those who build the administration that serves creation.

In addition, the human resource that corresponded to the harmful processes described was the human resource with which their values ​​and behavior resonated.

How many unpleasant surprises have I not encountered myself, seeing how, over time, some of the former students with the European Master’s Degree in Cultural Management that I led in France, having reached management positions in Romania, apply what they have learned? , at best, but they have forgotten the moral values ​​that underpin these forms in Western societies. It was a necessary lesson for me, but unfortunately too late.

The parallel between the development described above (artists versus administrators), for example, is seen starkly in the way Guiné and Bergovichi or Manuel Belmo, Mihai Mihalcía, Mungio and Poromboyo define their international artistic expression today and the pathetic recruitment of cultural diplomats. ICR – was proposed and chosen by a political administrative apparatus clearly ignorant of any development of culture and arts in the world.

While the Roman creators live and express themselves, therefore, in the global space and relate to it in the most equal sense possible, the Roman art directors are in a stubborn and constant return to the past and in archaic mechanisms and forms.

But we, the intellectuals, should not feel responsible because there are so many ignorant, haters and uninterested people at the decision table, who lack the slightest passion and knowledge of the arts. How tangible are our fanaticism when we see the extent of nonsense and the incompetence of the cultural official?! What is the ability of effective alliances to change this situation?!

We find that ‘this is no longer possible’, but we always negotiate – or rather think we are negotiating – at a perplexity, the balance of power with management, because it has the decision-making power of finances, which – inherited from communism – automatically subordinates the atomic button to psychology for power.

Or, in a democracy, the power belongs to the citizen, in this case, to the artist, whom the administration must serve, and not the other way around.

Is there anything else for me to do? Is it still possible to find mechanisms for the administration to understand its role and responsibility for “putting it at the service of arts and culture”?!

from where we start?

Perhaps we should start getting much-needed change and modeling, remembering that politics and the arts have always been incompatible. Any exploitation of the arts for political purposes, which then translates into a management that is self-sufficient and arrogant as much as it is incompetent, can have, and notes, in due course, dire consequences for the field of the arts itself.

That any compromise and senseless flattery by an administration that does not understand its role is a suicidal act of the arts. This, yes, it is necessary to reintroduce a form of mediation and negotiation between all the actors in this space on which culture depends, but for the time being, this form of interaction is impossible, as long as those who decide the culture do not speak the same language with those who they do it.

The Goethe-Institut did not support the project of Adina Pintilie to get something in return, nor to show her power over the artist.

He argued that the organization’s philosophy, and principle of existence, is to give effective means of appreciating creativity and to provide artists with the resources to express themselves and focus on what they only know how to do: creativity.

For she, the creation, is in capital letters, like the winged lion that rules the gun: eternal and out of the ordinary, in a world that is tacky and increasingly mortal. //

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