dr. Gica Manescu – Intamplari si Amintiri: Cizmarul

Prietenul meu din Bat Yam, dr. Gica Manescu mi-a dat permisiunea sa preiau pe blog inca un episod din amintirile sale. Ii multumesc din nou pentru osteneala de a-si asterne pe hartie amintirile si intamplarile prin care a trecut si pentru placerea pe care ne-o face de a le impartasi.
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Daca am inceput sa scriu cate ceva despre “ lumea inconjuratoare “ care ne ajuta sa traim mai bine si poate mai usor, am gasit, de mai mult timp, intr-o sradutza ce uneste doua strazi paralele, tot un emigrant rus, un cizmar. Trecand acum catva timp prin ea, mi-au venit in minte amintiri, din anii copilariei . Ce frumos a fost!

sursa: www.geschichteinchronologie.ch

Parca eram in orasul meu natal, Focsani, in care candva, Milcovul facea granitza intre Muntenia si Moldova. Acolo a fost strabunicul meu, un fel de vames. Dar amarat, cu 4 copii si fara “ ciubuc “ Nici n-ar fi luat. A fi “Cohen “ era o cinste, in Comuntatea evreiasca, cat de mica era. Pentruca n-a vrut sa ia bacsis de la un turc, traficant de tutun (bacsisul era introdus de ei de peste 100 ani), a urmat o  tragedie. Sub coviltirul carutei, Efraim ,strabunicul meu, a gasit foi de tutun, interzise, fara unele taxe. Nevoind sa plateasca, turcul“ l-a achitat” pe vames cu un glontz mortal.  Asa a ramas strabunica, vaduva tanara, saraca si cu casa grea. Parca-l vedeam pe domnul Schwartz, care repara incaltzamintea, doar cu materialul clientului. Intr-o camera la un  demi-sol, cu un bec atarnand deasupra mesei de lucru, pe un scaunel cu trei picioare,cu ochelarii pe varful nasului si un zambet in coltzul gurii. Scuipa din gura cateva cuie, din lemn sau fier, si-mi raspundea la salut. Trebuiau pingelite ghetele mele. Lua in mana bucata de crupon, cumparata de tata la domnul Zilberman, si incepeea prima operatzie. Punea o foaie de ziar pe o talpa si cu o pila speciala – rashpel- lua modelul si marimile. Avea tiparul cu care taia din crupon, ce ii era necesar,imi dadea restul si sa vin  dupa patru zile. Nu intrebam de pretz si nici el nu-mi spunea. Eu ridicam ghetele talpuite si tata ii trimitea banii.Acum aveam o reparatie mica, la pantofi. Se tocisera   putzin, marginile tocurilor. Trebuiau indreptate, sa pot calca bine. Am ntrat in strada de trecere. Acum, in  fatza mea, la umbra unui pom, sedea el, pe un  scaunel, in  spatele unei mesutze cu unelte de cizmarie. Un barbat de vreo 60 ani, cu ochelari cu rame de metal, cu o sapca pe cap, un pulover in carouri . Potrivea niste flecuri, dintr-o foaie groasa de cauciuc, la niste pantofi scalciatzi. S-a oprit si m-a privit. Shalom – shalom. I-am dat sa intzeleaga ca nu vorbesc limba lui. Am trecut la ebraica si ne-am intzeles, cu ce stiam fiecare. Surpriza mea,a  fost cand l-am intrebat de unde vine. N-a intzeles. Cu aratatorul spre el am spus: Kiev ? Moskva ? Leningrad ? A raspuns: Bender. Deci Cetatea Alba, in Moldova – Basarabia. Ciupea ceva pe romaneste. Venise de 3 ani, cu sotzie si 3 copii. Tatal lui  fusese   responsabil la o cooperativa de reparat incaltaminte, in locul unde bunicii, au avut-o inainte de revolutzie. El a  invatat si a ajuns institutor la o scoala din  oras. Nu le este usor,  locuintza gasita, mica, dar spera la mai bine.  Una din  fete,pianista, este “ozeret “ – ajutoare- la o famile si mai are cateva lectii de pian. El cu cizmaria, mai aduce un ban. Ia pretzuri modeste. Lucru de maestrie, nu face. Stie ce a mai apucat sa vada si chiar sa incerce, pe langa tatal lui.Mici reparatii si el are tot de ce e de nevoie. Tot ca domnul Schwartz, tzine in  gura cateva cuie, cu o sula face gaurile si cu un ciocan special, bate cuiele. Are si o solutzie de lipit, cam indoelnica.

sursa judaica-art.com

Langa el pe banci, concetateni isi povestec intre ei ( parca e ceva specific rusilor, de a se aduna prin parcuri, gradini si a sta de vorba ) .

Am scris titlul dupa cum ati vazut. De fapt, omul meu, ca sa spun asa, nu e cizmar adevarat cu calificarile necesare. As fi scris “ sandalar “ termen folosit in ebraica, dar in romaneste, n-ar fi fost corect. Exact ar fi fost poate “ carpaciul “,dar m-am oprit. E o expresie prea pejorativa si nu vreau sa jignesc pe nimeni.

Cand ploua si trec prin gradinitza, nimeni sub  copac, nimeni pe banci.E rece, e umed, pe jos, baltoace. Sunt trist.Eroul meu din povestire, sta prin casa si nu-si poate imbunatati traiul zilnic. Noroc insa, ca suntem in Israel si nu in Republica Moldova, ca aici, soarele e mai mult pe cer, decat dupa nori.

Dr.G.Manescu

Iulie 2010

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Film: Laissez-Passer (Bertrand Tavernier – 2002)

Life under German occupation was a subject that was treated in the French cinema in a gradual manner, differing according to the time of the production, reflecting the process of coping with the darkest hour of the history of France that the French society when through in the last 65 years since the end of WWII. From the heroic and idealized epics of the years that followed the war, to the variety of genres triggered by the New Wave of the 60s (including comedy) up to the more lucid and more historically and artistically true versions of the last decade. To a certain extent Bertrand Tavernier’s ‘Lassez-passer’ closes a cycle, as it deals not only with day-to-day life but also to film making under the occupation.

(video source CinemoiFrenchFilm)

Based on real experiences and memoirs the stories of the two heroes work make them work both in the film industry, but they never meet in the film, or if they do this is not shown on the screen. I find the idea genial, as the ways the two work and survive the war, the ways they oppose the occupation and resist not only physically but also morally are radically different. Director Jean Devaivre (Jacques Gamblin) is marginally involved with the Resistance but works for the hated German-led film house, where artists were obliged to make films glorifying the ‘friendship’ with the Germans, under the control and permanent scrutiny of the occupiers. Script-writer Jean Aurenche (Denis Podalydes) seems to be more interested in women, but his scripts insert subversive lines, and his actions alleviate the sufferings of a fellow writer imprisoned by the Germans. Both decide to continue to work under censorship and brutal control, and the moral rationale of this option is the key question of the film. Should the great artists of the time (names like Jean Gabin, Darielle Darieux, Michel Simon, director Clouzot) have refused to work under occupation/ Where does the positive will and need to continue life and to help the moral of the compatriots stop and collaboration with the enemy start?

(video source ao456)

It is a long film, and especially the first 30 minutes are quite confusing, letting the impression of a difficult take-off, especially for viewers who are not necessarily familiar with all the heroes members of the milieu described in the movie. It can be felt that Tavernier was in love with the subject and wanted to present the complex picture of the period as completely as possible, but avoiding simplifications needs not necessarily result in a much longer film. The viewers are however rewarded in the second part of the film with two film moments of anthology, both having Devaivre (Gamblain) as a hero – the haunting bicycle trip from Paris to the campagne in order to visit his family and the even more surrealistic episode where after getting hold of some secret documents he is flew into England to be briefed by the British espionage experts. If the episodes are also true as claimed they show that life in time of war can make sometimes stories greater than the stories imagined for the big screen.

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Viva Espana!

Despite all fears, despite the apparently slow start, and despite having lost before the semifinals all teams who were potentially playing the flamboyant and spectacular football we love to praise, but which did not prove itself on the stadiums for the last three World Cups, the 2010 edition proved to be a success, not falling with anything from the previous editions, with one exception – the bloody vuvuzelas. I hope that these noise making devices will stay in South Africa and will not make their way to, or even better, will be forbidden in Europe and the rest of the world. With the vuvuzelas almost permanently on the background World Cup 2010 lost one dimension of the football show – the sound of the crowds in the stadium and the feedback of the tribunes to what was happening on the field. I hope they will go away.

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

(video source GotFAL)

At start we all had the impression that the European teams are too tired for the competition, as result of the long and exhausting seasons the top teams and players play in Europe, including the national leagues and cup competition and the mid-week Chanpions League. Actually it was mostly the internal problems of teams like France and the lack of imagination of the managers of England and Italy that put these teams out of competition at a relative early stage. At some point, in the quarters it looked like all four semi-finalists may be from South America, but then both great favorites Brazil and Argentina were out of the competition, and the South American dream final remained just a dream. Whether Maradona is a great team manager or is no manager at all remains an open question. For sure Dunga is a mediocre one. African teams completely failed to capitalize on the World Cup being played in an African country, and the next opportunity may not come that soon.

Did eventually the best team win? I personally doubt. I have the feeling that if Germany and Spain were to play ten games, Germany would win six, but it may bot be the important ones. Fact is that Spain already beat Germany in the European championship final and in the World Cup semifinal, this is what counts, the rest is fantasy. So yes – the team who put the right goals at the right time won, and this is what counts.

The final game was an all-European affair. I started by siding with Netherlands, but because of their brutal game I ended by favoring Spain, and I am glad that they won. Four times 1-0 as Spain won all its games in the elimination phases is no good PR for spectacular football, but the team is great, and it is actually the only team in the competition that got close to the value of its individual players.

This World Cup also put under question mark the referees decisions in some of the matches. I think that the referees were not as guilty or incompetent, but rather the games were sometimes so fast that they overwhelmed them. It was a good thing that such a mistake as the one in the game between Germany and England happened here – at any other places and without hundreds of millions of witnesses it would not have led to the change in the game rules that I am sure will take place pretty soon and bring soccer closer to fairness, thanks to technology already used in other sport disciplines.

At this very minute it’s fiesta time in Spain. Congratulations, Spain! Viva Espana!

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Opera: ‘Pique Dame’ in Tel Aviv

The last evening of the opera season brought us yesterday to the staging of ‘Pique Dame’ the beautiful creation of Tchaikovsky based on the novella by Pushkin – a story of passion and obsession, which gives the opportunity of great performances to the singers of the principal roles, but also offers beautiful arias and moments of charm and drama to the singers in the supporting roles. The complex story and the staging close to the court of empress Ekaterina allows for Tchaikovsky to include an opera in opera fragment, as well as a glory chorus for the empress, with quotes and bows to the music of the 18th century. The libretto itself written by Tchaikovsky brother and based on Pushkin’s text has many memorable moments with the ‘Life’s a Game’ area in the final scene poignant by both music and words.

(video source IsraeliOpera)

Bringing to stage Russian operas comes natural for the team at the New Israeli Opera in Tel Aviv. Many of the singers and musicians are born, studied and worked in the former Soviet Union, or belong to families coming from that part of the globe, they are familiar and feel well the Russian music and tradition. The staging here belongs to Theatre Wielki National Opera in Warshaw directed by Mariusz Trelinski. Splendid sets dominated by black and red were created by Boris Kudlicka, and the usage of video projects is inspired and gives the scenes a lyric atmosphere. Ukrainian tenor Viktor Lutsiuk was a good Herman, a role that he brought to Israel already with the opera Marinskiy. Ira Bertman was a beautiful and dignified Lisa, and she gets close to the pick of her career, and to the position of local diva in Tel Aviv. As in many other cases the presence of the young singers coming from the Opera Studio brought freshness and quality to the stage – with Shira Raz and Shira Shafir making the best of the musical opportunities in the roles of the Governess and of Masha.

‘Pique Dame’ ended a season I was a little bit concerned about as it was the season after the anniversary of the renewal of the opera activity in Tel Aviv. It was a good one however – in its second quarter of century of existence the New Israeli Opera shows both maturity as well as allows for the influx of young singers and musicians to express themselves providing innovation and quality.

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Two New Exhibitions at the Museum of Art in Ein Harod

inside the Museum of Art in Ein Harod

The closing of the Brown collection exhibition at the Museum of Art in Ein Harod left me as many art lovers in Israel with a taste of more. Two new exhibitions opened a couple of weeks ago in the same space, and we were the lucky visitors in a quiet Sunday morning. Visiting the museum during the week (Sundays are workdays in Israel) has the advantage of silence and avoids the weekend crowds, with the disadvantage of missing the guided tours. The current exhibitions have no audioguides, so as visitors we were on our own.

Albert Rubin - Temple Mount

The room near the entrance hosts early works by Albert Rubin. It is part of a series of exhibition in which the museum helps recovering lesser-known Jewish and Israeli painters which left their mark on the history of Israeli art. Born in Bulgaria in 1887, Rupin’s career was marked by the three years that he spent in Palestine as a student of the Bezalel Art School in Jerusalem (to become later the Bezalel Academy of Arts and Design). Discovered by Boris Schatz, the founder of the school and admitted among its first 30 students, Rubin painted in this period of formation mostly portraits, landscapes and paintings of Biblical inspiration.

Shlomo Nerisky - Spanish Jew in Jerusalem

Albert Rubin - Portrait of a Yemenite

Although it is not great art, Rubin’s paintings catch an interesting moment in the beginnings of the renewal of Jewish art in Palestine before Israel was founded. It also allows an interesting glimpse to the landscape and people of the area in the last decade of the Ottoman rule. For example, here are placed one near another a portrait of Rubin and a photograph from the exhibition ‘Orientalists’ at the Tel Hai Photography museum which I visited a few months ago.

Alleyways in the Old City

The Jerusalem landscapes have also a primary atmosphere and a charm of rediscovery. See for example the group of paintings in the alleys of the Old City, a few years before history, armies and tourists came along together and made these places some of the most crowded and most emotional locations on Earth.

More information and the full catalog of the exhibition is available at http://www.museumeinharod.org.il/english/exhibitions/2010/albert_rubin/

Yechiel Krize - Safed, 1940

The second and most import exhibition of the moment includes again works from the Brown collection, this time focusing on the Abstract period of Yechiel Krize (1909 – 1968). Among the few early paintings of the artists I remarked the landscape of Safed, painted at the time when many other Jewish painters of the time (Menachem Shemi especially) dealt with the same subject. The quest for a new language and the road that led the painter to abstract art is already visible.

Gouache, 1955-1958

By the 1950s the artist had already taken the definite turn to abstraction, melting and recomposing the elements of landscape or light or other sources of inspiration into a new form of expression which had little similarities with works of other Israeli painters of the time, but was in dialog and synchronicity with the modern art of the time, especially American abstract artists.

Closeness, 1958-59

Gouache and oil painting on wood were the two preferred techniques of the period.

the 'white period' room in the exhibition

painting from the 'white period' - early 60s

The ‘white period’ in the early 60s is maybe the most coherent and expressive period of his creation. The Browns seem to have also appreciated Krize’s work of that time, as the period is well represented in the exhibition, with a full dedicated room.

Late Gouaches, 1963-1966

Late Abstract, 1964

The last years of his life brought to Yechiel Krize a better recognition in Israel, with two major exhibitions of his works being organized in the 1960s, and a major retrospective in 1970, following his death. His searches seem to have never stopped, leading him to permanent experiments in form and colors, as well as the crystallization of a powerful and recognizable style.

Painting, 1960-62

An extensive article about Krize and the exhibition in Ein Harod can be read at http://www.haaretz.com/magazine/friday-supplement/he-didn-t-paint-flowers-1.300972.

The Web site of the Museum of Art in Ein Harod is accessible at http://www.museumeinharod.org.il/english/. The museum is open all days of the week.

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Carte: Alex Leo Serban – ‘4 decenii, 3 ani si 2 luni cu filmul romanesc’

Aceste note de lectura au aparut pe Web-site-ul filme-carti.ro condus de prietenul meu Stefan Ene (Jovi) si sunt prima mea contributie la noua editie a acestui site, pe care il recomand tuturor iubitorilor de film si carte.

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Una dintre cronicile culegerii lui Alex Leo Serban ‘4 decenii, 3 ani si 2 luni cu filmul romanesc’ aparuta in colectia CINEMA a editurii Polirom ii este dedicata confratelui sau din generatia mai veche de critici de film romani, Tudor Caranfil. Este o ocazie pentru Serban sa prinda in condei caracteristicile unui bun critic de film: ‘Pentru a fi bun (foarte bun … exceptional) sunt necesare trei conditii: sa scrie bine, sa aiba gust, sa aiba cultura (macar de specialitate daca nu generala).’ (pag. 299). Dupa toate aceste criterii Alex Leo Serban este cel putin un critic de cinema foarte bun.

sursa: www.polirom.ro

Ca iubitor de film exilat, al carui contact cu cinematografia romaneasca a fost destul de ocazional si marcat de mari goluri si intarzieri vreme de peste doua decenii, nu cunosteam nici noile generatii de critici de fim romani. Numele lui Alex. Leo Serban il intalnisem doar ocazional in presa ‘rasfoita’ pe Internet, si apoi aveam sa-mi confirm comunitatea de gusturi ca si seriozitatea si profunzimea opiniilor cronicarului de film (in ciuda stilului, well, cinematografic) vazand o parte dintre filmele despre care scria Serban. Mai recent am descoperit ca criticul este un colaborator peranent la LiterNet – http://www.liternet.ro/autor/90/Alex-Leo-Serban.html. Este primul volum al sau pe care il citesc.

Cartea cuprinde majoritatea textelor criticului despre cinematografia si filmul romanesc. Organizarea volumui este destul de eclectica. In prima sectiune ‘Atitudini si clasamente’ sunt adunate textele autorului care se refera mai mult la industria, presa si institutiile cinematografiei romanesti decat la filmele insesi. Pentru cititorul si iubitorul de film trait in ultimele decenii in afara hotarelor Romaniei valoarea unora dintre informatiile adunate aici este unica, o parte surprinzand, altele confirmand cele pe care le ghicisem din vizionarea unora dintre filmele epocii. Daca in primele texte viziunea este pesimista (un articol din 1993 este tritrat ‘Despre un Cinematograf care nu exista’) iar opinia despre institutiile care ar trebui sa sprijine cinematografia romaneasca este permenent critica, aparitia ‘noului val’ in primii ani ai noului mileniu este receptionata ca o surpriza (‘Adevarul este ca nu l-am vazut venind acest asa-zis “nou val” – pag. 55), o surpriza rapid recuperata si pe care criticul de valoare si sensibilitate se pune imediat sa o analizeze. El detecteaza imediat o ruptura intre generatiile regizorilor de ‘dinainte’ si de ‘dupa’ dar si filoane de continuitate tematica si de raportare la realitate. Noul Val este descris ca un rezultat nu numai al crezului artistic al regizorilor ci si ca o consecinta a conditiilor unei perioade de tranzitie economica, sociala si culturala pentru intreaga lume romaneasca: ‘jaloanele “minimalismului” cinematografic romanesc erau deja trasate: buget mic, filmari “din mana”, sunet in priza directa si o poveste simpla, puternica si adevarata, care face inutile artificiile cinemaului “traditional”‘. (pag 56-57).

A doua sectiune intitulata ‘Portrete, dialoguri si relatari’ cuprinde interviuri cu si luate de Serban, portrete ale unora dintre persoanele importante ale cinema-ului romanesc actual si relatari de la festivalurile de filme, inclusiv de la Cannes din anii in care filmul romanesc era oaspete regulat al galelor premiatilor. Vorbind despre succesul tinerilor cineasti romani in strainatate criticul mentioneaza jaloanele esentiale: ‘Cristi Puiu a pus samanta (cu Moartea Domnului Lazarescu), Corneliu Porumboiu a udat locul (cu A fost sau n-a fost) iar Cristian Mungiu a cules roadele (cu 4 luni, 3 saptamani si 2 zile)’ – pag. 102. Nu lipsesc nici de la Cannes intepaturile la adresa ‘organizatiilor’: ‘Este aberant ca CNC sau mai stiu eu ce “for” sa se laude cu niste filme … facute in regim de gherila’ – pag. 119. Premiile festivalurilor de la Cannes sunt apreciate favorabil relativ cu premiile Oscar – ‘cu cat voteaza mai multi – si mai marunti – cu-atat premiul e mai dubios’ – pag. 120.

Alex Leo Serban

Sectia a treia este dedicata cronicilor propriu-zise. Aici am putut sa compar impresiile mele cu cele ale lui Serban in ceea ce priveste filmele pe care si eu le-am vazut, si in mare parte gusturile coincid. In primul rand criticul nu este catusi de putin reverentios sau tolerant cu esecurile regizorilor din generatiile vechi. Aproape nimic din ceea ce au facut in ultimele decenii Sergiu Nicolaescu sau Malvina Ursianu nu ii place (dar in schimb apreciaza cartea regizoarei) iar filmele lui Pita si Daneliuc sunt receptate si ele mai mult sau mai putin critic, de la caz a caz. ‘Marfa si banii’ – filmul de debut al lui Cristi Puiu este sesizat ca un moment de cotitura si o brusca deschidere de fereastra spre aer proaspat in cinematograful romanesc. ‘Filantropica’ lui Caranfil este asociat unui curent diferit de minimalism cu care asocierea este doar tematica. Despre ‘Train de Vie’ al lui Mihaileanu criticul are rezerve similare cu ale mele. Analizele cele mai serioase sunt cele facute filmelor lui Porumboiu si Mungiu. Despre 4-3-2 in cronica intitulata ‘Acesta nu este un film despre avort’ Serban gaseste cuvintele care cuprind exact si filmul si epoca la care filmul se refera: ‘4,3,2 este ca un experiment cu oameni, numai ca “opera” nu este a lui Mungiu cu a lui Ceausescu; regizorul-scenarist nu a facut decat sa traga cortina peste cutiile transparente in care romanii avortau zilnic vietile lor’.

Ultima sectiune a cartii este intitulata ‘Addenda’ – titlu sub care s-ar aduna de obicei tot ceea ce nu a putut fi categorisit si plasat in logica restului cartii. Tocmai aici insa poate fi gasit cel mai important text al cartii dupa opinia mea. Este vorba despre eseul ‘Cele doua batai de pleoapa ale modernitatii’ care se ocupa de precursorii noii cinematografii romanesti de astazi. Dupa ce trece in revista debuturile cinematografiei romanesti in 1912 si momentul Iliu cu ‘La moara cu noroc’ (‘oricat de important a fost acest titlu pentru vremea respectiva, pare mai mult un film din anii ’30 ajuns la destinatie cu intarziere’), criticul ajunge la anul cheie 1965. Titlul cartii este chiar inspirat din numele filmului lui Mungiu, iar daca numaram deceniile, anii si lunile de la scrierea cartii in urma dam de anul 1965, anul in care ‘Padurea spanzuratilor’ al lui Ciulei lua premiul la Cannes si in care iesea pe ecrane filmul de debut al lui Pintilie ‘Duminica la ora 6’. Daca acesta din urma este mentinat doar ca o rebeliune a formei pe baza unui scenariu conformist, ‘Padurea spanzuratilor’ si ‘Reconstituirea’ lui Ciulei din 1969 sunt pentru Serban dipticul canonic pentru istoria filmului romanesc. Personalizarea viziunii regizorale si includerea elementelor de oglindire a artei cinematografice (de la filmul in film al lui Pintilie pana la studioul de televiziune provincial al lui Porumboiu) sunt semnele de reper sub care se desfasoara evolutia filmului romanesc. Acest eseu care incheie culegerea de texte diferite in origine, forma, si destinatie scrise de Alex Leo Serban intr-o perioada de approape doua decenii pune ordine si da sens multora dintre ideile disparate despre subiectul de pasiune comuna al criticului si cititorilor – cinematografia romaneasca contemporana.

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Music CD: Gogol Bordello – Trans-Continental Hustle

If you have seen the movie Everything is Illuminated which brings to screen Jonathan Safran Foer’s novel you already know Eugene Hutz, the leader of Gogol Bordello. He was Alex, the driver in that strange road movie, which brings the young Jewish-American acted by Elijah Wood back to the Ukraine of his grandfathers and to the secrets of the past that he and his guides share.

source www.amazon.com

The style of the group is defines in lack of another term ‘immigrant punk’. East-European and gypsy influences were very clear in their first albums and in the multitude of public performances. The direct style of their music and message places them closer to punk than to the ethnic music represented by Goran Bregovic or the gypsy bands that became known in Europe and in the US in the last decade.  Gogol Bordello gathers musicians coming from at least eight different countries of origin on all five continents, the majority of them being of mixed ethnicity themselves. Here are a few of the milestones in the history of the band collected from http://www.gogolbordello.com/us/history:

1. Starting members meet at a Russian wedding in Vermont, 1998.

2. FIRST SHOW — No official first show… from party to party, gallery to gallery, GB is a growing snow-ball orchestra of immigrants jamming in A-minor…

3. Banned from CB/GB, Mercury Lounge, Fez and Bowery Ballroom immediately after first performances for being too over the mothefucking top…

5. Records first album ‘Voi-la Intruder’ with great help from and produced by Jim Sclavunos of Nick Cave and The Bad Seeds and Grinderman (ex-Sonic Youth, the Cramps, and much more). Maximum respect!

9. Changes residence from Art Space PIZDETZ to a newly opened Bulgarian bar, Mehanata… soon to become “The CBGB of Gypsy Punk”! Hutz’s weekly dj party ‘DRINK LOCALLY! FUCK GLOBALLY!’ at MEHANATA goes through the roof. People flying in from Tokyo!!! The purists get upset!

10. Gogol Bordello releases the 2nd Album ‘Multi Kontra Culti vs Irony’ (self-produced) and gets a solid rep as a completely unmarketable band (see #24).

11. In 2001, Hutz and Oren Kaplan develop an electronic sister project JUF (JEWISHE UKRAINISHE FROINDSCHAFT), introducing new genre of transglobal underground with radical juxtaposition of styles: Balkan Brass grooves, dub, flamenco, reaggaton, punk – you get the idea… electronic version of Gypsy boogie-down, custom made for the Bulgarian Bar parties… JUF record finally released in 2004 on Stinky Records.

12. Premiers its program ‘Occurrence on the Border’ at Whitney Museum Biennial 2002, and turns into unstoppable gallery-wrecker touring other galleries of the world.

13. Represents simultaneously NY and Ukraine at Venice Bienalle, Manifesta 5, 2002.

14. Premiers its 2nd program ‘Think Locally, Fuck Globally’ at Tate Modern Gallery in London, 2002 (amongst others).

15. Plays a legendary show in Central Park summer stage with Manu Chao and Radio Bemba Sound System and starts touring Europe and US like fucking crazy. Starts the fires in all the backyards from Moscow to Vancouver with tours such as: 

FUCK THE SOUNDCHECK 2002 
GYPSYFICATION OF AMERICANIZATION 2002 
ALCOHOLYMPICS 2003, 
TZIGANIZATZIA BALKANIZATOROV 2003 
EAST INFECTION 2004 
TOTAL PIZDETZ 2005 
HOW DO WE MARKET SERGEY? TOUR 2006 
EAST INVASION 2006 
KNOW YOUR GYPSY RIGHTS 2006 
ILLUMINATION 2007 
FORCES OF VICTORY 2008 

to mention just a few, and simultaneously releasing its own tourly newspaper ‘GOGOL LIEBESACHTUNG’.

17. First concert in HUTZ’s native Kiev, received by Ukrainian press as “UKRAINIAN NIGHTMARE ACCOMPLISHES AMERICAN DREAM.” Thank you!

18. Gogol Bordello, along with Fanfare Ciocarlia, Taraf de Haidouks and other most progressive Gypsy bands of Europe, get exploited by Shantel for corrupted yuppie-catored Bukovina project, but cleverly breaks the ties…

21. HUTZ as Alex appears in the LIEV SCHREIBER’S adaptation of ‘EVERYTHING IS ILLUMINATED’. GB, of course, also appears in the film and is featured on the soundtrack.

24. GB Does series of mind-bending tv appearances on the likes of Conan O’Brien, David Letterman, Jimmy Kimmel, Henry Rollins, Jools Holland shows and embarks on the WARPED TOUR. Starting to see record labels and press use embarrassing title “Gypsy punk” as a term for the GB inspired movement… GB makes a stronger point as an ACTIVIST on ROMANY RIGHTS FRONT, playing benefit concerts for various ROMANY RIGHTS ORGANIZATIONS – ROMANY JAG (Ukraine), VOICE OF ROMA (KOSOVO-USA).

29. GB PERFORMS IN KREMLIN (can you fucking believe that?!), MOSCOW.

31. HÜTZ launches a new electronico-primitivo (romantico-paranormale) project MITITIKA (UKRAINE-ROMANIA!), premieres in Rio de Janeiro, Brazil, May 2008.

Trans-Continental Hustle is their last album, released this spring. If I am to define in a few words the music on this CD, they would be fusion of Latino and gypsy music. There is however much more here.

http://www.youtube.com/watch?v=Rq9nCjYTC2U

(video source wantongibbon)

The album starts in a gypsy atmosphere in ‘Pala Tute’.

(video source honnybonny)

The second song, ‘My Companjera’ continues in the same musical mood, with a pseudo-revolutionary text, enhanced by the exaggerated Russian accent of the vocals.

‘Sun is On My Side’ – astonishing and beautiful ballad, proof that punk music can be romantic sometimes.

To the song of wheels

All demons die

Rays of joy they multiply

Harmony you will be my bride

But when the sun comes up

I’ll let out last breath

And slumber softly

Into the death

The following song ‘Rebellious Love’ has a clear melodic line and beautiful text speaking about the eternal race between love and destiny:

Love is running back to God

God is running after man

Man all run to the unknown

From unknown love comes again

http://www.youtube.com/watch?v=OauoL-z3K5E

(video source wantongibboton)

The immigrant theme present in the first albums of the group comes back here in the striking ‘Immigraniada’ – a poignant cry thrown back by the East-European musicians for the reception they and their kins got from the West:

In corridors full of tear gas

Our destinies jammed every day

Like deleted scenes from Kafka

Flushed down the bureaucratic drain

It’s a book of our true stories

True stories that cannot be denied

….

We’re coming rougher every time

‘When Universes Collide’ brings us back into ballad mood, while the Latino influence dominates ‘Uma Menina’ which has Brazilian touch with Ukrainian spices.

I was less thrilled by the combination in ‘Raise The Knowledge’. It starts with Spanish or Portuguese vocals modeled as some kind of a electronic music effects, continues as a ballad, and even when it gets to the repeated principal key melodic line it does not seem to have really decided what the song is musically about. Maybe as the words say ‘Revolution is internal / Evolution isn’t over …’.

‘Last One Goes The Hope’ starts in a similar style, but here the spectacular musical line prevails and the beautiful lines remain imprinted in the memory:

‘Cause I’ve seen ship of fools

Sinking in the dunes

As I dragged my coffin on the rope

Last one, last one goes the hope

By that point the material becomes a little bit repetitive. ‘To Rise Above’ is not a bad song, but it already sounds like we heard it before on the same CD. ‘In The Meantime in Pernambuco’ is definitely the song that could have been left out without nobody being to sorry.

(video source entertainmentresearc)

But then come the two last songs:

‘Just because I come from the Roma Camp up the hill

They put me in the school for mentally ill’

This is how ‘Break the Spell’ starts and you can imagine that the theme of the song is protest against persecution. Music is among the best ‘Gogol Bordello’ even did and the words become proud and vindictive:

Average intelligence bureau sends Charlie Chaplin in exile

You always do the best what in your familia runs

And so we are the original globetrotters with no guns

We came from Rajistan as non-militant travelers

The time in Byzantium made us even more advanced.

http://www.youtube.com/watch?v=U8-3NI7qEjE

(video source jahkinfo)

Best is kept for the final. The song that ends the albums and also gives it its name starts as an elegy that defies death and ends as a call to sweep away borders and prejudices:

When death comes

I won’t be there

In fact I will not be found anywhere

Not in Nevada

Not in Sahara

We gonna build new kind of globalizer

Without a pantzer foust or a shmiser

And may the sound of our contaminated beat

Sweep all the nazi purists on their feet


The Web site of the group is http://www.gogolbordello.com/.


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Film: ‘Stare de fapt’ (1996)

There is very little information available about this film which was recently broadcast by the Romanian satellite TV station TVRi. The director himself had a career marked by big intervals of silence. His first film was a documentary made in 1970 which made him quite popular, but his next film came only eight years later. His most well-known movie is the adaptation to screen of Marin Preda’s Morometii, one of the best novels about the transformation in the life of Romanian farmer’s class in the mid of the last century. After the revolution he returns to documentary again with a film about the protest movements in Piata Universitatii in 1990. This film also talks about the Romanian changes in 1989-1990 and was made in 1996. Then Gulea went silent at least as a director, until last year, and I did not yet see or hear anything about his last film Weekend with My Mother made in 2009.

The facts in Stare de fapt (which roughly translate into ‘state of facts’ or ‘reality’) are brutal. It is the first fiction film that I saw dealing directly with the events of December 1989 and their aftermath. The hero of the film is a young woman, a physician superbly acted by Oana Pellea. In the night between the two worlds, when the Romanian youth take the streets and the Communist regime tries to repress the revolt, she makes love with her colleague (a divorcee), then they drive in the city and collect a young boy with a bullet wound. They take care of him, take him to the hospital, the wound in the stomach is not critical, but in the next morning they find him dead with a bullet hole in his head. The secret police officer forces them to sign a false death certificate. A few days later she finds herself in the national TV station apparently under attack by terrorist. She recognizes the secret police officer, now having crossed the lines on the side of what should be the Revolution. She is marked as a danger to speak the truth, they try to silence her, she does not accept and decides to stand for the truth.

The first third of the film reconstituting the events of December 1989 is in my opinion the best. The low quality of the film combined with the  good camera work by Alexandru Solomon (himself later a well-known documentary director) plays well in this case giving to this whole part an air of authenticity. The TV studios were the center stage of the events which were labeled worldwide as the first revolution broadcast live on TV. In reality there was a lot of confusion, it was not clear who shoot on whom, many victims could have probably been avoided. It was a time when truth and lie, terrorist and revolutionary, patriotism and corruption, good and evil, which should have been departed at a crucial moment in the history of Romania mixed again in the painful start of a new period in the history of the country, maybe not as bad as the previous one, but much more confusing.

Following the destiny of the young woman for the rest of the film, director Stere Gulea makes a bitter and pessimistic commentary not only about the events of 1989 but also about what followed. The woman gets caught into a web of lies and repression that should not have existed after 1989. Her oppressor (also admirably acted by Razvan Vasilescu) becomes part of the new regime apparatus, but he eventually disappears as well, maybe his existence having become too inconvenient for the new bosses. The father of the killed boy whom the woman meets in the cemetery does not know and does not want to know how he died, he is rather angry that such a good boy as he was did such a bad thing getting killed in the streets. The full new society seems to ignore its heroes, seems to refuse to hear the truth.

The film is not perfect. Despite the dramatic events and tragic destiny put on screen the second part of the film has too many holes and inconsistencies in the story building. It’s more a collection of memorable moments that a story well told. The symbolism is poignant but too heavy. Yet it is impressing and the quality resides in the bluntness of the saying.

The last scene of the film is a childbirth – painful and bloody as any childbirth, but also a reason of hope. There is no smile on the face of the mother, just her eyes are open interrogative about the future.

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Documentary – ‘The Queen and I’ (2008)

Director Nahid Persson is born in Iran, from a family who was actively opposed to the regime of the Shah. As a young Communist she was among the million of youth who cheered in the streets when the revolution broke and the Shah and his wife, empress Farah flew the country. Although they lived in the same country, the two women were separated by huge social and political differences, and for Nahid as for many Iranians the fairy tale lives of the royals had become the symbols of corruption and repression. Yet, soon after the revolution the dreams of democracy and of a better life proved to be illusions and Nahid and her family found themselves again on the side of the opposition, and eventually had to flew Iran.

(video source seventheart)

Thirty years after the revolution the Sweden-settled Persson looks back in this documentary to the time of the revolution, and tries and succeeds to meet the former empress, now living as a refugee, but a different kind of refugee, in order to understand not only what she has become, but also her own feelings towards a woman who decades ago symbolized for her evil, and now is living at least from some aspects a similar life of longing for the lost country. The film includes the interviews with Farah, and these are more or less what you can expect. The former empress is living the life of a high-class, jet-style refugee. Her views did not seem to have changed too much in the decades since the fall from power of the Shah. Neither does the director want to push too hard questions on her. These are asked a few time off-screen, but they seem to have been shared much more with the viewers of the film than with the subject of the interviews. Maybe it’s a sign of respect, or maybe it is the strong and fascinating personality of Farah who wins the heart of the director, or maybe the shared fate of the two women is more important than any other story told in the film. Made and issued to screens around the time when many other documentary films about the fall of the Shah and the Islamic revolution were made 30 years after the events, ‘The Queen and I’ is one of the more interesting, and the human story occupies a better place in this film than the political one.

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Three Art Galleries in Tel Aviv

One of my preferred ways to spend the beginning of a weekend is to visit the art galleries in Tel Aviv. This is what Liliana and me did last Friday, when three interesting exhibitions brought us to the art galleries located in the block of the Ben Yehuda street between the Ben Gurion boulevard and the Gordon street.

the Gerstein Gallery

The Gerstein Gallery at 99, Ben Yehuda hosts first of all permanently the colorful painted metal sculptures of artist David Gerstein.

inside the Gerstein Gallery

The underground level space hosts temporary exhibitions and last Friday I had a last opportunity to see the works of Romanian-born painter Ioan Iacob. Actually the exhibition had closed two days before and I was concerned to miss it, but calling the gallery I had learned the paintings are still there to be seen by visitors, which proved to be true.

Blue Buckets

I confess to have been slightly disappointed by the works in this exhibition. It may be about the selection of the works, it may be about the stage of the development of the artist born in 1954 who lives in Dusseldorf, Germany since 1975. On a small table I could see some other works of him, like an illustrated book of Petre Ispirescu’s fairy tale ‘Tinerete fara Batranete’ which seemed to me more expressive, with a feeling of expressionist angoisse.

Mount Carmel

Many works of Iacob seem to pass a feeling of uneasiness. It is the case of the wild and sick looking dogs represented a few paintings, of the dead nature diptych on a black background (work I liked most in the Tel Aviv exhibition), or the landscapes of mount Carmel which Iacob painted repeatedly probably following a study journey to Israel a few years ago.

the Gordon Gallery

Two houses away we can find the Gordon Gallery. Founded in 1966, the gallery is one of the oldest in Tel Aviv, considered today as an important institution in the development of the Israeli contemporary art.

inside the Gordon Gallery

Among the house artists of the gallery Ukraine-born Joseph Zaritsky was maybe the most famous, and it’s no surprise that the current exhibition is dedicated to him.

'every inch must be a painting'

‘Every inch (or centimeter) must be a painting’ Zaritsky used to say, and the upper floor of the exhibition in the gallery illustrates this concept with details of his works photographed and enlarged to the dimensions of big paintings to show the richness and power of each piece of his paintings. I was only partially convinced.

from the rooftops of Tel Aviv

I liked more the beautiful selection of Zaritsky’s original watercolors exposed at the underground level, some of the best in the rich collection of works of the painters in the possession of the gallery. The many landscapes painted by Zaritsky from the roof of his house in Tel Aviv, representing a city that had not yet developed on the vertical, neither had expanded to swallow and domesticate all the neighboring nature are among the best works of his I know.

the Minotaure Gallery

Crossing the street to 100, Ben Yehuda street we can find one of my preferred galleries, and art places in Tel Aviv.

inside the Minotaure Gallery

The Minotaure Gallery is specialized in Jewish art and artists from the first half of the 20th century. It describes itself on the Web site as a sibling of the gallery with the same name in Paris. This is the place where I dream to see one day an exhibition of the Romanian avant-garde as the Web site talks in the ‘About Us’ page about displaying ‘East European artworks by painters from Ukraine, Russia, Hungary, Romania, and Poland’.

Adolf Hoffmeister exhibition at Minotaure

The current exhibition is dedicated to portraits and collages of the Czech-born painter Adolf Hoffmeister, who was once characterized by Louis Aragon as le plus parisien des Pragois et le plus pragois des Parisiens.

Luis Bunuel

Many of the drawings in the exhibition are ink portraits painted starting from the 20s until the 70s by a painter who frequented the most various art circles in Paris and Europe. Many of his portraits are remarkable, as they catch not only the character of the artist but also of his work. For example a portrait of Giacometti has stylization of the works of the sculptor, Vaclav Havel is caught in the key year 1968 with a confident stare in the future that will come decades later, Ray Bradbury’s portrait has the mechanic look of the future in his works, and Luis Bunuel looks like a character of his latest films about the bourgeoisie.

Marc Chagall

Marc Chagall’s portrait bridges between the portraits and collages in the exhibition, with some of the animal icons of his works translated in the language of Hoffmeister.

Kafka and the media

The cycle of works that represent Kafka bring the Czech genius in the context of the realities of the second half of the 20th century, as a sign of contemporaneity and actuality of the author of ‘The Trial’ and of ‘The Castle’.

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