‘Spiritul Sapantei’ – o expozitie la kibbutzul Beeri

Intr-unul din locurile cel mai putin verosimile se afla una dintre cele mai neobisnuite galerii de arta pe care le-am vizitat. Kibbutzul Beeri este situat in sudul Israelului, nu departe de Netivot si Shderot, langa fasia Gaza, zona care se afla in stiri mai mult cand sunt violente, atacuri cu rachete, actiuni ale armatei israeliene in Gaza. Este si o zona de agricultura intensiva, si care la acest sfarsit de iarna israeliana arata verde si inflorit, relativ desigur la peisajul si clima aride din cea mai mare parte a anului.

 

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Cateva indicatoare destul de modeste dar totusi vizibile te ghideaza spre casa care nu arata altfel decat multe dintre casele din jur si care se deosebeste doar prin firma – Galeria Beeri. Eu nu o cunosteam, dar acum stiu – galeria aceasta exista din 1986 si pana astazi au fost organizate aici peste 300 de expozitii – www.gallerybeeri.co.il. Acum Galeria Beeri este prima gazda israeliana a expoitiei Spiritul Sapantei rezultate din colaborarea dintre artisti israelieni si romani, expozitie realizata cu sprijinul ICR Tel Aviv.

 

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Banuiesc ca majoritatea cititorilor stiu multe despre Maramures si despre Sapanta, acest loc special celbru prin al sau Cimitir Vesel. Ceea ce probabil mai putini stiu si eu in orice caz nu cunosteam aceasta istorie este ca pana la al doilea razboi mondial peste un sfert din populatia satului era evreiasca (sursa – http://02varvara.wordpress.com/2010/07/06/sapanta-in-the-carpathians-a-merry-cemetery-and-a-peri-monastery/). O comunitate ca mii de alte comunitati din estul Europei distrusa de Holocaust. Majoritatea evreilor Sapantei au fost deportati in 1944 de jandarmii unguri colaboratori ai ocupantilor germani, putini s-au intors de la Auschwitz si cei intorsi nu au mai ramas in sat. Recomand oricui vine sa viziteze expozitia sa asculte video-ul cu Poemul lui Vasile – o lucrare impresionanta a unui poet popular local, care in stilul specific poeziei populare romanesti descrie istoria evreilor din Sapanta.

 

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Spiritul Sapantei este rezultatul muncii comune a doi artisti israelieni si a unui artist local roman, care au lucrat impreuna in sat in vara lui 2012. Expozitia a fost prima data deschisa in cladirea sinagogii din Bistrita. Mai sus ii puteti vedea pe cei doi artisti israelieni (Nora Stanciu si Haim Maor) reprezentati in stilul portretelor de Sapanta de catre artistul roman Dumitru Pop Tincu.

 

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Ce diferit si ce special arata scrisul in ebraica tesut pe stergarele specifice Maramuresului! Oare evreii Sapantei de acum un secol vor fi avut si folosit stergare asemanatoare?

 

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Portretele lui Dumitru Pop Tincu creaza intr-un fel modelul de referinta al expozitiei. Artistul continua traditia portretisticii din faimosul Cimitir vesel cu subiecte inspirate printre altele din ciclurile vietii si din momentele esentiale care marcheaza viata oamenilor din sat.

 

 

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Haim Manor da replica artistului roman prin picturi pe lemn, care redau in acelasi stil pseudo-naiv persoane si personaje din lumea satului.

 

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Lucrarile Norei Stanciu sunt mai mari in dimensiuni si mai elaborate. Una dintre ele suprapune motivul pictural cu cel al broderiilor, alta arta-mestesug specifica zonei. A doua preia motivele ale culturii ‘elevate’ intr-o inramare specifica artei populare.

Expozitia este deschisa la Beeri pana la mijlocul lui martie, dupa cate am inteles in continuuare va fi prezentata si in alte locuri in Israel si o recomand celor interesati – si ca valoare documentara, si emotionala, dar si pentru o intalnire mai putin obisnuita intre spatii culturale indepartate geografic, dar cu multe apropieri culturale.

 

 

 

Posted in art, Israel, Romania | Tagged , , , , , , , , , | Leave a comment

Carte: Vladimir Tismaneanu – Lumea secreta a nomenclaturii

‘Lumea secreta a nomenclaturii – Amintiri, dezvaluiri, portrete’ de Vladimir Tismaneanu, aparuta la editura Humanitas in 2012 poate fi citita in mai multe feluri. Pe coperta a IV-a gasim o caracterizare semnata de autor:

‘Cititorul, pe care il invit sa ma insoteasca in acest voiaj intr-o lume stinsa, dar ale carei ramificatii raman atat de prezente, va gasi in carte deopotriva recuperari istorice, demitizari politologice, secvente portretistice, un efort de explicatie si o marturisire.’

Carui gen apartine deci cartea? Nu pot sa o caracterizez exact nici macar la sfarsitul lecturii si nici dupa o partiala a doua lectura a unora dintre capitolele care mi s-au parut cele mai interesante. Am gasit in carte prea putine pasaje de analiza istorica sau politiologica pe masura numelui si reputatiei autorului. Am gasit multe secvente portretistice inegale in consistenta si in abordare. Am gasit multe marturisiri, unele interesante, altele mai putin. Am gasit multe explicatii si justificari ale biografiei personale. Stiu ca Tismaneanu este o persoana controversata pe scena publicistica si politica romaneasca, implicat in polemici si dezbateri trecute si actuale. Pentru tismaneanologi cartea aceasta este este de interes prin detaliile despre biografia personala a sa si a familiei, dar marturisesc sincer ca nu exact asta am cautat eu in ea.

Si totusi sa incep de aici, caci Tismaneanu nu numai ca nu ascunde ci prezinta deschis originea sa in lumea nomenclaturii mijlocii, discuta in carte in detalii despre biografia parintilor, rolul lor in formarea ideilor sale, in viata si cariera sa.

‘Problema nu este in ce familie te-ai nascut, ci cum te raportezi la trecut, cum il valorizezi, cat de dispus esti sa accepti ca persoane de care ai fost extrem de atasat au fost implicate in experimentul totalitar. Unii o fac explicit, altii implicit, iar altii deloc. Nimeni nu poate impune copiilor departajari transante de biografia propriei familii, dar cand acestia devin persoane publice, indeosebi intr-o democratie nascuta dintr-o revolutie anticomunista, propria lor credibilitate reclama sustinerea adevarului istoric, nu ocultarea ori chiar falsificarea sa.’  (pag. 153).

Randurile nu sunt scrise despre el insusi, dar au destula generalitate pentru a fi aplicabile.

 

source www.actualitati.net

source www.actualitati.net

 

In ce masura reuseste Tismaneanu insusi sa ramana fidel adevarului istoric in aceasta carte? Problema este din nou amestecul de genuri si de stiluri. Titlul promite revelatii senzationale sau cel putin inedite din ‘lumea secreta’ a clasei de parveniti, impostori, calai si demagogi mai mici sau mai mari, mai rai sau mai ridicoli adusi de istorie vreme de jumatate de secol la conducerea Romaniei. In realitate putine sunt lucrurile de esenta pe care un bucurestean de rand, contemporan si aproximativ din aceeasi generatie cu Tismaneanu nu le stia inca din ‘epoca de aur’. Una dintre putinele informatii inedite cel putin pentru mine a fost ca departajarea de clasa a nomenclaturii a inceput inca din vremea ilegalitatii, a sederii conducatorilor comunisti trecuti si viitori in inchisori si lagare:

‘Am cunoscut personal fosti detinuti de la Vapniarka, mi-au povestit cum trebuiau sa cedeze mancarea din pachetele primite de acasa”tovarasilor din conducere”, timp in care ei erau hraniti cu mazare furajera. Cu alte cuvinte nomenclatura nu s-a nascut in momentul preluarii puterii, ci exista inca din ilegalitate.’ (pag. 203-204).

In prea putine pagini rasuna vocea politologului si a istoricului. Cand se aude ea este clara, la obiect, si cu referinte precise:

‘Politologul Ken Jowitt a scris despre modelul de castel medieval baricadat al comunismului de tip sovietic. Mentalul stainist, ca si cel fascist, era de fortareata asediata. In Romania, fostul cartier Jianu din Bucuresti a devenit, in 1948, o asemenea fortareata, cu securisti in civil circuland pe strazile din zona, ca sa vada cu cine se intalneste, cu militieni plasati in gherete in fata vilelor in care salajuiau magnatii totalitari cu familiile lor, cu doctori aflati zi si noapte la dispozitia mai-marilor puterii.’ (pag. 20)

Greu de vorbit despre obiectivitate cand este vorba despre familia apropiata, despre prieteni sau profesori care i-au format autorului gandirea si l-au sustinut in cariera (Ovidiu Trasnea de exemplu). Personaje istorice care au avut cariere similare sunt judecate diferit si difera nu numai aprecierea activitatii lor dar si limbajul folosit – a se vedea si a se compara de exemplu portretele lui Leonte Rautu si Miron Constantinescu.

Cand este vorba despre cineva din familie sau un personaj simpatizat de autor prezentarea este idealizata, lecturile, muzica, cultura sunt apreciate:

‘Punea muzica clasica la un patefon Telefunken (il cumparase cum se spunea pe atunci “de ocazie”). Ea mi-a vorbit pentru prima oara despre Arturo Toscanini, despre David Oistrah, despre Yehudi Menuhin, despre Emil Ghilels, despre Sviatoslav Richter. Am ascultat la ea, de pe la cinci ani, de obicei sambata seara, simfoniile lui Beethoven dirijate de Toscanini.’  (pag. 105)

In schimb, despre un personaj mult mai aspru judecat cum era Nicolae Moraru, este scris:

‘Citea cu pasiune ‘Roman Gazeta’, ‘Literaturnaia Gazeta’, si alte publicatii sovietice. N-a acceptat niciodata destalinizarea. Avea in biblioteca personala cartea filozofului francez Henri Lefebvre ‘La somme qui reste’, am inprumutat-o de la el, avea paginile neatinse.’  (pag. 263)

Dincolo de anecdotica sunt puse si intrebari mult mai dure legate de angajarea parintilor sai in miscarea comunista, si de continuarea timp de decenii a acestei colaborari (sau mai mult decat colaborari). Referindu-se la mama sa:

‘Mai tarziu am intrebat-o in repetare randuri, mai ales cand mama a citit ‘Primul cerc’ de Soljenitin, cand a citit Vasili Grossman: Dar cum se poate sa nu fi stiut, nu erati acolo? Exact intrebarea pe care o pun si copiii nazistilor: Voi n-ati vazut nimic? N-ati stiut? Intrebarea mea era, mai exact: N-ati vazut pentru ca nu puteati sa vedeti, sau n-ati vazut pentru ca nu voiati sa vedeti? Cred ca nici nu puteau, nici nu voiau sa vada. Si cred ca raspunsul cinstit este ca lucrurile nu erau evidente.’  (pag. 53)

Nu la fel de intelegator este insa Tismaneanu cand se refera la Ion Gheorghe Maurer, si in orice caz nu pune aceleasi intrebari:

‘M-am intrebat adeseori ce-a cautat Maurer, in anii clandestinitatii, in Partidul Comunist din Romania? Ce putea avea comun distinsul avocat cu proletarii fanatici gen Dej, Moghioros si Apostol ori cu croitorese de provincie gen Ghizela Vass sau Marta Cziko, cea care avea sa devina atotputernica sotie a lui Alexandru Draghici? Cum a putut nu numai tolera, dar si incuraja egocentrismul vindicativ si antiintelectualismul visceral al lui Gheorghiu-Dej?’ (pag. 141)

Daca a pus intrebari similare parintilor sai si care vor fi fost raspunsurile – nu este dezvaluit in aceasta carte.

 

source http://www.agenda.ro/lumea-secreta-a-nomenclaturii/274031

source http://www.agenda.ro/lumea-secreta-a-nomenclaturii/274031

 

Cred ca pana la urma in ceea ce priveste obiectivitatea este aplicabil un paragraf scris de Tismaneanu in contextul mentionarii memoriilor lui Popescu-Dumnezeu:

‘Pretentia obiectivitatii ne este nici o secunda atenuata de recunoasterea faptului ca autorul nu are cum sa fie un martor lipsit de interese personale, un personaj situat deasupra valtorii.’ (pag. 222)

Cei care se vor aventura in citirea cartii trebuie atentionati in legatura cu inca un aspect. O mare parte din sectiunea memorialista mai ales este ocupata de insiruirea relatiilor de familie, cu liste de nume ale unor persoane si personaje cu care Tismaneanu sau familia sa au fost candva in relatii, si care au foarte putina importanta si zero interes pentru cititorii care nu au trait sau nu au avut relatii in lumea protipendatei comuniste. Un exemplu (din multe):

‘Cel mai des ai mei faceau mese cu Grigore si Maria Cotovschi, la ei, la parter, ori la noi. Veneau Francisc (Feri) si Aurel (Riva) Mihai: el lucra la arhivele CC, ea era aistenta universitara de rusa, mica de statura, cu o voce mereu ragusita. Riva, nascuta Malcik, facuse parte in anii 30 din CC al UTC, se cunostea de atunci cu Ceausescu. Mai veneau doctorul Cornel Kaplan, si sotia sa, Tea, el a fost vreme de un deceniu seful Sectorului Special (medical) din cadrul Gospodariei de Partid. Era nepoata de frate a lui Chisinevschi, a lucrat in Ministerul de Interne, cred ca a fost chiar secretara comitetului de partid in anii ’50. Era profesoara de sport.’ (pag. 50)

Memorialistica se imbina cu portretistica in cartea lui Tismaneanu. Un capitol special ii este dedicat lui Nicu Ceausescu, de fapt in acelasi capitol este inserat si un portret al lui Petre Roman, si sincer sa fiu nu stiu daca acesta din urma nu este chiar mai negativ decat cel al fiului dictatorului. Ultima treime a cartii cuprinde o galerie de 17 portrete de cateva pagini fiecare ale diferitelor personaje apartinand sau cu legaturi oarecare cu nomenclatura. Este foarte inegala in nivel, stil, continut aceasta galerie care pare sa adune articole de presa sau de blog scrise in momente diferite de timp, cu interesul focalizat pe aspecte diferite. Ea cuprinde portrete ale unor membri ai Birourilor Politice, dar sunt inclusi si profesori ai autorului si scriitorul Alexandru Ivasiuc. Unele dintre aceste portrete sunt bine schitate si dau o imagine exacta si informatii esentiale (Paul Niculescu-Mizil, Miron Constantinescu, Alexandru Draghici, Dumitru Popescu-Dumnezeu, Ionescu-Giulian), altele par a suferi de subiectivitate excesiva intr-un sens sau altul (Eugen Florescu, Gizela Vass, Ovidiu Trasnea). As fi fost foarte interesat sa aflu mai multe detalii despre refugiatii politici greci care s-au aflat in Romania anilor 50, 60 si inceputul anilor 70, dar capitolul care le este dedicat este extrem de dezlanat si scris la modul anecdotic. La fel, despre personaje ca Mihai Roller sau Pantiusa Bodnarenko va trebui sa astept alte carti (poate tot ale lui Tismaneanu) pentru a afla informatii mai complete si mai consistente.

‘Lumea secreta a nomenclaturii’ este mult mai putin decat promite si decat ma asteptam, si altceva decat ii spune titlul.

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Cameras and Gatekeepers (Film: 5 Broken Cameras – Emad Burnat and Guy Davidi, 2011)

Two of the five documentary films competing for the Academy Awards (‘Oscars’) that will be distributed a few days from now deal with the conflict between Jews and Arabs, between Israelis and Palestinians in the Holy Land. The Gatekeepers was distributed commercially and is on screens for several weeks here in Israel, while ‘5 Broken Cameras’ was presented on cable TV a couple of months ago, and this week it was broadcast again, including an almost prime time spot scheduled for tonight on the most popular mainstream commercial channel. This is a good thing, and for the Israeli audiences both movies are highly relevant, as they show different aspects and different perspective of the conflict. There are many differences of course in styles, approaches, characters but the reality is the same, a complex reality with many pieces of puzzle and the more you know, the better.

 

source www.imdb.com/title/tt2125423/

source www.imdb.com/title/tt2125423/

 

The concept and the story of the making of ‘5 Broken Cameras’ is pretty unusual. Israeli film-maker Guy Davidi met in 2005 Emad Burat, a Palestinian inhabitant of the village of Bil’in. This place is well known in the area because the wall of separation between Israel and the Palestinian territories passes in the neighborhood, separating inhabitants from their fields and orchards, and this led to several lawsuits and permanent protests and confrontations with the army some of which turned violent, which were also widely covered by the Israeli and international press and TV. Emad received in 2005 a first camera from Davidi, a camera which covered not only the incidents around the construction of the wall, but also the life of the inhabitants and of the family, the permanent tension between occupation, protests and the need to run normal lives. Since then he is filming until today, actually if I am not mistaken being a cameraman became his profession. In time five cameras broke, most of them during the various incidents, and the cameras themselves became together with the material that was filmed part of the testimony.

 

(video source movieclips TRAILERS)

 

At no moment does the film make the claim that it is impartial. It would be an impossible claim to make as the five cameras are hold by a person directly involved in the conflict, the commentary is made by the same person, and what we see and hear is a part of the close and harsh reality the author and his family lives in. Eventually both ‘5 Broken Cameras’ and ‘The Gatekeepers’ despite their differences share the same problem. Their contents are highly relevant for the Israeli audiences, and the Israelis should watch them in order to understand the consequences of the occupation, the suffering of the other side, the dangers of the status-quo and of the lack of progress in the peace process. However, this is not the whole picture, this is one piece of a complex puzzle, of a long history, complicated present and uncertain future. Of course, there is that much one film (or two films) can show, and reflecting one aspect of the reality is important. The film should be taken for what it is, and the piece of reality that this film is showing should not be confused with the whole reality, as as part of the truth does not equal the whole truth.

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oversmart (Film: Duplicity – Julia Roberts, Clive Owen, 2009)

If there is such a thing like a film to smart to enjoy ‘Duplicity’ written and directed by Tony Gilroy would certainly qualify. It is not that scriptwriter Gilroy misses smart stories in his CV – he wrote the ‘Bourne’ series (based on Robert Ludlum’s novels), ‘Proof of Life’ and ‘Devil’s Advocate’each of them smart. The problem with Duplicity is that he did not find a better director than Tony Gilroy  to direct a script which has many surprises, hidden angles, flashbacks and twists but too few of them are being turn into moments of good cinema suspense or emotions.

 

source http://www.imdb.com/title/tt0118971/

source http://www.imdb.com/title/tt0118971/

 

Duplicity is the story of two ex-spies (one CIA – Julia Roberts, one MI-6 Clive Owen) who go private and plan a big scam by getting hired by two competing moguls in the shampoo industry. In a world where eavesdropping is the rule, where nobody trusts anybody, where every word hides a lie which hides an even bigger lie being a couple of spies and lovers means first of all trusting each other? Is trust possible? this is the permanent question and the answer is so many times no that when time comes to answer yes the answer is simply not credible.

 

(video source OfficialTrailersLTD)

 

The two lead actors create chemistry and they cannot act bad, but chemistry and good acting is not enough, especially as both Roberts and Owen look or are made to look in this film a little bit beyond the peaks of their respective sex-appeals. This may be intentional, as even sexy spies start getting old at some point, and this is a credible situation of life, but simply does not fit the profile of an action movie. On the other side the twists and layers and flashbacks in time are so many and so often that at some point in time I lost interest in watching the action, and believe me, this seldom happens to me in an action movie. Duplicity simply tries to hard to be smart, and the style of director Gilroy does not make justice to the scriptwriter Gilroy.

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no matter what color of hair or what religion (Film: Good Vibrations – Lisa Barros D’Sa, Glenn Leyburn, 2012)

‘It didn’t matter what color your hair was, or whether you were a Protestant or a Catholic, it just mattered that you were a punk.’ This was and probably still is the motto in life of Terri Hooley, the man who inspired the film Good Vibrations directed by Lisa Barros D’Sa and Glenn Leyburn, whose screening was occasioned by the British film festival.

 

source www.facebook.com

source www.facebook.com

 

We are introduced in the atmosphere of the 70s by a number of newsreels of the period. While the flower power, pop, hippie movements were winning over much of the world with their message of peace and non-violence and with their music times were tough for Northern Ireland where the religious conflict entered in a violent phase which was going to leave more then 3000 people dead on all sides. Terri Hooley comes from a political involved family, his father was an idealistic Communist, and Terri loses an eye as a kid in a hate act. His great passion is however music, and with music he tries to bridge the gaps between communities, to bring together people around good and beauty, to what should be normality in a world of conflict and violence. And then the opportunity shows up, as he discovers the young people trying to escape the constraints of the society but also of the conventional culture and express themselves and their feelings in in the visceral and straight roughness of punk music. Hooley will help the emerging Northern-Irish punk bends record and distribute their music, and transform Belfast in one of the punk capitals of the world. Suddenly the city known in the news only for conflict and violence becomes a point of cultural interest, a stage for new and innovative music which crosses communities, religions, and haircuts.

 

(video source Premiere Scene)

 

Good Vibration is a simple and direct film about the power of music, about the capacity of doing good in evil times, about the beauty and necessity of escapism. Actor Richard Dorner draws a passionate portrait of a man who lives for music, who believes that music can bridge and heals. It is not an idealized portrait, as family life falls victim to Hooley’s passion, and this aspect is not neglected. It’s not a perfect film, some of the supporting characters could have been developed for example, but overall it’s, well, a film that passes good vibrations. And there is a lot of music of course, I have never been a fan of punk, but I may become one.

According to the news a few months ago Terri Hooley was attacked and abused in his neighborhood in Belfast. Even if 30 years after the troubles the situation in Norther Ireland is much better than it was, healing and reconciliation may have their chance, sequels of the past still show up and the balance is still fragile. The Good Vibrations shop of Terri Hooley opened and closed a few times. Life has ups and downs, but good sometimes prevails.

 

 

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Felicia Antip

felicia

 

Sunt coplesit de vestea ca prietena noastra Felicia Antip ne-a parasit intru eternitate.

Nu pot descrie acum cat a insemnat Felicia pentru mine, incepand cu
anii 60 si 70 cand ii citeam articolele din Romania Literara care
deschideau o fereastra catre literatura si cultura lumii, o fereastra
unica in anii de cenzura si opresiune culturala. Nu am visat sa discut
cu ea si sa o cunosc personal vreodata, ocazia mi-a fost data intai de
listele internetice, apoi am avut sansa sa o cunosc personal, sa-i
devin prieten, sa petrecem impreuna clipe de discutie unice in
Bucuresti si in Israel.

Un om cum putini am avut sansa sa cunosc in viata.

Fie-i amintirea binecuvantata.

April 2012 - at Radio Shalom in Bucharest

April 2012 – at Radio Shalom in Bucharest

I am crushed by the news that our dear friend Felicia Antip left us forever.

It’s hard to say in a few words what Felicia meant for me. I first met her in the 60s and 70s, she was a respected journalist, her articles in Romania Literara opened to me a window to the literature and culture of the world, a unique window in those years of censorship and cultural repression in Romania. I never dare dreaming that I will meet and talk to her one day, decades later I had the chance to met her via the Internet fora, later to meet her in person, to spend with her unique moments and dialogs in Bucharest and in Israel.

There are very few people of her human and intellectual quality I had ever the chance to meet.

May her memory be blessed.

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‘Theatrical Gestures’ at the Herzlya Museum

The beautiful Saturday last week allowed us to walk to the local art museum which in the last few years hosted several interesting exhibitions, bringing together contemporary artists from Israel and from all around the world.

 

museum

 

The theme of the current exhibition is Theatrical Gestures and you will find the rationale of the name if you read the explanatory text on the Web pages of the museum – the relation between the artist and the work, looking at the world as a stage, incorporating images, characters and words and making sense of them in a world where our time and senses are so much put at stress from so many directions. I would not say that I got it completely, but the theme seems to me generic enough to bring together almost any work of art, and in this case it’s a collection of works from The Angel Collection of Contemporary Art which otherwise would have been impossible for me to see ever. After the great show if Israeli art at Ein Harod a few years ago it’s the second time I see in Israel that important works from private collections are brought for viewing in museums, and this is a trend to salute.

Here are a few of the works that drew my attention. There are many things to appreciate in this exhibition and I surely recommend a visit for everybody who is interested in contemporary art and happens to be in Herzlya or central Israel in the next few months.

 

jackson_ness

 

The work of Mathew Day Jackson Ain’t dead yet(based on Chief Bigfoot) mixes elements of American folklore and … Brancusi (yes, the head of The Sleeping Muse). Close to it we see two works by Israel star photographer Adi Ness inspired by the characters and situations of the Bible enacted by contemporary models.

 

david_altmejd

 

Canadian artist David Altmejd builds a classically shaped bird out of human hands – the effect mixes attraction and horror.

 

monahan_sasportas

 

In another room California-born  Matthew Monahan‘s Scoria Pyre (a strange monster made of bronze and steel) stares at the huge Fan #6 created by Israeli artist  Yehudit Sasportas – a fusion mix of industrial techniques and Oriental crafts, of European landscape represented by means of traditional Japanese painting techniques.

 

aoshima_brown

 

The Japanese influence is present also in another room, where Don Brown‘s YOKO XVIII shares space with two works by Japanese painter Chiho Aoshima who bear a magic and uneasy eroticism drawn with manga techniques.

 

vik_muniz

 

Vik Muniz is probably one of the best know names among the artists in the Angel collection and in the exhibition at the Herzlya Museum because of his documentary film Waste Land  which describes the transformation by the power of art of a community near Rio living near a huge waste deposit. To some the two works exposed now in Herzlya continue the same motive – the one pictured here is reprezentation of a mythological theme realized with waste material.

 

ulla_von_brandenburg

 

The exhibition of German artist Ulla von Brandenburg does not belong to the same collection, but aligns with the subject of the exhibition. Chorspiel is a huge spiral-shaped wall one walks inside to find a sung family drama being projected by the video installation in the center. 

The current exhibitions are open until April 20.

 

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beyond the levees (Film: Beasts of the Southern Wild – Benh Zeitlin, 2012)

Beasts of the Southern Wild is a very different kind of movie. I am actually quite pleasantly surprised that it got four Awards nominations, but I do not believe that it holds serious chances of wining any because it’s too much out of the beaten tack and the regular taste that dominates mainstream American cinema. I would be happy to be proven wrong in my predictions in this case.

 

source http://www.imdb.com/title/tt2125435/

 

The story is apparently simple but it’s not so easy to tell. A small and poor community lives a life in isolation in the Southern extremity of Louisiana. Life is tough and on the edge, but people seem to be happy coping with the elements and getting the best of the little they have. Among them a six-year girl everybody calls Hushpuppy (maybe this is her name, but it does not matter) her world is marked by poverty but also by the thirst of knowledge and understanding of a smart kid, of the longing for her mother who left or maybe died but is present permanently in her thoughts and a confrontation with her father who at first sight seems to be only violent and abusing, but who we learn (and she learns) eventually that is running a race destined to be lost against malady and death. Overall this mini-universe is under a larger global threat – and this is where reality (ecological threat, meteorological phenomena reminding hurricane Katrina) meets with political messages (the area is neglected, when waters start to rise it is abandoned and left to be flooded in order to protect mainland) and with the fantastic dimension – huge mythical animals are permanent threat, breaking the barriers of the dreams, actually nightmares world and intruding into the real world – or what may or may not be the real world.

 

http://www.youtube.com/watch?v=ZF7i2n5NXLo

(video source FilmTrailerZone)

 

It does count and tremendously help the film the fact that the actors are not professional. A face like Dwight Henry‘s is not easy to find, he succeeds to be at the same time anonymous and expressive as a Hollywood star, he passes emotion but the emotions are genuine, he suffers and disturbs, mixing brutality and tenderness. Quvenzhané Wallis is another very young actress who reminds everybody that best female acting happens before they are nine. Documentary realism mixes with computerized fantastic cinematography, Kusturica meets Tarkovsky (the one who made Stalker) and all in the fogs, fumes and waters of the Louisiana swamps. A strange, different, beautiful film that deserves all the awards that it will not get.

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evil and allegiance (Film: Hannah Arendt – Margarethe von Trotta, 2012)

Hannah Arendt ignited controversies during her life, and many of these controversies continued after her death. Margarethe von Trotta‘s filmed biography catches some of them (like the fascination that turned into a love story between the bright Jewish student and the much elder philosopher Heidegger, a Nazi sympathizer) and focuses on one specifically – Arendt’s coverage of the Eichmann trial and her relationship with fellow Jews, the Jewish state and eventually to her own Jewishness. A precipice separated Hanna Arendt’s views from the one of the Jewish Israelis. Where the survivors in Israel were seeing a process of justice in the name of the millions murdered with no justice of mercy, the American refugee was seeing a public revenge that was not judging the deeds of Eichmann but the wrongs of the system to which he belonged. Let me say that as an Israeli I have little sympathy for her lack of sympathy towards Israel, yet I believe that on the ideas plan Hannah Arendt (the film) makes a convincing case for the humanistic views of Hannah Arendt the philosopher. Unfortunately this does not turn into a good movie.

 

source www.movie-magazin.de

source www.movie-magazin.de

 

The story in the film starts with the kidnapping of Eichmann in Argentina by the agents of Mossad. The next scene introduces the American philosopher of Jewish origin and German culture learning the news and commenting them with her husband in their apartment with a view in New York. She had written a book (maybe even the ultimate book) about the roots of evil, so she must travel to Israel and watch the trial of Eichmann in order to understand and see the instantiation of evil with her own eyes. Arrived in Israel she comes to the realization that the source of the crimes of Eichmann is not in ideology and not in some malady, but in the blind allegiance to rules, and in the refusal to measure the orders he received and his own deeds on a human or moral scale. This brings her in conflict with the greatest majority of her Jewish and Israeli friends, as the gap between the perceptions is immediately obvious. Despite having lived through similar ordeals, her conclusions are different and among all she misses the tribal instinct that brings together people of the same ethnic origin. She loves people and friends, not nations and countries, not even her own.

 

(video source The Match Factory)

 

The problem with Hannah Arendt (the film) is that it is plainly and completely uninteresting film-making. It seldom exceeds the borders of respectful but boring biographical movies. There is only one memorable scene in the film, the one where the philosopher talks to her students and the staff of the university – Barbara Sukowa is passionate and convincing, succeeding to bring on her side not only the audience in the film, but also the viewers in the cinema hall. The rest is full with banal and rhetoric verbiage, a lot of stereotypes, and non-significant domestic intrigue. I wonder if Hannah Arendt, the rebellious philosopher and nonconformist character would have liked this film. I doubt it.

 

 

 

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Carte: Florina Ilis – Vietile paralele

‘La sapte ani de la apartia bestsellerului ‘Cruciada copiilor’, noul roman al Florinei Ilis va lua prin surprindere nu doar lumea romanului romanesc contemporan, ci si teoria si istoria literaturii. Aceasta carte monumentala va bulversa in totalitate orizontul de asteptare al cititorului. Romanul ‘Vietile paralele’ debuteaza la 28 iunie 1883 si se incheie la 15 iunie 1889. Doua date inregistrate in memoria colectiva, care consolideaza si, deopotriva, submineaza mitul Poetului national.’

Acest fragment din prezentarea de pe coperta a IV-a a primei editii a romanului ‘Vietile paralele’ al Florinei Ilis, aparut la editura Cartea Romaneasca, 2012, nu poate fi acuzat de exces de modestie. Ceea ce este surprinzator este ca asteptarile create de o astfel de ambitioasa promovare sunt in mare parte indeplinite.

Ce ati zice daca omniprezenta Securitati, politia secreta a regimului comunist (si la randul sau mostenitoarea Sigurantei ‘burghezo-mosieresti’) a carei influenta malefica multi considera ca a existat parca din totdeauna si ca este continuata pana astazi in viata politica si culturala a tarii, s-ar datora printre altele stapanirii unei tehnologii care sa ii permita sa trimita agenti in trecut si in viitor, agenti care supravegheaza marile personalitati ale literaturii romane, care trimit rapoarte operative, care se amesteca in viata publica si privata a acestora? Aceasta este premiza cartii Florinei Ilies, si daca o banuiti de aderare la genul stiintifico-fantastic va pot linisti, caci tehnologia in sine nu este descrisa nicaieri, si nici nu este nevoie. In definitiv obsesia influentelor secrete si oculte, a manipularii si a intruziunii in viata privata exista la romani cam de cand s-a trezit constiinta noastra nationala. Parca in nicio alta parte a Europei si a lumii ‘civilizat-occidentale’ nu au atata trecere teoriile conspiratiei, nimic nu ne mira, si inca o teorie in plus cum este cea inventata de Florina Ilis in romanul sau este acceptabila si acceptata de cititori fara prea multe semne de intrebare.

 

sursa www.bibliotecaeuropeana.ro

sursa www.bibliotecaeuropeana.ro

 

Poetul national este obiectul unei permanente supravegheri, iar cei care il inconjoara, toti fara exceptii sau cu foarte putine exceptii sunt ‘surse’. Agenti secreti sunt trimisi din anii proletcultismului in perioada vietii poetului, implantati in epoca si pusi sa redacteze permanente note informative, prezente in corpul sau ca notite in subsolul paginilor cartii. Cand nu este vorba despre agenti speciali calatori in timp, informatorii sunt cei din jur, personalitatile mai mult sau mai putin cunoscute ale epocii, de la Titus Maiorescu pana la poet insusi care redacteaza note informative despre … noptile de amor cu Veronica. Scopul este punerea in ordine a Dosarului poetului national:

‘Era un dosar al naibii de voluminos, dar in totala neoranduiala. Continea informatii destul de interesante si, in unele locuri, contradictorii. Ba ca vederile Poetului national (ma refer la cele politice, din publicistica) erau democratice (de stanga), ba nationale (de dreapta), incat nimeni nu mai intelegea nimic. In poezie, ba ca era genial si neintrecut, ba ca nu era decit un versificator oarecare, nici perfect, nici capabil sa duca o poezie pana la capat. Ancheta trebuia sa stabileasca adevarul ce si cum si, in functie de asta, poetul sa fie primit sau nu in patrimoniul national. (pag. 181-182)

si mai incolo:

‘Procesul de recuperare si de integrare in patrimoniul cultural a operei lui Eminescu Mihai, de pilda, a scapat de sub controlul ideologic, existand pericolul unei mitizari (fortate si nedorite) a imaginii poetului national. Acest proces de mitizare, daca nu e oprit la timp, poate conduce la formarea unor idei si conceptii gresite despre opera si personalitatea poetului. Comitetul pentru “eternizarea” memoriei lui Eminescu si-a cam depasit atributiile, incurajand un cult exagerat al personalitatii acestuia.’  (pag. 406-407)

Fascinanta este reflectarea stilistica a perspectivelor diferite asupra vietii, bolii si gandurilor poetului, asupra modului in care este perceput de contemporaneitate si in perspectiva istorica. Florina Ilis combina in romanul sau naratiunea aparent subiectiva cu modul de gandire al unui creator implicat in lumea din jur dar si dotat cu o capacitate de analiza si de abstractizare mult peste medie. In paginile cartii regasim metaforele si metricele versurilor eminesciene, nelinistea si cautarea permanenta din manuscrisele poetului combinate cu limba de lemn a propagandei comuniste sau cu limbajul semi-cifrat al notelor informative si rapoartelor de urmarire. Este poate pentru prima data in literatura romana cand limbajul denunturilor turnatorilor securitatii capata un rost si o lucire stilistica.

Naratiunea cartii impartita in patru mari sectiuni si 71 de capitole se desfasoara pe trei planuri paralele intre care exista o continua osmoza si comunicare. Primul este cel al evolutiei (pe care ar fi mult prea simplist sa o numim cadere in nebunie) poetului de la data primei sale internari in ospiciu in vara lui 1883, trecand prin perioadele de tratament la Viena, revenirea la Iasi, internarea la Neamt si pana la faza finala bucuresteana, premergatoare mortii poetului in 1889. In paralel este rememorata biografia vietii active a lui Eminescu si mai ales a relatiei sale pasionale si pasionante cu Veronica Micle. Totul este invaluit in actiunea de supravegere permanenta a Securitatii eterne, dar si aceasta are o evolutie, plecand de la un dosar intocmit pe vremea ‘vechiului regim’, trecand prin perioadele stalinismului, dezghetului relativ si pana la reminiscenta national-comunista. In pofida structurii complexe si a numarului mare de pagini cartea se citeste cu interes sustinut, pastrand suficiente surprize si schimbari de perspectiva care intretin permanent interesul lecturii.

 

sursa citynews.ro

 

Aflam ceva nou despre Eminescu? Poate ca intrebarea ar trebui pusa putin altfel – mai putem afla astazi ceva nou despre poetul ale carui versuri le-am invatat a declama fiecare dintre noi in scolile noastre (desi ele nu erau, functie de epoca istorica in care ne-am format, neaparat, acelesi versuri)? Despre ganditorul, iubitorul, bolnavul, visatorul si vizionarul ale carui cuvinte insotesc viata si simtirea oricarui roman, despre ziaristul si omul de opinie care a fost analizat, idealizat, studiat si denigrat in toate felurile posibile? Nu cred ca Florina Ilis a avut neaparat ambitia sa adauge noi informatii exegezei stiintifice eminesciene. Mai degraba cred ca ea a plecat de la cele scrise de catre si despre poetul nepereche si le-a extrapolat intr-o carte voluminoasa si stufoasa, pasionanta si intriganta, care este numai a ei. Daca Florina Ilis a adaugat ceva nou la cunoasterea noastra despre Eminescu, cred ca esentialul trebuie cautat tocmai in noi, in modul in care romanii ne raportam la Eminescu, il asumam cu pasiunile si cu erorile sale, cu talentul si cu slabiciunile sale omenesti. Sunt multe pagini interesante, pasionante chiar, in carte despre scrierile politice ale lui Eminescu, despre fixatiunile sale xenofobe si antisemite, despre iubirea sa pentru Veronica si modul in care ii raspunde aceasta – dar cartea aceasta cred ca poate fi citita mai ales ca o carte despre societatea romaneasca, despre legendele sale urbane, obsesiile si temerile ei, si despre modul in care stie sa isi iubeasca si sa isi devore proprii idoli.

 

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