ORTHODOX IS BETTER IS ORTHODOX iunie 2014

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LA BISERIfIcAcIOn! art & culture magazine magazine culture & art l june 2014 june ORTHODOX IS BETTER Stained glass

2 june 2014 Samizdat Table of ConTenTs

Preface (AdA MunteAn)...... 7 Foreword (VisuAl KontAKt) ...... 9 Orthodox Is Better (oliMpiA BerA phd. & GABriel MiloiA)...... 11 Orthodox Is Much Better (oliMpiA BerA phd.)...... 17 New Gold (Astrid ÞîrleA)...... 21 The Cavern (GABriel MiloiA) ...... 25 Artistic Installation and Aesthetics of Detail in Orthodox Is Better (AdA MunteAn)...... 29 Highlights from the Orthodox Is Better Exhibition (CArlos CArMonAMedinA)...... 35 The Hierarchy of the Romanian Orthodox Church (iGor MoCAnu)...... 39 The Romanian Orthodox Church and the Construction of Cathedrals (AndrAdA luCA) ...... 43 The Order of the Golden Cross (oliMpiA BerA phd.) ...... 47 Installations with Chinese Icons and Other Wonders from Neverland (AlinA stAiCu phd.) ...... 57 Architectural Aberrations in Romania. About Language. (AndrAdA luCA)...... 59 Art or blasphemy? (AnA ÞeleA) ...... 65 Rublyov – Symbol of Russia, Symbol of the Icon (teodorA onutz)...... 71 Socialist Realism vs. Post-Socialist Iconography (AdA MunteAn) ...... 75 Serving the Beast (GABriel MiloiA) ...... 79 Wind of the East, Wind of the West – This Brings on a Draft (AlinA stAiCu phd.) ...... 89 Sacred Experience in Plastic Arts Creation: Contemporary Art vs. the Icon (AdA MunteAn) ...... 91 Design and Religion (Astrid ÞîrleA) ...... 99

Details from Orthodox Is Better exhibition

Samizdat june 2014 3 4 june 2014 Samizdat Samizdat june 2014 5 6 june 2014 Samizdat Preface Ada Muntean

AMizdAt is a cultural magazine The concept of the present edition rests spirituality per se, but the institu - which appears periodically and on the project of the Visual Kontakt tionalized system which strives to strives – through a thematic unity, Laboratory, Orthodox Is Better, an enclose these within, i.e. the Church. S which is particular in its spectrum exhibition conceived in a satirical tone, The project is extremely complex due to of concern – to take an X-ray of which criticizes the institution of the the subtle visual analysis of some of the certain subjects with real social, moral Romanian Orthodox Church and its customs of the Church and of the gap and cultural implications. The starting specific mode of functioning through between what it wishes to transmit as point is always the present, as it is of specific means – conceptual and visual. spirituality and what actually transpires. course a mere coordinate between past It also dares to take on adjacent themes. The goal of the present magazine is to and future. This aspect is reflected in the The critique which Visual Kontakt wishes unveil as comprehensively as possible thematic conception of the articles that to exert does not “hit” religion and the permeation of the main concept of make up the magazine and which are the Visual Kontakt project throughout born out of the reflections of the Visual history and the effect in different Kontakt Laboratory, an exhibition space domains and social aspects. This meant for artistic projects that are com - perspective is filtered through the plex – in what regards their concep - individuality of the collabora tors of tuality, as well as their role as visual Samizdat and the uniqueness of the means. The themes that give life to the approach towards the diverse impli - projects of the Laboratory represent the cations the subject concentrates on. same generator of reflection for the Samizdat magazine, but the tone of Samizdat wishes to stand out because of interpreting and extrapolating becomes its approach and the transparency of the different through the individuality of each critical spirit manifested in full power, Samizdat collaborator. totally uncensored and totally assumed.

Samizdat june 2014 7 Details from Orthodox Is Better exhibition

8 june 2014 Samizdat Foreword Visual Kontakt

rthodox is Better is a curatorial In july 2013, out of the over one hundred sacred reinterpretations of the mock-ups project, conceived and created by the applications, designer Astrid Þîrlea and created by the students for the semestrial Visual Kontakt Laboratory and architect Arnold Platon made an official examinations. O exhibited on its premises between selection of 28 works and one winning november 2013 and March 2014. creation, i.e. the proposal for urban The Orthodox Is Better cave is the work of planning from Ms Monica Mateiu. The sculptor Maria Sicoie, which built a The project was initiated in March 2013, selection was exhibited in two similar cavernous wall of 6 m × 3 m, onto which after the publishing of the article friezes, the layout of which recreated the Mr Daniel Rãduþu projected an icono - “Romanian Children Learn the nazi architectural look of a nave. The winning graphic collage imagined by designer Salute at Church” by the journalists creation, representing the central square Raul Lupu. Patrick André de Hillerin and Raul Gheba of Oradea, was reconstructed as an urban in the weekly issue of Caþavencii. The mock-up by Mr Lucian Ivãnescu, The logistical coordination was carried out article was a catalyst for approaching the according to the approved plans of under supervision of the doctoral student multitude of controversies connected to renovation for the near future (2014-2015) Adrian Pop and the public campaign was the activity of the Romanian Orthodox of the arch. Horia Gavriº, whilst the organized by Ms nicoleta Pecherle. Church throughout the past century. monument proposed by Ms Mateiu was constructed by the sculptor Adrian Sabãu. The concept of the exhibit and the Between March and june of 2013, statement were developed by Olimpia Visual Kontakt launched an online Drawings of the illustrator Constantin Bera, PhD, general curator for Visual competition of photographic inter - Stoian sent out throughout the period of Kontakt, with the participation of the vention. Making use of images shot by the competition for the off-section, were organization’s president, Gabriel Miloia. arch. Alexandra Þelea, which portray exhibited in the form of a neo-Gothic The aesthetic concept is a creation of historical monuments, industrial stained glass recreated by the artist. designer Astrid Þîrlea. buildings or street furniture from the city of Oradea, the participants were asked With the help of the students of Oradea’s Visual Kontakt would like to thank the to turn these sites into places of worship Faculty of Architecture and Constructions, architects Adrian Pescaru, Greta Zsak or to pervade them with sacred designer Astrid Þîrlea and architect and Szilágyi László for the granted connotations, as was seen fit. Alexandra Þelea have created a series of support.

Samizdat june 2014 9 10 june 2014 Samizdat Orthodox Is Better olimpia Bera, phd. & Gabriel Miloia

rthodox is Better is not so much for appeasement in a debate which meets the monumentality, opulence and a critique raised against the cannot exist from a conceptual point of symmetry pertaining to canonical forms, institution of the Romanian view. Blasphemy, as a favourite and principles of the ecumenical doctrine O Orthodox Church, as it is a critical instrument of the anti-clerical rhetoric, find themselves integrated into objects manifest towards the sterile debate which covers its activity. Starting from the supposition that the connection between religion and secularity should be resolved a priori in a democratic society, Visual Kontakt does not limit its perception strictly to the forms of the discourse as being ludicrous but regards the mere existence and preservation of such a discourse as an absurdity. Thus finding its setting in a network of conceptual nonsense, the project is a review of the hybrids that are incom - patible with life and which lacking any ontological consistency, find their ideational manifestation in society and their objectified representation – in the gallery.

If dialogue is understood in the Romanian society as a forced juxta - position of two self-sufficient entities, Orthodox Is Better suggests a series of secular-ecclesiastical syn theses by Previous page: producing objects, spaces and archi - Details from Orthodox tectural projections which forcedly Is Better exhibition combine the views that are not looking Details from The Factory of Angels – Orthodox Is Better exhibition

Samizdat june 2014 11 Details from Details from Orthodox Is Better Orthodox Is Better exhibition exhibition

12 june 2014 Samizdat Samizdat june 2014 13 and situations of daily life, making their way through and conquering secular territories. Concept-objects generate ideational syntheses by intending to acquire impossible or useless functions, of which the sole purpose is to reconcile industrial and relativist modernity with dogma and canon.

The Orthodox Is Better project takes place in a gallery-like setting, which allows an intuition of the religious element on a monumental scale. The numerous architectural mock-ups allude to the congestion of ideas and viable possibilities in what regards the transformation of urban ensembles into ecclesiastical constructions. The creation of mock-ups as a process within the project is a semblance of the power the institution of the Romanian Orthodox Church has over the collective psyche and its role as a forum of decision- making in Romanian public affairs.

The infusion of the religious phe - nomenon is suggested by the absurd eclecticism of a frieze which conveys an architecture built in the spirit of modern and post-modern functionality. The traditional Romanian crucifix (troiþa) transformed into a concrete monument, the garages and apartment buildings, the gas station and the supermarket are just a few of the elements sharing their place in the contemporary world. The institution as is that of the church can The exhibits displayed as part of unifying element which appears intervene as a legislative power in our Orthodox Is Better represent metaphors symbolically in the public domain is in lives, without any concern for one’s of the superposition of a traditionally accordance with the belief that an individual spiritual conviction. Orthodox Romanian spirit and a lack of

14 june 2014 Samizdat Details from Orthodox Is Better rationality preferred by the Romanian quo is evoked in the Visual Kontakt into the secular one and the possible exhibition people in handling social and political Laboratory, which entices to an exercise consequences of this, which could crises throughout history. The in - of imagination in what regards the transpose us into an actual reenactment consistency that is present in this status inclusion of the religious phenomenon of the myth of Plato’s cave.

Samizdat june 2014 15 16 june 2014 Samizdat Orthodox is much better olimpia Bera, phd.

he role of the ChurCh in the In the context in which Catholicism brings opposes any liberal vision concerning the Orthodox communities has been up the discussion of a reorganization of spiritual diversity of the world. “The true one of importance since the the Christian dogma under democratic dogma” is the Christian tradition which earliest times. The Orthodox terms, admitting the validity and the institution of the Orthodox Church still TChurch represents – in the legitimacy of other confessions of faith in does not actually recant to this day. collective east-european memory – first God, the existence of extraterrestrial life Bigotry is not even under scrutiny at this of all, an institution that has heroically and the tolerance towards sexual point of the discussion, because it may survived the Communist age. It has minorities, the Orthodox confession still appear in any particular religion and does remained, over the course of time, a symbol of Christian steadfastness and a force of unification between the traditions and spiritual values of eastern europe and Russia, up to the present day.

Orthodox Christianity represents, in the context of the new sociopolitical configurations, a link between the communities of the same confession and a guarantee of the unity between the groups of neighbouring nations. In essence, this spiritual communion should be the pledge of understanding and brotherhood between nations. However, Previous page: in reality, we may speak of an institutional Details from the policy, at the level of the Orthodox Cavern – Orthodox patriarchates and of their hierarchical is Better exhibition organization. Orthodox priests, protests and military interventions (source: Barikada)

Samizdat june 2014 17 Orthodox priests, protests and military interventions (source: Washington Post) not generally characterize the institutional a community of the same language and faith can be foreseen; a division and role of the church in society. All this being confession. On a different level, the metaphorical return to the past, to the age said, there is actually a force within the Orthodox churches in ukraine have in which – in the name of Catholic faith at Orthodox Church to be considered, that opened their doors in order to receive, as that specific time – the power of the is animating the actions of the masses refugees, the injured of Kiev, hence being Church was sacred, law-making even. and the political vigour of some states transformed in true first aid centres. Confer the Inquisition. In the name of the more and more. Orthodox priests, side by side with Greek Lord and – equally so – in the name of Catholic priests, have wandered in the Russian power, we are now bearing The deployment of the Russian armed midst of the ukrainian protesters in order witness to the possible reinstatement of forces to the Crimean Peninsula seems to offer emotional support. nevertheless, the Cold War. The Orthodox Church takes to have the blessing of Patriarch Kirill of the appeal to solidarity and fraternity of on the old prerogatives of the Catholic Russia. The same happened in the the ukrainian metropolitan bishop Church, having a more and more active conflict with Georgia. A true Orthodox towards the Russian patriarchy has still role in the life of society. We could crusade leads the tanks and seems to remained unanswered. imagine, in this context, a true movement, legitimate an imminent war, on a if need be artistic in nature, for the diplomatic and military level – between In other words, a division within politics unfolding of the entire Orthodox descent the great powers and the civilians – within and to a smaller extent of the Orthodox in our day-to-day lives.

18 june 2014 Samizdat building canteen, shelter and hospital, eternal commemoration for the heroes of the people, conferences and liturgies of great amplitude, green spaces and an appropriate parking lot. The location of the cathedral is – random or not – close to the Palace of Parliament. Thus, Bucharest will become a capital in the true sense of the word, and the Cathedral may be envisaged as a small Vatican, i.e. the church-state of the Romanian people. Therefore, let us be ready to offer a warm welcome to Orthodox policies and survival strategies legitimated beyond any democratic debate, to decrees and laws that will transcend the parliamentary motions and the constitutional provisions. Civil society, in turn, will necessarily Details from the regroup in a mass of people united by a Cavern – Orthodox single faith and animated by common is Better exhibition aspirations, such as the hunger for relics and requiems. The protectorate of the We have already made an imagistic surprise; only its appearance and the ROC (i.e. the Romanian Orthodox experiment in our Orthodox Is Better strategic areas in which it could be Church) will then be an absolute one. project, by transforming the mock-up of a positioned need to be established. For central marketplace or of some possible the time being, there are clues and Moreover, it would be best for us to stop buildings into places of worship. We have reference materials offered. The being creative. Let us get organized in gone a bit further by imagining – in the creations are dependent on the guilds of scholars and worthy craftsmen form of a cave – the symbolic projection imagination of the artists, the architects and craftswomen, leaving ourselves to of our Christian conscience and, even and on the approval of the synods. the will of the canons. Thus, let us adapt more, we have created a utopia of the our creative vision to a restrictive vision merging of the secular society with the Planned since the times of Carol I, upon faith. By eliminating concepts like Christian-Orthodox one. It seems that the national Redemption Cathedral thought, free will, living or the transcen - this creation does not suffice and that (Romanian: Catedrala Mântuirii Neamu - dent from the discussion, we shall bring such paradoxes are truly becoming lui) envisions itself to be a pilgrimage site art up to the point of becoming a sterile possible. It would not shock anyone to for Romanians, with a decisive process, emptied of any spirit and see an assembly of priests in the administrative role in the organization of substance, and the image of religious vanguard of a military assault. Thus, a the lives of its congregants. The beliefs will disappear suddenly, alienating Christian military base would come as no patriarchy includes in the plan of the itself from any spiritual forms.

Samizdat june 2014 19 The Mock-up

20 june 2014 Samizdat New Gold Astrid Þîrlea

rthodox is Better is a project in everything connected to the Orthodox well as functionally, making up a which design – considered by aesthetic reveals a predisposition to synthesis in a modern context. many not worthy of being part of grandeur – i.e. dimensions, material and the family of noble arts – comes textures, colour pallet, etc. The The proposal of Monica Mateiu to replace Oto support a concept which monumentality is to be found in the equestrian statue of Mihai Viteazul already has at its basis a decorative abundance in the Orthodox Is Better (Romanian hero Mihai the Brave) from ideology. even if religion portrays the project, as characters specific to the Piaþa unirii (Romanian for Union Square) Details from The idea that spirituality overcomes material sacred are analyzed from the not with that of King Ferdinand (as is Factory of Angels – things, the talk is – at least in the case of perspective of design and through their planned in a restoration project as Orthodox Is Better Orthodoxism – of a sort of “more is reinterpretation in the secular space. The approved by the city hall), but with that of exhibition more” in what regards design. objects are restructured aesthetically as Messiah riding on a donkey, was the

Samizdat june 2014 21 central point of the project. The minimalist deformed cross together with the narrow brought: depending on their initial form, mock-up, built out of white blocks which space that confirms that “Oradea is the they have been modified both structurally suggests the reorganized space, allows territory of jesus Christ”. The royal blue (through additions like the bunker under the central piece, the statue, to come to wallpaper holding the coat of arms of the the “Parish House”, the chimney-tower the foreground by means of its colouring, city of Oradea, the engraved slates, the from the “Angel Factory” or the domes of typically Byzantine. gilded domes, the dimensions of the the “Modern Church”) and decoratively friezes and the objects of worship (the (icons and characters for the “Kissing of The idea that Oradea is a sacred territory minimalist place for candles and the the Relics” and “Heaven and Hell” or the is further sustained by the two charity box, out of black iron) transform rope ladder and the poster with “God monumental friezes, each one being this space in the most decorative part of keeps watch!” at “Meteora”). The mock- made up by 14 selected works which had the project. ups were each placed under an individual made it into the final following the open light cone, in order to outline each space call, works which attest that any public Another area which combines the and letting it tell its own story. space can be transformed into a decorative with the architecture is the “churchified” one. The apparently chaotic space meant for the mock-ups of the The same concept extends on further collage of the friezes makes us think of a students of Architecture. All of these are into another technique: if the glass icons Friezes – Orthodox Is modern iconostasis, laid out along the concept-mock-ups at their roots, to which are the result of the most appreciated Better exhibition walls of almost 6 metres, forming a various improvements have been artistic techniques in religious art, a way

22 june 2014 Samizdat Friezes – Orthodox Is has been found to forsake a classical by the foam wall and the luminous, monumentality being in this way marked Better exhibition window (wholly made out of wooden almost blinding colours. The fact that out from a decorative point of view. boards) in favour of a stained glass they are projected makes them seem window made up out of 15 representative even more alive, the more immaterial Orthodox Is Better has had a strongly images depicting the most common they actually are. As this space was aestheticized character from its very Orthodox practices. connected with the room presenting the beginning. Thus, transposing these mock-up, it is safe to say that by viewing objects into an area of design/ Possibly the most “unorthodox” part of them first in the exhibit, a passage takes architecture/multimedia does not imply a the project is “The Cave”. A series of place from a minimalist, extremely clean lack of respect, but rather confirms their icons seem to be brought to life, vibrating area of the project, to an aesthetically place in the contemporary, secular by means of the irregularities produced charged area – all the degrees of context.

Samizdat june 2014 23 Details from the Cavern – Orthodox Is Better exhibition

24 june 2014 Samizdat The Cavern Gabriel Miloia

he roMAniAn orthodox ChurCh construction of ampler and more solid surface. Only the truly devout painter will has reached a historical maximum structures, but the new forms also be blessed with the gift which will guide of practicing devotees, as is marked the separation of the Western his arm into completion. Thus, the revealed by the record number of architecture from the Byzantine canon Pantocrator paints itself, through the Holy Tparticipants to the different which had influenced it greatly. And Spirit, which favours the painter. For ceremonies and pilgrimages throughout together with architecture, the vast the entire country. The political influence surfaces and the light distanced painting they exert through the mass of rural from the iconographic canon. The motto manoeuvre and the poor from the urban of the period – “nothing is too beautiful for landscape propels the ROC towards a God” – contained the seeds which, in much profounder political influence than time, were to outline the Renaissance it had even in the interwar period, and the and its aesthetic revolutions. reflection of this new climax is found in the over 14,000 churches built from 1990 Orthodox architecture has remained until now. In every municipality, county formally and technically close to the seat or city of second rank in Romania, Byzantine canon. The architectural forms new cathedrals have been built; even the – the square and the circle – or the Metropolitan churches have been pictorial ones – the linear, abstracted eclipsed by new buildings, with a larger style – look familiar even to those that are capacity. It is safe to say that the ROC is not theoretically acquainted to them. experiencing a golden age, fueled by the However, few are aware of the fact that religious momentum of the past years. architecture, as well as painting of a sacred type are connected not only to a A similar period took place in the formal canon, but to a technical one as development of the Catholic Church in well. The icons must be created by the 12th and 13th centuries, when the monks which, during work, say an exact projects of the great cathedrals had sequence of prayers. The Pantocrator is begun, simultaneously with the notoriously difficult, as the painter must consolidation of the urban centres. The use a pencil of a few cubits length, so that Romanesque style sustained by the control of his gestures may get lost in Details from the Cavern – Orthodox Is Better technical advancements allowed the the extremely great distance to the exhibition

Samizdat june 2014 25 industrial techniques, fast, efficient and economical.

The Orthodox Is Better cavern reflects precisely on this intermediary state of Orthodox sacred art, speculating the overcoming of the formal canon simultaneously with the annulment of the technical one. The impediment is the conceptual reticence, as the Orthodox Church is ecumenically close to the values of primitive Christianity and afraid that – together with the appearance of new forms and techniques – it may suffer a loss in its spiritual corpus. The sculptor Details from the Maria Sicoie has created a cave which Cavern – Orthodox evokes precisely this palaeo-Christian Is Better exhibition cult as a conceptual landmark of the process. nevertheless, she has modelled the walls out of polyurethane foam, a architecture, stone and brick connected material as contemporary as can be. by lime are a sine qua non. The iconographic characters digitized by The technical canon was tacitly Raul Lupu and technically processed by overtaken by the unprecedented Daniel Rãduþu are projected onto sinuous amplitude of the building sites. The purist walls, so that the irregularities produce critics argue the value of the construction deformations of the images. These unfold procedures, the concrete arcades and in the form of luminous spectrums, the Insulated Glazing units instead of producing ambiguity in the interpretation stained glass being ridiculed by the of deformity. The perception vacillates guardians of taste, not lacking a certain between the valence of spiritual purity truth in their mockery. Often, mural transcending the rigours of proportion paintings are referred to, which were and that of degeneration of the sacred created through a selection, made by the image and implicitly of the spiritual priest, of some images from the history of experience it illustrates. The cavern sacred art, then combined digitally by the represents a radiography of the Orthodox Details from the artist, projected onto the wall and outlined aesthetic transition, suspended at the Cavern – Orthodox in coal, in order to be afterwards coloured moment between kitsch and the potential Is Better exhibition in. Thus, the canon leaves room for the of a Renaissance.

26 june 2014 Samizdat Samizdat june 2014 27 Details from the Mock-ups – Orthodox Is Better exhibition

28 june 2014 Samizdat Artistic Installation and Aesthetics of Detail in Orthodox Is Better Ada Muntean

rthodox is Better is an extremely elements and due to their reconfiguration flags, illustrations, photographs and courageous project, set out as a within the gallery. The almost burlesque mock-ups. reaction against the formal way of approach in what regards the methods and attitude which the matter at hand adds a warm touch to the The statement of the exhibition mentions: ORomanian Orthodox Church installation in its whole – because the “If in Romanian society, dialogue means enforces in order to transmit its teachings entire exhibition is actually an installation forcedly bringing together two self- to the people. It is to be seen as a critique connected through and through, it its sufficient entities, Orthodox Is Better brought to the Institution at a human level tiniest details. Steadfastly, Visual Kontakt proposes secular-ecclesiastic syntheses, and not a theological one. Laboratory hosts these type of projects – by producing architectural objects, of relative grandeur, which are provocative spaces and projections which The formal aspect, the cryptic and due to their enquiring character, with the constrainedly reunite the positions that absurdly archaic manner of relating to objective of drawing attention and raising are not looking for conciliation in a people practised by the ROC constitute a question marks in an almost theatrical discussion which, conceptually speaking, pretext for a conceptual satire which manner in respect to a few social factors cannot exist. Blasphemy, a preferred becomes – through the complexity of its and features which we may encounter in instrument of anticlerical rhetoric, meets approach – a true visual feast. The Visual certain aspects of our lives. the monumentality, opulence and Kontakt team joggles the most symmetry of the canonical forms, and acknowledged Orthodox elements and The Orthodox Is Better exhibition ecumenical doctrinaire principles find symbols, transposing them into objects of encompasses a series of several themselves integrated in objects and an aesthetic character. All of these make aesthetic objects: an installation made up situations of daily use, sneaking in on up an installation that is both refined and out of a wall of polyurethane foam which and taking over secular territories. shocking for some, due to the removal simulates a cave wall – accompanied by Concept-objects produce idea-centred from the typical context of religious a projection of an icon in Byzantine style, syntheses by following impossible or

Samizdat june 2014 29 useless functions, the sole purpose of which is to reconcile industrial and relativist modernity with dogma and canon.

The Orthodox Is Better project takes place in an exhibition space that allows the intuition of the religious element at a monumental scale. The multitude of architectural mock-ups suggests the agglomeration of viable ideas and possibilities within the idea of trans - formation of urban complexes into ecclesiastical premises. The creation of mock-ups as a procedure within the project is a semblance of the power which the institution of the Romanian Orthodox Church exerts over the collective mentality through its role of decision-making forum of Romanian public life. […] The works proposed by Orthodox Is Better are metaphors of the juxtaposition of a Romanian spirit, traditionally Orthodox in character, with the lack of rationality of the people at handling situations of social and political crisis signaled during the course of history. The discrepancy that is present in this status quo is evoked in the context of the Visual Kontakt Laboratory, which encourages an exercise of imagination in what regards the inclusion of the religious phenomenon into the secular one and the possible consequences which might lead us to fully live out Plato’s cave myth.”

Of all the composing elements of the exhibition, I will make reference to the Details from the Mock-ups – Orthodox Is Better exhibition mock-ups. These make up a presentation

30 june 2014 Samizdat of small dimensions of a series of ideas and visual metaphors regarding some elements from the religious Orthodox symbolism, integrated in contemporary life situations. We have a mock-up in which angels are created in a serial production line as from a factory machine, one in which the icons being kissed as if they were relics are integrated in a domestic context, and another in which the Church is represented as the People’s House (Romanian Casa Poporului), with an enormous bunker under it. In all of these we are challenged to question the transparency of the “divine” protection coming in a predictable way from up, and the surveillance is insinuated as being hidden, and coming – Details from the why not – from down under. Heaven and having its own story, but they actually sculptures, they are not installations, but Mock-ups – Hell are presented like a cliché through make up a whole. The mock-ups as aesthetical objects that bear meaning. Orthodox Is Better their vertical depiction – Hell being a dark points of interest in the exhibition space The manner of technical and calculated exhibition bunker and Heaven, an open, calm highlight one another, but do not compete constructions of these convey a “serious”, space, placed over all other things. The visually. They are configured in an “professional” aspect, assumed in the Church is also depicted in one mock-up extremely easy, aired manner, not leaving visual denouncing of a series of social as a state institution, brought together the impression of “heavy” elements in absurdities with implications of a religious with other institutions of the same type. their spatial context and they arrange character. Thus, the ecclesiastical elements formally themselves as a mini-neighbourhood of represented through the mock-ups are conceptual follies. Orthodox Is Better is a social fantasy, transposed into a possible social reality, visually transposed in an extremely well absurd in some of its features, with Although approaching serious social thought and calculated manner, meant to undertones of subtle humour. The visual themes and aspects, the playful incite, amuse and provoke the beholder – experience is provocative, it baits into character cannot be overlooked. all at once. Visual Kontakt takes on the asking questions, it tickles the However conservative and revolted you role of the instigator, of an actor on an imagination and enforces conceptual may be in regard to the manner of open stage, denouncing an absurd reconfigurations. The real estate aspect “desacredising” some symbols, you universe through a folly-installation, a of the mock-ups offers a special way for cannot get “mad” with the authors for universe in which we find mirrored some their “reading” and spatial reception. The there is an innocent play within the aspects from day-to-day life in the beholder may be tempted to perceive process. The mock-ups from the relationship between the ROC and the them as focal points, unmoving, each Orthodox Is Better project are not Romanian society.

Samizdat june 2014 31 32 june 2014 Samizdat Details from the Mock-ups – Orthodox Is Better exhibition

Details from the Mock-ups – Orthodox Is Better exhibition

Samizdat june 2014 33 Details from Orthodox Is Better exhibition

34 june 2014 Samizdat Highlights from the Orthodox Is Better Exhibition Carlos Carmonamedina

n the MoMent I am writing this, I have to written on the floor and you had to walk adventurous people who dare to enter admit that I still struggle to apprehend over it in order to see the rest of the into a dialogue with different ideas in the intention behind the title of the exhibition, there is always a reward for order to reshape their perceptions. exhibition. Is it a timid euphemism? A I cheeky satire? A subtle irony? Or maybe it is a sincere affirmation, and if that’s the case… Orthodox Is Better than what, better than who?

Very often, we like to feel comfortable by understanding what’s in front of us. This perception helps us create a personal reality that is reinforced by society and culture in general. However, when we stumble onto enigmatic dilemmas such as the Orthodox Is Better exhibition, our universe vacillates and – in order to maintain our sanity – we tend to reject and discard the ideas that we don’t like/understand. But just as with the piece at the entrance of the exhibition, where a religion-infused text was Details from Orthodox Is Better exhibition

Samizdat june 2014 35 commodities and dis tractions like television, internet and paper money.

This is something that I appreciated in the show and that I have always admired in the contradictory Romanian culture: the bittersweet aggressive and self-oriented humour that defines its people so intensely. Humour has been used by many civilizations as a way to escape adverse realities, and religion has been an important target for its enclosure and severe attitude. Romanians seem to have a devotion to combine humour and Orthodox Is Better religion (remember the image of mici – exhibition just as its title, the exhibition as a whole the place which represents and defines the beloved meat dish present at any has different levels of appreciation that its identity. How does that make you feel? Romanian barbeque – being grilled in the can have contrasting consequences in place destined for candles outside the the mind of the audience. This complex Rather than a straight provocation against church? exactly!). Orthodox Is Better product was premeditatedly ambiguous the ROC (acronym for the Romanian knew very well how to use precisely that and very contextual. I like to think that Orthodox Church), Orthodox Is Better is a synergy. even if some of the works were guide to our inner selves and it forces us specifically produced for a public living in to form an opinion about the influence Months before the show, Visual Kontakt and familiar with Oradea, the respective religion has in our daily lives. The launched an open call to the ‘God-fearing items could be understood in other proposal is actually respectful and People of the Internet’ to send in their on- locations as well. Take for example the innocent should you compare it with León topic proposals. The result was a large immaculate white mock-up of Piaþa unirii Ferrari’s work against the Catholic Church collection of images that represented in (en.: Union Square) which was displayed (that caused so much controversy when exaggerated fashion the influence of in a dark room with a desk lamp lighting the present Pope was still bishop in religion in Romanian urban space. the centre of the urban square, Buenos Aires) or the 2014 Gay Orthodox Crosses everywhere, commercial centres evidencing the fact that the statue of calendar that circulated on the internet a decorated with icons, parks and Mihai Viteazul had been replaced with a couple of months ago. In that sense, the monuments transformed into places of coloured replica of jesus Christ. The Visual Kontakt exhibition was more like a worship. The images were accompanied piece proposes to exchange a symbol silly taunt, a wonderful mischief. just like by some metal plaques that were that Oradea citizens know by heart for the drawings in the first room which originally placed anonymously in the another that is very present in the recycled Orthodox icono graphy and its streets of the city, with the following text: collective imagination of a religious typical subject positioning, characters like “Oradea este teritoriul lui Isus Hristos” group. And it is not just any part of the Mary, jesus and other saints depicted in (en.: Oradea is the territory of Jesus city… It is the symbolic centre of Oradea, our contemporary day-to-day life, with Christ). Religious street art taken out of its

36 june 2014 Samizdat context and placed into a gallery. next to the text were some candles and even a charity box, identical to those you may find in any Orthodox church. The greatest irony here was that people actually left some money!

The same playful spirit continued in the next room, where students of the Faculty of Architecture in Oradea came up with a collection of imaginary churches, sanctuaries and all kinds of religious spaces that were embellished as well with small figurines, monotonous recordings, mini laser beams and paper angels... the archetype of kitsch!

One thing the spectator could notice in the exhibition was that the names of the artists were not placed next to the works, as they usually are. A list of the participants was displayed at the entrance, but there is a slim chance to discover the authorship of the pieces. even if this can seem a bit odd, it also makes perfect sense. Very often, we draw upon the title or author of a work to try to understand it and that immediately corrupts our approach. In this case, the figure of the author is dissolved and Details from Orthodox integrated into a greater and more exhibition. There was a piece that ethereal and fugitive. They were there to Is Better exhibition chaotic voice. The exhibition was not particularly caught my attention: a room remind us of the origins of religion in a constructed on personal opinions, but transformed into a rustic cave made simple but powerful installation. no more rather as a collective statement and it has entirely out of polyurethane foam. The institutions, no more discourses... just to be perceived as such. trashy look was barely recognizable in plain faith. After all, isn’t that the only the darkness and was just suggested reason we turn to those kinds of even if the tone of some of the works can when images of saints were projected practices, to try to understand our brief be derisive and sarcastic, this by no randomly on the walls. These symbols of stay on this earth? Once more, art offers means represent the general voice of the early Christianity appeared transparent, us a way to accept our chaotic nature.

Samizdat june 2014 37 Details from Orthodox Is Better exhibition

38 june 2014 Samizdat The Hierarchy of the Romanian Orthodox Church igor Mocanu

e liVe, as it has been repeatedly everything, quickly, in a couple of words!” the classic performing sense, that of stated, in an age of invasion by has been degraded and unfrocked from reading + turning the page + analyzing, the image. The static, the digital, its status of utopian futurist vision to that but that of viewing by means of scrolling the analogue or the movement of an ordinary advertising catchphrase: down. The image has almost become the Wdefines the way in which we “Call now!” Quickly, everything, in a state of aggregation of the social fact: in perceive, process and reason the couple of words. We have almost order to exist, it must have at first been an sociopolitical facts surrounding us. forgotten to read, as the text is no longer image. And although we live and operate Deaconess Marinetti’s beautiful wish of “Tell me the object of the process of reading, in in a world monopolized by image,

Anagnost

Sexton

Samizdat june 2014 39 Secular priest

Provost Protopope especially by the hortative-financial one, drastic way – into a display of natural of the representation that always and history, quasi-entomological in form. inevitably sells something, we are Because a sociopolitical fact, known characterized by a crass visual illiteracy. especially through its imagistic Therefore, the function of contemporary representation, be it through media, icons art, should it desire not to lose the utility it or iconography, is that of the Romanian has been invested with by the humanists Orthodox Church. Although its function of the past century, will be that of has remained one of social, teaching us anew to read, reactivating the communitarian validation, by means of analytical purpose of untangling the an approach of the human trait in terms signified and the signifiers around us. of becoming (you become a social, communitarian man, if you are baptized, The answer of Bogdan Gîrbovan to this have made your confessions, have been state of the spectacular sociopolitical fact married or respectively buried, i.e. you is transformed, therefore, into an appeal are a patient having received at least one to the magical undertones of the purpose Chor of the Christian sacraments), the of image. The colour print appears out of Orthodox Church has as such become anthropological congeniality and pre - which is almost of a ritual manner. The the holder and the vehicle of political monition of the conceptual, announcing contemporary mythology of the power, i.e. that of management of the the serial character of representation, ecclesiastic unseen is transformed – in a libidinal humors of the fortress; however,

40 june 2014 Samizdat Bishop Archbishop and metropolitan Patriarch

the institution of the Orthodox Church is baptizing words with significance. But to fill Hierarchy of the Romanian Orthodox barely known, analyzed, understood in its up a representation with meaning, to Church also has an inevitably critical internal functioning mechanisms. And the reach the expected communitarian goal, function. That of questioning the privileged first function of the series of photographs means to exercise a political power, i.e. place and the social prestige of an taken by Bogdan Gîrbovan will be that of today, a financial or economic-political institution invested with a significant scientific cognizance, by means of a one, if you will. This is the explanation to community function, acting many a times deconstructive, serial approach of the the mercantile approach to absolution, on the same segments as the State or the repetition and the difference, from order which in some places of worship is Bank and becoming, under some to order, from the inferior clergy to the transformed, implacably, into merchandise circumstances, an unlimited liability superior clergy. for trading. This is why the series of the company.

Immersed in an empire of image that exhibits the private – a private, an intimate, Text exhibited in the photographic project: “The Hierarchy of the Romanian a corporal that becomes more and more Orthodox Church” (Bogdan Gîrbovan), within the exhibit Behind the Scenes, identical from one representation to the Artists: The Bureau of Melodramatic Research, together with ªtefan Tiron, another – we go through the entire saga of Simina Guga and Irina Costache, Tatiana Fiodorova, Bogdan Gîrbovan, a dispossession of meaning, and the Mihaela Michailov and Paul Duncã, Olivia Mihãlþianu, Alex niculescu, ªtefan clergy gets attributed the role of the Sava; curator: Magda Radu, Salonul de Proiecte (english: The Showroom of nomothete in the antique forum, that of Projects), 22nd july – 5th August 2012, 62-68 Calea Moºilor.

Samizdat june 2014 41 The Cathedral of Charters

42 june 2014 Samizdat The Romanian Orthodox Church andtheConstruction ofCathedrals Andrada luca

The purpose of civilization is to conquer barbarism, which is the appearance of the world of ideas, which condition of living in a state of fear. has offered the prerequisites for the WilliAM Anderson configuration of Gothic culture, as William Anderson states. he deCline of ByzAntine Culture of tolerance, so that values have come to has left deep marks in the history of find an internalized manifestation, a Fear has manifested itself permanently Orthodox Christians every where. manifestation filtered by frustration, which throughout the history of the Romanian TByzantine culture was preserved in in time has become part of its character. people. The numerous attacks coming reduced forms in eastern europe. On the grounds of a feeling of belonging, from all sides, from barbarian hoards to The political pressure exerted by there also appears this responsibility for imperial armies, but especially through Westerners and, subsequently, by conservation of the identity structure. the ideologies imposed by the great Russia, has delineated new tendencies Western and eastern powers, have kept for the development of Romanian culture. Technology has served the purpose of in check the development of culture, Tradition, within the guidelines of defense and offense in order to insure which could have elevated the individual Orthodoxy, becomes difficult to maintain security in front of physical fear. to a superior degree of discerning. The on its natural course and is sometimes Technology is a question of the spirit. frightened population has always found abandoned in favour of the newly True civilizations approach fear on the its escape under the shield of the Church, promoted ideologies. most profound mental level. The power of be it in the Romanian princi palities, or in the psyche which is outlined in the light of Western europe. Christian philosophy However, the exerted pressure has in the the consciousness which guides the has offered the liberation of a spirit so end failed to redefine the entire existential artist, the thinker and the religious man, oppressed by social realities. Thus, the structure of Romanian society, as the so as to free us of superstitions, is Church has always had the voluntary tradition has been upheld within the limits depicted in the presentation of the support of the population for its

Samizdat june 2014 43 development and continuity in what Following the administrative reorgani - regards the offering of security, which zation of the Romanian Orthodox Church was evidently transformed into political in the 20th century, which implied the power. creation of the Metropolitan Churches, the need to build a cathedral in each Before the Great union, the Orthodox community of united Romania came into Church assumed a political role in the The Metropolitan being, so that the new places of worship revolutions of the Romanian Princi - Cathedral of Craiova may also symbolize unity in faith. In palities. However, in spite of the union Romania however, unlike the countries of and attaining autocephaly, the Church oppression and violence throughout Western europe, architecture lacks the received a serious hit once Cuza’s history. The united Romanian society has continuity within the temporal dimension reforms were enforced. The cultural the opportunity of regaining its identity to which it is exposed, having a role in the processes could not be carried out at through the manifestation of free religious definition and evolution of the archi - their true potential, as there were not faith which represents its foundation. tectural styles which conserve the sufficient funds at hand. Thus, the Probably led by the responsibility of filling aesthetical value. Thus, an eclectic Romanian Orthodox Church diminished the void which interrupted the natural approach may be noticed in the its political influence in the newly development of culture in the context of construction of the new cathedrals. In established state, but continued to tradition, the construction of cathedrals most cases, there are references made represent an extremely important cultural becomes the declaration of victory over to several styles which have marked factor. The opposite case was that of the tyranny. In order to consolidate this idea, Romanian architecture. The neo- Catholic Church, as it became a true new approaches of architectural Byzantine style in the 19th and 20th political force, a status enforced through language are adopted. The 12th century centuries seems to be the one preferred the explosion of Gothic cathedrals in the represents a reconciliation of the secular in Transylvania, whereas in Moldavia and 12th century in France, in Rouen, Paris or with the sacred; animal figures Dobruja, references are also made to the Chartres. But especially in the 16th (gargoyles) which stand guard as Brâncoveanu style or the architecture of century, when the manifestation of the decorations in Gothic churches declare the wooden churches in Banat. The Renaissance consolidated its sphere of that man has risen to oppose violence. evolution of architecture towards the influence in europe. The neo-Byzantine style in Romanian appearance of a new style has not had culture represents the rising against the same amplitude as in the West, but The sociopolitical context in Romania oppression and tyranny and the due to the attention which was given to from beginning of the 19th century until reclamation of national identity. The the promotion of architects, artists and today shows similarities with what took active and voluntary participation of local guilds until the 21st century, neo- place in the 12th century in Western devotees, together with the elevated Romanian expressions of exquisite value europe, in what regards the under takings enthusiasm with which they supported have emerged as a result. of the Romanian Orthodox Church in the Western, as well as the eastern building numerous places of worship. Church in the undertakings for the Wikipedia The wall architecture of Orthodox The cathedral becomes a symbol of construction of churches has had the churches is developed in Transylvania domination over physical fear, a sign of most important role in achieving cultural and reaches its finest in other parts of the

stability in the aftermath of social development. photo source: country, in a modern manner which is

44 june 2014 Samizdat oriented in several directions. Byzantine with the significant contribution of an culture represents the principal source of ignorant population make it so that the inspiration, as this specific style of the Orthodox Church continues its building constructions is preferred, especially activity, specifically to be noticed in the because of the direct references to the uncontrolled explosion of new parish origins of the Orthodox Church, a style churches. But this situation does not intrinsically connected with the valence of manifest itself within the same cultural identity. Thus, after the union of the progress from before the Communist principalities, churches and wall period but on the contrary: expressions cathedrals which were placed in the lacking any kind of value appear. The exact vicinity of the old wooden churches national Redemption Cathedral which started being built in every municipality of proposes to be an epitome of Christian the country. The process is marked and Orthodox power and culture in Romania fulfilled by the construction of the seems to represent precisely its cultural Archbishopric Cathedral in Alba Iulia, The Metropolitan decline simultaneously with that of which became – together with the others Cathedral of Timiºoara society following the corruption of its – a symbol of the union. The unified structures by means of an even more effort of the architects, the wood Moldavian style, enriched by the value of corrupt class of leaders. Which has craftsmen and the valuable artists from its decorations. It can be translated as a speculated its political potential ever the entire realm has contributed to the monumental expression which praises since the times of Communism, using it definition of the neo-Romanian style, the Byzantine Moldavian style. As in the against the citizens. Thus, this through the reinterpre tation of the case of the Metropolitan Cathedral of discontinuity in the natural development eastern Byzantine expres sions com - Constanþa or Craiova, the approach to of a healthy culture appears yet again. bined with the local Byzantine style. The monumentality may be noticed, as the The fear appears once more present and architecture reaches an autonomy of cathedrals are an interpretation of the the superstitions haven’t disappeared discourse which is spectacular in relation architecture specific to Wallachia in a neo- from the collective conscience of the to the traditional styles, as compositional Byzantine expression. Manifested at an Orthodox devotees. innovations and interpretations of evidently lower scale than the cathedrals positioning the spires in an atypical way, from France or Germany; for instance, the In conditions of stability, society can near the façade sculptures, are to be Cathedral of Rouen or the one in Köln, reestablish the hierarchy of basic needs; noticed. The issue of monumentality is and other Gothic edifices, dominate the then, the intellectual and spiritual needs raised for the first time, and the architects constructed surface of the city at a much occupy a leading position. The art have the opportunity to explore the greater scale in comparison to the old developed around these needs should possibilities of amplifying the typical Romanesque churches. enrich the values of the constructed church stairway in order to grant the surroundings and by this I mean primarily specific monumentality to a cathedral. now, starting with the revolution of ’89, the new churches of the 21st century The Cathedral of Timiºoara represents an the Orthodox Church seems to manifest which could give architecture a degree of esteemed combination of the an unprecedented evolution. The complexity which would allow Romanian Romanesque style and the Byzantine financial support from the state, together culture to evolve beyond its basic needs.

Samizdat june 2014 45 St. Peters Basilica Rome

46 june 2014 Samizdat The Order of the Golden Cross olimpia Bera, phd.

rtistiCAlly speAKinG, Orthodox Yes, size prevails – and this beyond the iconography in Romania still fact that the iron fixtures and the maintains the Byzantine tradition of countless domes of copper shed their A figurative renditions. The influences rust and their verdigris onto their concrete from popular art, the naïve structures left unfinished for years on painting and renowned colouring of the end. Let it be big, let it be wide and may Moldavian monasteries are also not to be it swallow as many devotees as possible. disputed. However, these are no longer This is the only way it can sustain itself. the subject of the influences upon the trends in contemporary religious The city of Bacãu has been dethroned: approaches. the 7 metre cross made out of stainless steel of the Cathedral of The Ascencion What is left of the icon art and of the of the Lord (Romanian: Catedrala Înãlþãrii typically Orthodox architecture in the Domnului) stands small before the gilded St. Basils Cathedral Red Square Moscow constructions that arise today in the 8.5 m cross of the Saints Constantine middle of neighbourhoods which are and Helen Church in Satu Mare. The established beyond proportion, space, already sufficiently suffocated? A map of price? A trifle: the equivalent of a movement, being inspired by the capacity the Orthodox cathedrals and churches perfectly equipped ambulance. A piece of of absorbtion of budgets “at God’s will”. present at every corner or in the central information for the curious sinners with town markets may easily be drafted, their thoughts directed at earthly things. The windows are tall, wide or narrow, the much similar to a map of bank branches. The sign of the cross is in the end that of columns imitate the functional role of What do they have in common? The “the victory of Christ, the life giver”. antique Greek architecture and the eclecticism, the tonnes of concrete and nothing to comment here, as the devotee arches that frame the façade in an the fact that they remain unfinished years splits up his earnings between the unwarranted manner or make on end, as their architectonic plan was to market, the church and the hospital. unexpected transitions between two adopt along the way to the space they Aesthethically speaking, we shall leave secondary domes, seem assembled, as dominate, through their size, principally. harmony aside. The new canon is much as possible, according to the

Samizdat june 2014 47 general plan of a Greek cross. One, two to attention. usually, the domes that are difference is one in size. Rather or three entrances, framed by a few of a certain dimension and attached to monstruous than monumental, dis - flights of stairs covered in hone tiles and the ensemble have simplistic decorative proportionate to the space they patently extended to the side, have the motifs provided. The exterior austerity of dominate, eclectic par excellence, and appropiate amplitude for such contemporary Orthodox churches only finishable depending on the construction of completely unusual practically echo the appearance of the occasional sources of funding, they seem dimensions. The exterior is rarely painted same constructions from the times of architectural solutions of compromise – in colours and does not stand out through Communism, when their camouflage from an aesthetic and functional point of any pictural or sculptural element, but at between the grey apartment buldings view. The interiors are so broad and most through a frontispiece by means of from the urban neighbourhoods made it unwelcoming, they spread out so much Orthodox Church in which the church’s patron saint is brought easy for these to be overlooked. now the coldness, that you would much rather Cluj – Mãnãºtur

48 june 2014 Samizdat pray alone, at home. The icons are Fãgãraº, situated right next to the The national Redemption Cathedral neither Byzantine, nor classic, nor of any Fãgãraº Citadel. The plan of the (Romanian: Catedrala Mântuirii Nea mu - kind of style. Or of all at the same time. cathedral was designed before 1990, lui) also promises surprisingly large The clerical faces are probably in the when the city, declared a municipality, proportions. It proposes to be the second know that for authentic paintings to cover had almost 50,000 residents and in size in europe and one of the most hundreds of square meters time is represented a true industrial force in the spacious in eastern europe. The plan required, especially for expenses that area. In our times, simultaneously with entirely respects the Orthodox canon, cannot be covered too quickly. the increase of the unemployment rate which has recently been consecrated. St. Sebastian Church and the mass emigrations ushered in by There exists an ambition to symbolically of Oradea The location of the buildings usually is in the financial crisis, the plan of the imitate the San Pietro Square in Rome, the middle of the neighbourhoods or in cathedral is almost entirely completed, only that our Bernini has imagined domes the heart of town. The error appears the crosses and the gilded tin panels over the columns that surround it. The most often when another building that is catch your eye from two villages afar, and gilded accents will offer a contrast with part of the cultural heritage is eclipsed, the building is prepared to accomodate the white of the construction and the as is the case with the Cathedral of all the residents of Fãgãraº at once. simplicity of the details – with the obesity

Samizdat june 2014 49 St. Andrew's Cathedral of Oradea of the entire ensemble. The project is long and broad and tall. It will reign as menacing as the House of the People (Romanian: Casa Poporului). Actually, they match perfectly.

It would have indeed been beautiful for our capital to have a somewhat more colourful cathedral, one that is “sweet” in appearance, to contrast with the grey of Bucharest. One that would have at least looked inviting, like a palace made out of gingerbread and lollipops, like St. Basil’s The Cathedral in Red Square. But better not: we would of the Holy Spirit faultily apply the idea and the resulting Redeemer kitsch would be much too flashy. of Oradea

50 june 2014 Samizdat Samizdat june 2014 51 St. Sebastian Cathedral of Oradea

St. Andrew's Cathedral of Oradea

52 june 2014 Samizdat Orthodox Is Better exhibition

Samizdat june 2014 53 Orthodox Is Better exhibition 54 Orthodox Is Better exhibition

Samizdat june 2014 55 56 june 2014 Samizdat Installations with Chinese Icons and Other Wonders from Neverland Alina staicu, phd.

en yeArs AGo the Meteora icon the piece of holy wood was probably, on Buddhas and bracelets, had a few workshop had an even greater impact holiday. The little factory would also crucifixes and rosaries. And a few Saint on me than Bernea’s “Praporii”. The supply products to the kiosk at the resort, Peter icons – printed, just like at Meteora, comparison is not accidental and I will but only at our departure I've noticed the but the aging process reproduced by the Texplain it later on. But back to the icon cheaper merchandise offered there. But Xerox machine looked just like Rublyov’s workshop where thousands of various in an even less dignified state: the icons. It couldn’t have been any more sized Pantocrators were frowning at me Pantocrator would frown at me only in authentic, or cheaper. from each corner and an army of Saint limited edition from between the flip-flops Georges was killing the dragon always and goatskin bags. even if largely produced, hanging on the facing right. The tour of the workshop rearview mirror, or closely attached to the was included in the tourist package and, Another icon workshop – on glass, this wrist, alongside some plastic bracelets clearly, the tourist status obliged each of time – was presented to me at nicula. with humanitarian messages on them, us to leave at least 5 euros for the The holy object was painted in an smallest gold foiled icon. Which was also interactive manner, like a workshop or a a print, but I had no way to tell that back team building activity. even (or then. About 30 people fiddled with especially) children had something to add Pantocrators, other 10 would apply the to that, so as a result, the Holy Mothers foils and many others would contribute in with candy in their mouths, or the purple various ways to the prosperity of the jesuses would sell well. The little factory small holy factory. The iconographer, was in full development. Dionosy of Furna, the one who would be Previous page: fasting and praying and waiting for divine The Red Dragon Chinese shop, besides Horia Bernea – Prapor revelation to make him put the brush on the dragons, turtles and jade elephants, Key chains

Samizdat june 2014 57 institutions have opened their doors wide consumerism recreated the holy object in open to welcome them. The monasteries a new paradigm. have lots of land that gives work to the nuns, so the Chinese help is welcomed. On the other hand, Orthodox icono - Voroneþ Blue produced in Shanghai, graphy works as a source of artistic glowing crucifixes and Saint Paraschiva inspiration perhaps precisely because of key chains cost just as much as a bowl of its slightly pagan abstractionism, which is rice per kilo, but it brings back millions. universal in its meaning. Bernea’s The visitor leaves with the souvenir, the “Praporii” mentioned at the beginning of nun doesn’t have to chop off the tree from the text, or ªtefan Câlþia’s project from the garden to make the icon, and the cult Herina – the drawings on bits of paper, object reaches the population freely. And, similar to flags, or the extremely essential let’s admit, it gives a sense of comfort to symbols of Brâncuºi have candour and cruise around 80 miles an hour with the authenticity. Yes, there are traps in art as Holy Mother hanging on the windshield – well, the consuming of the forms, idea because hope truly dies last. and essence can slip into consumerism. An ex-informer, a communist activist who A history of the cult object would be thinks that he can wash away his sins by exhausting, but the contrast of the painting stylized crucifixes is just as meanings is perfectly visible. There is a perverse of an idea as monasteries considerable difference between the tiny selling rosaries made by exploited child glass icon hanging on the eastern wall of labourers from the outskirts of Beijing. a brothel, and the glow-in-the-dark icon – only the latter would match the double The Orthodox country that couldn’t decide glazed PVC window. It is not supposed to whether to choose Russian orthodoxy or be a matter of the artistic world, but in the the Greek one – so it ended up mixing case of an installation with Chinese icons them (charmingly, in my opinion) – is the – the most grotesque ones imaginable – same country that gives up on I’m sure the public would jump up and authenticity for the sake of blessed knick- yell “blasphemy!” at anyone who would knacks coming from “short-cut” labour. It dare fill up a room with icon-key chains, penalizes and stigmatizes sins on never or light up 10,000 plastic crucifixes at ending lists on the internet, but is once, or, perhaps create a comic strip outraged when, in an artistic context, the Orthodox icon dialogue with the plastic prints of jesus Romanian Orthodox Church is not put in the icon and/or the rosary are more than playing with doves and other famous a good light. A sound installation with just amulets, they have become just as biblical characters. The diluted meaning liturgy and semantron would probably be indispensable as paper hankies. And just doesn’t matter anymore, nor the mass more blasphemous than a bathroom as wide-spread. Consumerism has production and the perversity of it; what towel with the Holy Mother on it (and this attacked religion and the religious matters is the society whose is no exaggeration, this is for real).

58 june 2014 Samizdat Architectural Aberrations in Romania. About Language.

Andrada luca

Architecture has its own realm. It has a special physical relationship with life. I do not think certain pattern. new patterns appear as a of it primarily as either a message or a symbol, but as an envelope and background for life consequence of the human-object which goes on in and around it, a sensitive container for the rhythm of footsteps on the dialogue, after a process of interpretation. floor, for the concentration of work, for the silence of sleep. Language is an important tool that gains peter zuMthor new valences through assigned meanings in accordance with the values t is ArChiteCture that presents society pieces of information of its surroundings of society. best. You can get a first impression of its to which it attributes meanings and its economic or cultural level by observing very own language. every physical Romania is torn between the nostalgia for the built environment. Because archi - structure can be recognized bases on a the past and the uncertainty of the future, I tecture is about the people, it’s a reflection of the collective and personal way of living. The past, the interests of the present and the future tendencies are all assimilated in various buildings.

Communication uses language as a sum of arbitrary signs, gestures or symbols. We are surrounded by signs and information, a vessel for everything the human being is capable of understanding. The human translates the signals and The orthodox parish (Image source: Google)

Samizdat june 2014 59 constructed form. The figurative declaration is represented most honestly in the newly built Romanian parishes, where the use of the crucifix is most common as a signal or as decoration.

As introduction, let’s consider the new bridge at Rãdeºti, Alba County, over the Mureº river. It shortens the road to Meºcreac with about 20 minutes – a great joy for all inhabitants, as they can now avoid the potholes from behind the railway station. And now they are presented with a different view from around Aiud: a great field at the foot of Straja Hill, filled with the colours of corn, wheat and sunflower fields. One can see afar Teiuº, the villages and the Sâncrai Castle, and on The Greek-catholic the right, the Apuseni Mountains. But this in a struggle of the present to achieve parish symbols that “look good” and “enhance”. sequence of images and contemplation social stability, by solving its identity crisis (Image source: http:// One explanation for this deformed vision is suddenly interrupted by the and regaining its self-esteem. Thus, in www.grcatolictm.com) of values could be Communism, which sadistic-humorous spectacle of “neo- Romania’s architecture we rediscover this suddenly and forcefully interrupted the rural” houses, which show for the very same struggle and uncertainty natural course of value transmission. Its wellbeing of the inhabitants. After a while, doubled by the frustration of installation annihilated the link between the contemplative state is destroyed. A synchronization with Western culture. The past and future generations, by destroying lonely building, with wooden fence along identity crisis seems the most obvious the link-generation that was the the road appears in the picturesque and is best translated through the intellectual youth. background. The ensemble suggests a incoherent architectural language. small convent, but the staircase reveals a The architect’s role, in my view, is echoed house. judging by the crucifix on the roof, Christian values are a part of the structure in his training and activity, his repudiation it is most likely a parish. The religious of our Romanian identity. Orthodox when put against the artisan (a symbol of aspect of the building is given, most tradition is an advocate of unaltered perpetuation of tradition). With few evidently, by the oversized frameworks transmission of information. But the exceptions, the constructed environment with the extended and elongated roof, a majority of society seems to manifest – in abounds in architectural aberrations. I form associated with religious an unconscious and distorted manner –, shall analyze exactly those examples that constructions. The part of building that this maintaining of values that has been speak of the way in which the everyday accommodates the vertical traffic is taller translated to architecture through the inhabitants understand the message of than the other sections, and it looks like superstitious and unjustified use of the Orthodox faith, declaring it through a the tower of a modest church. The other

60 june 2014 Samizdat parts of the construction are gradually even a case of reinterpretation of these Mãghe rãuº, near Baia Mare, which subordinated to the height of this tower. elements, because their proportions and suggests the following message: “The The overview is complete with the aesthetics aspire towards imitation but crucifix is literally lighting my life”. judging Byzantine-style covered porch with without a vital understanding of the by the attention to detail in the semicircular arcades on the side façade. composition. Though it is safe to say construction of the chapel, it is a mixed Specific elements of Byzantine church about the owner of this establishment that project, both a residence and a house for architecture are also to be found in the he/she understands the acknowledge - prayer. In this case, besides the forms of the arcade windows, though for ment of faith in a very superstitious way, architectural expression, the aberration the sake of making the construction a comparing his/her house to a convent. also lies in the way of dealing with this residence, they only appear in pairs on But, together with the designer, they show duplex function of the construction. The each level of the “tower”. The little porch a shameless ignorance towards culture, empty space in the shape of a crucifix suggesting the main entrance is a modern Christian philosophy and society in suggests a window in the attic, where Interior of orthodox interpretation of the lowered arch. The general. most likely the chapel will be placed. But church aberration of this building lies exactly in the shape of the crucifix is in disharmony (Image source: www. these borrowed elements that are specific Another such statement, though a bit with the general aspect of the façade, as ortodoxiacovasint.ro) to places of worship, but in this case they more discrete, but in the same rural it is very different from the rest of the serve a totally different purpose. It’s not context, is offered by a house in Tãuþii- spaces left open in the walls. Thus, a mixture of shapes is created that conceptually divides the functional units. The building honestly represents the beliefs of the owner, but it is still open to express in its final form anything it wishes.

As I said before, architecture is about people. Any project is open to the possibility of resulting in a construction that can make a direct reference to the constructor itself. The physical limitations of the builder are part of the project. In the case of Orthodox churches, the role of the painter, acknowledged as very important, cannot be considered as constituent during the development of a project. As a result of lack of communication between the architect and the painter, besides the ignorance of the client towards the nature of the project, such artificial examples appear, that mimic the architecture of

Samizdat june 2014 61 The Faculty of Orthodox Theology places of worship and that have serious also automatically include the icono - just seems weird. The gaps between the in Alba Iulia implications in the urban and rural graphy of the church. The contemporary windows are not left neat, as they should (image source: aesthetic overview. architectural manifestations seem to be be, forcing the painter to section the www.ziarullumina.ro) mechanically following iconography and images and even to switch the hierarchy In time, the role of the church walls space related canons, but without a of the iconographic representation of the became a pretext for painting, or better thorough understanding that could lead saints because of the compromised yet, painting became a constituent part of to quality interpretations. As a con - surface of work. The interior domes help the walls. A whole concept, studied and sequence, almost all churches built after a bit, and offer the painter a proper place drawn up by generations, serves as basis the revolution are full of aberrations. to do their work. But the new structures for the relationship of the walls with the electric wiring coming out of the heads of replace the interior domes with simple flat paintings. Thus, any compositional saints, sections painted just to fill up ceilings, which do not serve as proper measures taken that include the walls empty spaces, all united in an interior that painting surface. The connection

62 june 2014 Samizdat between two large spaces, the dome and like aspect. This aspect is reinforced by and, implicitly, to the degradation of the the nave, is not realized by pendants. the structure of the inside of the windows paintings. Therefore, ignoring to establish The Byzantines adopted the roman arch which are accountable for the gradual a relationship between all the constituent and united the cylinder of the dome with dispersion of light. Furthermore, the rush elements will result in visible aberrations. national Redemption a square basis of the nave, thus of the execution results in the lack of Cathedral – conferring the pendants a symbolic value attention to choice of material. The As most remarkable of such aberrations I project as well, and placing there the four concrete, the gypsum boards and the would choose the national Redemption (Image source: evangelist saints. Among these elements plaster have replaced the natural Cathedral, precisely because of the www.libertatea.ro) intervene 90 degree angles that section materials that will inevitably lead to a cultural importance it represents for the the space and confer the interior a hall- quick degradation of the interior spaces Romanian Christian society. The proposed manifestation denotes the same mimicry of interpretation of archi tectural elements, carried out by the unjustified number of domes covered in gilded materials. These domes become, in a way, a superficial declaration of loyalty towards the eastern Orthodox Church and its values. Similar to the Theological Seminary in Alba Iulia, the dome is applied to a modern mani festation. The building of the seminar suggests the interpenetration of the old with the new. A church element that would justify the dome is “woven” in a grotesque manner into the composition of the building.

The conservative attitude in choosing the architectural language, justified with Orthodox canon, is lacking substance for they are clearly not understood thoroughly. It is incorrectly attributed to canon that it is a factor of opposition to innovation within cultural development, and this attribution comes exactly from those who are responsible of maintaining it. Proof for this is the Byzantine culture itself, in which there are numerous innovations without having altered the sacral values.

Samizdat june 2014 63 Vlad nancã, Proposal for the National Redemption Cathedral

64 june 2014 Samizdat Art or Blasphemy? Ana Þelea

do not Consider Myself to be one of the promoting a tight connection between art In the contemporary age, in Romania, people who make the sign of the cross, and religion –, these will be gradually freedom in artistic expression has led to just in case, when they see religious removed up to the point in which, in the the appearance of a series of works in the I objects transformed or ridiculed but I do Modern Age, the connection becomes post-Communist era, as for instance that admit that when I received a particular almost inexistent. The artist does not find of Ciprian Mureºan, The End of the Five souvenir from the Venice Biennale, a himself/herself in religion any longer and Year Plan, a wax sculpture in human size, fridge magnet representing a stained the connection between him/her and the showing Patriarch Teoctist struck by a glass window with the figure of Virgin Divine needn’t be based on dogma meteorite, through which the artist raised Mary and which was replaced by Bob anymore. Moreover, in contemporaneity, the issue of the collaboration between the Marley, and which read IN REGGAE WE the abstracting of the notion of religion has Orthodox Church led by the named TRUST, I shuddered for a moment. It led to the appearance of some artistic Patriarch with the Communist regime1 or didn’t take me long after to find the joke works which some may categorize as such installations as that of Vlad nancã, amusing and to appreciate the idea. blasphemous. Holy Grill, in which the artist uses a place

These defying gestures in reference to the institution of the Church and to religious objects, as well as to biblical characters, appear mostly in con - temporaneity, simultaneously with the removal of any barriers and prejudices in artistic manifestations.

Throughout history, the condition of the artist as an individual on a constant search for his/her self and of defining the connection between man and Divinity, has undergone a gradual transformation. Whilst up until and during the Renaissance 1 http://www.plan-b.ro/ as well, biblical scenes represented the index.php?/ standard motifs of the era, depicted in the ciprian-muresan majority of the artistic works – as such Gilbert & George, Sonofagod Pictures: Was Jesus Heterosexual?

Samizdat june 2014 65 for lighting candles for the purpose of Dumitru Gorzo, frying Romanian mici, i.e. barbeque meat.2 Vlad nancã, National Redemption Cathedral Cathedral of Bacon In 2004, the same nancã creates a poster are exposed and through which the artist alliance between the two institutions is entitled Proposal for the National expresses his aversion regarding the symbolized.3 Redemption Cathedral, followed by the decision of building the named cathedral. poster National Redemption Cathedral in He proposes a fast and simple variant – Dumitru Gorzo also takes his turn in 2 http://vladnancaworks. 2006, in which construction plans for the adding to the latter the signs of piousness, exposing his opinion regarding the blogspot.ro/2007/12/ placing of the national Redemption the dome and cross, without bringing any construction of the national Redemption holy-grill.html Cathedral over the House of the People other changes, so that the perverted Cathedral by means of his work entitled Cathedral of Bacon, work exhibited during 3 http://vladnancaworks. Fast before easter and which has brought blogspot.ro/2004/06/ him to the attention of local authorities and proposal-for-national- the ROC.4 redemption.html unique in Romania is the action of Visual 4 http://metropotam.ro/ Kontakt, which organizes an exhibition La-zi/Interviu-Dumitru- and a fashion photo shooting in the Gorzo-art7977512042/ premises of a Catholic church, entitled Proto-Art & Proto-Gallery, starting from 5 http://visualkontakt.ro/ the pre requisite that the placing of items of proto-art-proto-gallery- con temporary art in a space considered to expozitie/ be sacred is not an uncommon occur - rence anymore, in the times we live in.5

Most certainly these manifestations belonging to Romanian artists have Vlad nancã, Holy Grill appeared as a reflex gesture, after the fall

66 june 2014 Samizdat Cosimo Cavallaro, Sweet Jesus

Visual Kontakt

Christ of Andres Serrano, a photograph which depicts a small plastic crucifix, immersed in a jar containing the urine of the artist. Copies of the photograph, shown in several exhibitions, were vandalized on repeated occasions by Andres Serrano, Piss Christ protesting Christians.6 of the Communist regime, at a moment in Romanian state display a series of rather In 2005, the artist Cosimo Cavallaro creates which free expression and the lack of self- antisocial alliances. a chocolate sculpture, Sweet Jesus, censorship have determined these artistic sustaining that the central idea was to give protests, and even more under the circum - On the international stage, maybe the life to the body of jesus by conveying it 6 http://en.wikipedia.org/ stances in which the ROC and the most controversial work of this sort is Piss through use of an edible material and not wiki/Piss_Christ

Samizdat june 2014 67 68 june 2014 Samizdat elisabeth Ohlson Wallin, Last Supper 69 Giuseppe Veneziano, Solitamente vesto Prada

7 http://www. defaming the Messiah in any way. The world as the duo Gilbert & George, cosimocavallaro.com/ majority of the allegations focused on the comprising 20 paintings on glass, which html/chocolate_page. fact that the artist represented jesus with answer the question Was Jesus html uncovered genitals.7 Heterosexual?. Texts as God loves fucking were met with an avalanche of comments 8 http://en.wikipedia.org/ Ecce Homo is the exhibition of the to the exhibition. wiki/ecce_Homo_ Swedish artist elisabeth Ohlson Wallin, (exhibition) which comprises twelve photographs with In 2011, at the Venice Biennale, in the reproductions of a few biblical scenes, in Italian pavilion, the artist Giuseppe 9 The opening of ecce the context of the modern world, placing Veneziano exhibited a painting entitled Homo was held in jesus in the vicinity of transsexuals, Solitamento vesto Prada, in which he Stockholm in 1998, being homosexuals and people with AIDS.8 Of portrayed jesus crucified, wearing afterwards presented in these, the most shocking are the underwear of the brand Dolce & Gabbana. the cathedral of uppsala, depictions of Last Supper, Baptism of The artist subsequently declared that the in the same year Jesus and Entry into Jerusalem. Although work is meant as a critique to the Church, Religious indoctrination of an Orthodox the artist insists that these works reveal in regard to the fact that the bishop type – and not only limited to it – causes 10 http://theholyprepuce. the unlimited love of jesus towards the Mazara del Vallo asked Armani to create some harsh reactions in the moment of tumblr.com/post/ outcasts, making reference to the his vestments.10 confrontation with an ironic or moralizing 7655941846/i-usually- numerous times in which he dined with artistic subtlety, which focuses on blind wear-prada- people unaccepted by society, scenes These allegations of blasphemy are not faith in religion and the object of religious solitamente-vesto- which are actually presented in the Bible, only found in the plastic arts; cinemato - worship. Probably, many will describe as prada the fact that she placed him next to graphic or musical manifestations have blasphemous an artistic work in which the homosexuals in Last Supper has stirred also been labeled as being profane by cross, for instance, is used in a way 11 http://en.wikipedia.org/ up heavy controversy, especially as one of religious institutions. One of cinema’s inappropriate in regard to religious wiki/ the exhibitions took place in a cathedral.9 master pieces, Jesus Christ Superstar, was canons. Many a times, these artistic jesus_Christ_Superstar banned in South Africa for being anti - manifestations are rather forms of protest, Another work considered to be one of the religious and jewish communities declared unrestrained expressions of a group of blasphemies of our century is Sonofagod the production as being anti-Semitic. The people which can and do make their Pictures, by the artists Gilbert Proesch screenplay of the film, although based on opinions public, with the risk of being and George Passmore, known in the art biblical events, omits the scene of the offensive for some. Resurrection, what led to dis satisfaction within the Catholic Church.11 Where do we draw the line between art and blasphemy? When does a work of art, In what concerns musical expression, a cinematographic piece or a musical there are numerous cases in which rock, production become blas phemous? black metal and death metal bands have Certainly, the answer to these questions is Ciprian Mureºan, been banned in certain countries because conditioned by the personal values and The End of the Five of the aggressive music with a satanic religious mold of each art consumer Year Plan message, which they promoted. individually.

70 june 2014 Samizdat Rublyov – Symbol of Russia, Symbol of the Icon teodora onutz

I appreciate mysticism, but especially the creations of the great mystics, for the high they suffer the influence of their tension at which they maintain man, for the excess of lyricism and for that intimate predecessors, of the society in which they exaltation of subjectivity, which lends a disconcerting complexity to the mystical experience. live, of the historical moment of their eMil CiorAn creation. But it is not this aspect of art in which we are interested at this point. s soon As We tAlK of an artistic creation He was not an artist free to be inspired by Rublyov was a great innovator for daring to which proclaims itself to be revealing all things around him, but one which distance himself from the formal rigours of divine talent, we implicitly talk of a followed strict rules in his creation. Of Byzantine painting, which had reached a mystical artist as well, whose course, no artist is ever completely free, as point where they fettered artistic ardour. A nuanced interior dimensions are reflected in his work. Art was some time ago traditionally considered as being of divine origin, as being inspired by the gods and the person creating it was the one who managed to channel that particular energy. Because of this quality, he was considered to be “chosen”, a special being picked by divinity to reveal its forms. However, in the case of Andrei Rublyov we are dealing with someone who was more than just inspired, a genius – in the romantic sense of the word, as this painter was a monk as well: actually, his first, principal condition was that of a monk. Thus, he firstly abided the rules of the church and of the monastery and followed preset principles, in life, as well as in art. Andrei Rublyov, source: visiondelcine.com.ar

Samizdat june 2014 71 of your entire being and especially of your own person”, a classical theology book states. Monasticism prompts through its essence to such an attitude, fundamental for any true monk. The choice of self- destruction through the annihilation of the instinctual self will be a first step towards unio mystica, the purpose of contemplative life.

But mystic experience does not always follow a specific technique, but rather a free contemplation which “leads the way”. The Calvary of If it juxtaposes the attitude of renunciation Andrew – source: But he did not do this with the passion of a there on is how Rublyov the mystic did mentioned before, we may presume that www.cinemarx.ro rebel or a genius – his society did not even not completely disappear into his the saturated phenomenon will be consider the notion of the demiurge absolute experience, how he did not experienced even more intensely and will creator – or even very individualistically. dissolve into his own experience, but inevitably happen. The names of the artists were known, but managed to distance himself enough for these remained subjects of the church and him to reflect his own metaphysical Attention must be drawn at this point, as of the collective to which they appertained. itinerary. we are not trying to historically or Their art had the goal to celebrate religion theologically explain what Rublyov must and not the creative individual. The mystical techniques require a have truly felt or in the aftermath of which dissolution of the human being as an experiences he painted his works. That The mystical dimension of Rublyov quells individual in order to make room for the would be impossible. When we speak of from his status of monk and man of faith, permeation of the divine, a process that Rublyov the painter or the mystic, we which also dared to soar into the can sometimes be painful, but liberating. speak of a Rublyov of the present time, unknown and to try to convey in an Perfection is accomplished through self- eternal and current, which removes incredibly original manner something that destruction. “See to it that nothing works himself from temporality and transcends already had a dogmatic rigour allocated in your consciousness or in your will the eras. This name does not make to it. As a beholder attracted into the besides God. And try to rid yourself of all reference to the monk who lived in the interior of an icon/mediator which is the understanding and feeling of anything 15th century and was an icon painter, but created or inspired, Rublyov was himself that is below God, and push these away to the painter from the shadows of the enthralled by the quest to discover the as far as possible under the cloud of icons which we see and analyze today. innerness of the Other. Thus, his painting forgetfulness.” The experience of the The difference is subtle, but important. appears intimate and personal; it quelled overflow as a phenomenon is baffling, from his own communication with the announcing the annulment of the self. Thus, the experience of the phenomenon Numen, which obeyed no law what - “That is why you must relinquish all the of unio mystica is overwhelming because soever. The problem which arises from understanding and sensitive perception it erases the distance and allows a

72 june 2014 Samizdat proximity which ignores the boundaries of Modernism, encapsulated in the figure of being. The actuality of such an the romantic creator, the demiurge experience is undeniable, as is its “genius”, inspired by his touch upon the destructive potential. The human being Absolute. In the same hierarchy another which opens itself to it will suffer in its idea is lined out, with the origin in the essence because of the plenary Renaissance, i.e. that of the creating existence of the Numen, which does not individual, independent of any other know of boundaries or forms. The entity, relying on his own talent and mystical union wears the seal of death. imagination. The anthropocentrism of the As long as it is of limited duration, it will Renaissance, subsequently present in be a temporary death, an existence in the phenomenology of the 20th century, between conditions, which allows the frees the individual of external return from one form and in consequence constraints, establishing for him a – individual consciousness. As long as it primary position in the creative process, manifests itself, no distancing will be which from there on reflects interior possible and as such, no reflection to the human nature in relation to the world in outside of it. which he/she lives.

As long as the artist lives out his life in a The icon loses some of its gravity, being mystical manner, he will not be able to also liberated of its privileged and fully create. In order to become an artist, ravishing status of gift bearer. It becomes he will have to distance himself from the an image which aesthetically reflects the contemplated subject, or to create a inner contemplations of its creator, filtered protective distance for himself by placing through the Byzantine artistic canons. It another between himself and the Numen. becomes a sentiment expressed The Holy Trinity dogmatically, entrapped in a preset form, perspective on art and religious art more by Andrei Rubliov – Art was traditionally considered as being which facilitates its understanding by specifically. This point of view had sursa: the result of divine inspiration, and the others. The beholders will then fill it up already been announced at the moment www.albumdefamilie.ro icon – that of the gift with which the with their own musings and the emotions at which it was considered that the artist painter had been bestowed. The which these incite and will understand it had entered a direct connection with the established hierarchy followed the model as a connection with their neighbours, a Numen, manifested as Étant donnés. of deity-man-artistic creation, through a profound human communion. It is art that The appearance of the overflow in the process which may be regarded as an which reflects their common sentiments spectrum of human knowledge means up-down emanation. We come across it and thoughts, even if these are the result revelation and theophany, existential as early as Plato’s time, which saw in art of formal concessions, which make their conditions which were placed at the the imitation of nature, which was in turn loneliness easier to bear. grounds of inspiration. Divinity caused an imitation of Ideas, we come across it illumination for creating through man, for in ancient poetry, then in the Middle Ages But the same phenomenological communicating through his/her voice. But and even as recently as the dawn of approach leads the way for another if we put aside this century-old hierarchy,

Samizdat june 2014 73 Numen in order to survive the are valid as long as they service a certain experience. He/she needs a mediating paradigm. As long as mystery was instance to act like a vale, a filter generated by divinity out of the help - suspended in between entities, lessness of showing itself entirely without possessing a double nature, human and causing destruction, via negativa was an divine, as a shield before super - imminent consequence. However, if the abundance. When art appeared, mystery mystery comes from the mediator created appeared as well. And man was free to as a vale and is as such a choice, the muse over the mystery without risking connection becomes a choice, the annihilation. Numen loses its in comprehensible dimension and it does not matter any Thus, the initial hierarchy, that of longer what is known and what is for un- emanations, is obliterated and a certain knowing. Art becomes an utterance of structure is created – one of overlapping, distance. Through it, the communication of juxtapositions more or less translucent and the existence of the two subjectivities in character, in which the divine or human are maintained, without which there subjectivity is no longer in the forefront, wouldn’t exist someone and something to because the origin of the work of art know. cannot be known anymore. The icon will be an ambivalent creation, of the human The point of view, from which it is no being and of the divine being longer known exactly which coming into simultaneously. The mystery as a code of being is manifested and what is known, manifestation of the Numen, as a form of does not cancel – as it would appear at revelation was always of fundamental first sight – the divine entity, nor does it importance in any type of mysticism. A promote negative theology as a modality direct appearance in the form of of analysis. The apparent nihilism is theophany, it was destructive because it actually a plenary affirmation of existence, could not be understood fully, it was too undivided between subject and object, vast for human thought. It always retained entities and characteristics. It is a whole a dimension of unknown, as it was because no part of it is in the forefront and unfathomable. From here, also the undermines the existence of the other, it appearance and development of a does no longer announce itself superior Savior – source: negative theology, a promising domain, in because it does not annihilate through its www.crestinortodox.ro so strongly rooted in philosophy, art which however, without some moderation, presence anymore. Étant donnés is free appears not as a third emanation or as a the risks are very high. to manifest itself and is as real as ever, result of grace. The artist, completely being brought into awareness in the form overwhelmed by the disintegrating The reaching of atheism through theology of mystery – a vale projected by human appearance of Étant donnés, must presents itself as a paradox of logic. It is imagination. The icon signifies the interpose a distance between himself and the result of very subtle syllogisms, which resistance of man before destruction.

74 june 2014 Samizdat Socialist Realism vs. Post-Socialist Iconography Ada Muntean

oCiAlist reAlisM in plastic arts and should be depicted – “the great actions of presented work in the field, in the factories, in other domains of artistic the people”, “the victories of the working the plants, etc. A configuration of a new expression (music, literature) class”. These were illustrated in artificially social typology of the individual was S appeared in the Soviet union and constructed utopian scenes, which wanted, the so-called “new Man” which then spread rapidly to all the other was presented in every life situation countries over which it exerted its previously listed. He became a utopian influence. It became compulsory and ambassador for the Communist ideology, installed itself as the unique style of artistic whose character was a perfect creation in this particular region after the combination between morality, sense of end of World War II. duty and submissiveness. The propaganda had the goal of manipulating This new form of artistic expression the simple man in order to make him smothered the individual freedom of the believe that the forcedly installed system artist, imposing on him that he should give was actually a grand one and that the praise through his works to the newly possibility of a better life lay only in the installed sociopolitical system. Thus, art “hand” of the Party. The “new Man” became a tool of propaganda for the became a model of behaviour for reaching dictatorship, just another method of a “better” life. “educating” the masses. Such a representation of socialist reality was In what regards artistic creation, sought after in which all the defining censorship was a common practice, elements which were considered to be originality, creativity and freedom of essential for the functioning of society jules Perahim expression being eradicated in their

Samizdat june 2014 75 incipient stage. There existed no regarding censorship in art, in general: individuality, only submission. The artist “There does not exist an artist who does became a wheel in a rigid mechanism, not wish to imprint the seal of his spirit unto being forced into a pre-established pattern. the mentality of the ones that come close This pattern, applied to several to his work… Sometimes the artist’s desire individualities, became artificial and was for power has an exclusively aesthetic perceived as being unnatural, forced. I sense. What he desires is to win devotees shall stop at this aspect – that of the pattern for a personal criterion of aesthetic imposed onto a creative personality. Is it a valorization. For if there are some artists pattern or a canon? In this case, a pattern; that give into the public taste and the the religious canon was and still is imposed collective orientations, there are others that as a norm for the expression of a spiritual search to render flexible this taste and essence and not a reality (socialist realism these orientations, spreading new Camil Ressu was a reality, even if it was intentionally aesthetical positions and creating a new just once of capital importance – questions The Signing of the represented in a subjective manner, for the audience.” to which art had to respond by modifying Appeal for Peace purpose of manipulation). The two notions itself.” may seem to be similar in manifestation at This personal mark that the artists wish to a superficial level, but they are different in leave on everything they create is crucial evidently, a totalitarian regime wouldn’t essence. for their own evolution, as well as for their have allowed an art based on culture and contribution to the contemporary artistic civilization. The individual, integrating part I find the affirmation of Tudor Vianu in his context. The personal mark represents of the masses that needed to be Estetica (en.: Aesthetics) as being individuality and this cannot encompass controlled, could not be allowed to think, to suggestive in the context of the debate the notion of submission in any way. see beyond the pragmatic and immediate reality. The “cover” of things was not a Another strong perspective in what regards bearer of meanings – as in the case of an the attitude towards the evolution of art in art based on a metaphysical generator, general is that belonging to Dumitru Matei but merely a vehicle of deceiving man into in Tradiþie ºi inovaþie în artã (en.: Tradition believing that the reality in which he lives is and Innovation in Art): “Art renews itself the only viable factor for improving life. and evolves by constructing relations with True life is only here and now. The more its own data and internal principles, primary and profane a level man was kept through the introducing of new concepts at, the more the chances for the critical regarding reality, through the absorption, spirit and revolt in front of a society, which integration and conversion into a spirituality was restrictive and utopian, were specific to the values constructed in the decreased. The censoring of the artist in sphere of culture and civilization. The this case cancelled the creative act itself connections of man with society, with and also that “seal of the spirit” which T. next page: nature, with divinity, with his own inner Vianu was making reference to. Art could The church Lastscan condition have generated questions – not no longer modify itself towards evolution, of Borlovenii noi

76 june 2014 Samizdat

Ressu (Semnarea apelului pentru pace – canon represents a dangerous term, which en. The Signing of the Appeal for Peace). portrays more of a decadent stage and less of a progress. Leonid uspensky This formal and conceptual restriction may commented in high words of praise on the be extrapolated to post-socialist necessity of respecting the iconographic iconography. This may be considered the canon. Defying it would be the same […] only imposed mode of representation as distorting the reality transmitted by the which still exists and which is somewhat Holy Scripture and the Sacred Tradition.” similar in approach to socialist realism. (Adrian Agachi, Lumina newspaper; en. Much like the rules of representation The Light). This point of view which imposed in the period of socialist realism, a ascertains that the work must show as correspondent of these may be found in visual definition a series of very clearly iconography, i.e. the concept of “canon”. It outlined concepts may be regarded as implies a series of rules which are very having common ground with the St. Haralambie clearly established in what regards the perspective of depiction in socialist realism. mode of representation of biblical scenes, In both cases, the maker-artist must give in as it did not even exist as stakes in the the employed symbolism, the chromatics to rules of representation with the goal that discussion – the works of art became and the illustration of the human figure. the final “product” may express as well as purely illustrative for a reality which was The Orthodox canon for representation of possible a series of concepts and realities destructive for the spirit. The only factor the human figure wishes to highlight conceived by anyone else but the artist. which stops the individual from becoming spirituality and its essence. Thus, the holy a slave is the spirit. That is why it needed and stylized human figure strives to Admittedly however that in the past years, to be destroyed or at least silenced as remove conscience from the beauty of the a new direction may be observed in the much as possible. carnal, directing it towards the spiritual. painting of recently built churches, as the painter assumes a personal manner of Socialist realism was manifested in A canon is imposed on the artist, but the working. Individuality can be sensed in the Romania as well, but I shall not insist in subject of the painting has from the very sometimes more vivid chromatics and the this direction, preferring to only mention a beginning a valence for ideas and subtle change of the depicted characters’ few artists that were forced to subdue metaphors and does not have the purpose features, as these are sometimes even themselves to the system and the so- of modelling society but to capture in a more faithful to reality in what regards called “social command”: Paul Gherasim, spiritualized manner the biblical scenes anatomical representation and less strict in ªtefan Sevastre, Virgil Almãºan, Theodor depicted. what regards the Byzantine canon. Harºia (ªantierul de la Bicaz – en. The Building Site from Bicaz), Ion Biþan A journalist from a specialized publication In both described situations, the artist is (Recolta – en. The Harvest), Gavril once declared: “We admire the icons more an executor, demonstrating common Miklossy (Griviþa; Lupeni), Spiru Chintilã painted in the Byzantine style, which sense and sensitivity, with his freedom (Femei înarmate în gãrzile patriotice – en. remind us, in our minds and hearts, of a being chiefly fenced by the imposed Armed Women in the Patriotic Guards), geometry beyond nature. However, we are coordinates. He may intervene with a Gheorghe ªaru (Sudoriþã – en. The not aware of the fact that behind a well personal work style, with a certain Welding Girl), Alexandru Ciucurencu (1 painted icon, there inevitably lies a correct sensitivity and a formal and chromatic Mai – en. 1st May; Ana Ipãtescu), Corneliu asceticism, as well as a strictly respected specificity, but the process is outlined for Baba (Oþelari – en. Steel Workers), Camil canon. Originality in the iconographic him by an outer context.

78 june 2014 Samizdat Serving the Beast Gabriel Miloia

The very first concern of Romanian society is the crusade against satanism. point being Poland. At the same time, a GABriel MiloiA, Collection of Beautiful thoughts recent statistic reads that more and more Romanian citizens prefer seeing a fortune teller to seeing a doctor. The first he orthodox phenoMenon is being context of post-Socialist experiences of reaction of the media and, implicitly, of discussed, generally, at regional, all of these countries. There is to be the political sphere is to lament the state level and Romania is classified noticed, as a parenthesis, an of the healthcare system and the income alongside Serbia, Bulgaria, the intensification of religious life even in of the population, the emphasis being Traditional Tukraine, Russia and the Republic Catholic countries from the former generally put on corruption. But in Spaceship of Moldova, in the always nuanced eastern Bloc, the preferred reference between a corrupt system and magic there are enough stages (self- medication, natural treatments, herb teas or home remedies) so that the difference may appear bewildering.

Witches are an atavistic presence in the realm. Beginning with the on air hocus pocus, telephone tarot readings or the Protevelion (i.e. the new Year’s show of the Pro TV station) from the beginning of the 2000’s in which a lady beheaded a chicken in front of the camera, repeating the following as if it were a mantra: “let the chicken suffer, not the country”, to the occasional scandals – amongst which tax evasion and extortion. Romania has enchanted europe at the presidential elections of 2009, when the defeated candidate Mr Mircea Geoanã and His Highness’s spouse spoke of a mysterious Violet Flame used by president Trãian

Samizdat june 2014 79 Bãsescu in order to influence the voting. Orthodox cathedral in the world – St. winner of the elections will be Mr equally mystifying was the presence of a Sava in Belgrade – and where the public Miloševic`´, for Mr Miloševic`´ is a saint.” The wizard, Mr Aliodor Manolea, on the television channel presented a ritual of same Ms Vujanovic`´ had explained, one campaign staff of the president. But divination performed by Ms Milja year prior, during the siege of Vukovar, Romania ranks the ambitious 2nd place Vujanovic`´, a palm reader of profession, how Serbians are a celestial nation, on the podium, and the crown of Deadly before the elections won by Slobodan chosen to fight satanic forces, this also Quicksilver Removal & nightshade rests to this day on the head Miloševic`´. Coming out of her trance, the explaining from where the enthusiastic National Genesis of Serbia, the country with the largest madam declared the following: “the

80 june 2014 Samizdat Surgery support of Serbian society towards violation of civil rights by making an unofficial rehabilitation of the legionary crimes against humanity quells. appeal to Christianity, may indulge in criminals. The faith, within the realm, is such small satanisms when the political not doctrinal, nor does it have a finality. It appears as very odd that extremely debate does not require devoutness. In The belief lies not in a spiritual force that Orthodox populations (“Orthodox” or February 2013, in the Museum of the guides the individual towards fulfilment, “pravoslavnic”– its synonymous term in Romanian Peasant, homosexuals were nor in a set of a rules that is meant to Romanian – meaning “the right law”, i.e. called to their death to the beats of establish connections between people. a set of ecumenical rules, rigid today in “Christ has risen from the dead” by The faith lies not in Church or in Christ, comparison to other confessions), citizens that carried icons, an isolated but in the Supernatural, seen as a viable justifying from a political point of view the case that doesn’t even touch upon the alternative to the tedious phenomenon of

Samizdat june 2014 81 Daco-Roman Crucifiction The Goat Fucking Exam

82 june 2014 Samizdat 83 Black Senate reality’s cause and effect. And on the complete array of services. In the end, The popular pantheon is a divine market of the Supernatural, the Church the madams kissing the relics in order to congregation of self-sufficiency, having as appears as just one of the companies cure their glaucoma might as well invest its only goal the exemption of man from with limited liability, far from providing a in black cats and they actually do. the consequences and difficulties of

84 june 2014 Samizdat reality. In the Middle Ages, it was considered a blasphemy to offer medical care to the King, because the King was protected by God. But after the Middle Ages, there came the time of the Renaissance, the Reformation and, finally, the enlightenment – the grounds to which Western modernity and the interpersonal connections which it produced can be traced back to. This was not the case in eastern europe, which – in the historical absence of reason – is linked to the national Awakening, produced after the profound sleep of the so-called “peasant civilizations”, with the title of “unchanged for hundreds of years”. unchanged until today, the masses, rural or ruralized through the degeneration of the urban tissue, periodically used as a mass of political manoeuvre, then reduced to silence, find a voice and presence once more beyond the electoral campaigns, through social media. The first observation is the denial of the theory according to which technological progress leads to the progress of ideas. On the other hand, technology is a forum for perpetuating and propagating the same brutalization.

In one of the Harry Potter films, a few magicians escape into the non-magical world and appear baffled by the mysteries of the metro and fast food. Missile Shield eastern europe, in its profound And still, satanism exists. It starts from under the pillow instead of reading them. foolishness, from which states and elites the point in which the supernatural And when they succeed in failing, they are built, is a sinister reality show substitutes the real, and the implications accuse a devilish inter vention in a world inspired by the agreeable series, an of the latter become mysterious, inexpli - in which it is natural for mathematical experiment in living our lives according cable through the appeal to faith. When integrals to slip into the brain through the to the idea that reality can be influenced they prepare to fail their baccalaureate, pillow. It is the point in which the flexibility in a different way than just causally. young people sleep with their books exercises of relativism surrender in front

Samizdat june 2014 85 of the intellectual fracture. And in the clergy groups supply partisan critical mass. In what concerns fracture we speak of satanism, as a illustrations that discuss the connection secularism, the Ministry of Agriculture diabolical magic of the logical that does between man/citizen and religion. The has officially addressed the Romanian not take into account Akathist Hymns or fact that the man/citizen dichotomy is not Orthodox Church as its advertising quicksilver. Thus, satanism also appears assumed or acknowledged by any of the agency, with its parishes taking on the in (through) art. sides represents the principal source of commitment of promoting the policy of the sterility of the discussion, thereby the producers’ association carried out by If in the region, a significant part of each based on premises that are not mutually the Ministry. In the rhetoric of the debate, society – with some difference in acknowledged. nevertheless, there which has been politicized in an ad hoc percentage – has integrated itself into hasn’t been an approach in the “debate” manner, the secularist discourse is the Western civilization, its evolution to the pistons of faith as a social considered an extremist political doctrine remains exotic and conditioned by the phenomenon and the way in which these and not an already concluded interference of technology and modern act, but merely as a form of expression. constitutional guarantee. rationality with a violent conservatism of Most often, the discussion suffers an the other sphere of society, which has ecumenical or nationalist diversion, in The hybridization on two fronts, church- experienced modernity as an era and a this way involving absolutist political society and church-wizardry, can only phenomenon only in an indirect manner. polarization, the stakes of which ignore lead to the intrusion of superstition in Compromises and nuances exist within the relation between dogma and administration, with a canonical common the boundaries of the historical continuity superstitions. More precisely, what denominator, after the precedent of the of an intellectual middle class which, in socialism used to call obscurantism was Violet Flame or, even worse, of Ms the region, is as ephemeral/consistent as in part recycled by Orthodoxy, in part Vujanovic`´. In their internal structure, a the financial one. Confronted with ignored in the secular discourse, fauna may prevail unimpeded, formed of contemporary or even apres-coup type although it represents the phenomenon tarot with saints, an Orthodox zodiac of approaches, the regional societies with the fastest growth and the actual with a horoscope (the ones born in the supply debates that are unique in their stimulus for surpassing the quota of faith. sign of Filofteia have an inclination violence and stupidity, creating situations toward martyrdom and will receive which the artists of the West can no The hybridization of the ecumenical with joyous news), and even extending to longer hope for since the end of the 19th the paranormal is already taking place textbooks of numerology instead of century. The talk is of the fact that from both directions: on one hand, the mathematics, the reintroduction of Romanian art presumably lacks classic witches from the classified ads, astrology in the calendars of the originality. On the contrary, any project who remove quicksilver and cure administration and – why not – the conceived based on Romanian society is impotence, get dressed as nuns of replacement of the already controversial the latest thing, providing the world a renowned devotion, in some cases inauguration sermons with goat bestiary of the visceral, a feature which advertising themselves even in the sacrifices. many societies have lost. papers appearing in Hungarian; on the other hand, the divination in the Gospels As the Western markets are being For instance, in the incorrectly named is a practice wide-spread in all Orthodox saturated with Romanian art, generally debate concerning the Orthodox parishes. none of the situations focused on social retrospection, the phenomenon, the Church and the anti- produces resonance at the level of any generations that haven’t had the chance

86 june 2014 Samizdat Simple Times of the gateway, dash towards the first perceiving it as the most pregnant trait in eliminated the belief in werewolves, it will wave of contemporary interaction and contemporary society, it makes for a prevail, so there is no need for rushing. introspection, building the grounds of an good case study for the present article. Spectacularly – because slowness does analytical or even actionist social art – not take into account the acceleration of Romanian satanism. This is an approach Romanian satanism will slowly and exterior development, and, therefore, the nested in the niche of the fracture, which spectacularly flourish, as there are no gap increases even more and even more grows accelerated through the different legal means to stop it any longer – the surreally. Any child with a passed speeds of development of the involved disappearance of censorship enforces baccalaureate knows that, in the social segments. Of course, the talk and renders the assumed expression of peripheral neighbourhoods, all that is would not be of an obstinate exploitation the fracture inevitable. Slowly – because missing to ensure a night of a thousand of the religious sentiment, but – if 155 years of modernity haven’t years is the darkness.

Samizdat june 2014 87 Maurizio Cattelan – The Pope

88 june 2014 Samizdat Wind of the East, Wind of the West – This Brings on a Draft Alina staicu, phd.

n entire ChApter of A CleVer BooK – The “blasphemies” of Western art are similarly to Orthodox iconography, which “Transgressions: The Offenses of difficult to enumerate, the process per se contains the echoes of the egyptian Art” by Anthony julius – is would occupy the entire space of the canons. Western art and Islamic art and dedicated to religious trans - article; thus, we will swiftly move on to east-european art reunite the A gressions in art, but the most the essential. Western artistic blasphemy characteristics of the ancient dispute shocking one is mentioned in the first appeared in the Renaissance, between abstract art and figurative art, introduction – “Piss Christ” from 1987 by although some prudes may have tried to with the entailing compromise (or the artist Andres Serrano. This because put underwear on the Sistine Chapel. stylization) of figure. Religion has the image is an ironic replica of the evidently, it traces its roots back to the dictated the beginnings of art, the “Crucifixion” painted by eugene Carriere Ancient Greece of nude deities, much Church was in a way the first gallery in all in 1987, a romantic blurring of the figure, the cases (the cave paintings do not a suggested discretion of suffering. The count, as they were regarded as American artist tricks the public with an community service). It seems that these almost kitsch type of idyllic until one gets beginnings dictated movements, to the title. The title paralyses, shocks processes and characte ristics. The and causes indignation. It is, Renaissance was the starting point, but categorically, a transgression of all that from there on, Western art has never may be considered holy, it is a crass stopped. The famous anthropo centrism farce, made however possible with the and classical humanism perpetuated the help of the victim himself/herself. The Greek gods clothed (more or less) with audience is the one that falls into the attire contemporary to the artists and aesthetic trap, actually stepping with common-looking faces. But a enthusiastically into it. Orthodox icon human, humanized art resulted, used to

Samizdat june 2014 89 In Islamic art, the figurative is forbidden, metre than there are traffic signs. The as it is in jewish art. The vegetal motifs, extremes, the vacillations of the east- the abstract figures and rhythmic geome - european countries have led to an tries are plentiful. But questions undecided art – for this art hasn’t the regarding divinity are never raised (that practice or the incisiveness of the Western would be a tricky thing to do, once you’ve protest, which grabbed God by the collar, been decapitated). This is the coarse or the obedience and solemnness of faith. and generalized image perceived of Only partially postmodern, the art Islamic art; slowly, Western influences detached from its discrete icon seems to expose and besmirch. Religion is a form almost be willing to believe in meta- of life. Art is just a servant to religion, as fairytales of hope and would probably not is everything else. denounce these vehemently due to its cowardice. The combination is savoury or eastern europe was not only the clashing at least exotic for Westerners – in a place point of east and West, but of politics as where unexperienced, unlived Com - well. Romania, for instance: after the munism remains a utopia. east-european period of atheist-scientific Communism, neo realism encloses the nostalgia spe cific the country fell into the fervour of religion to an unexperienced Renaissance, but in schools and into the craze of donating to offers the realism specific to its churches, which are more per square experienced Communism.

Andreas Serrano – Piss Christ giving man the right to question divinity, to mock religious dogma and to also teach the Church to take man into consideration, to bring him/her closer and accept their cohabitation with the holy. In Western art, even in that of a religious theme, man is the equal of God – at least, that is what is depicted in the images. In contemporary art, the jokes and blasphemies flow gushingly – be it more or less tolerated, but without hesitation nonetheless. Oriental Art

90 june 2014 Samizdat Sacred Experience in Plastic Arts Creation: Contemporary Art vs. the Icon Ada Muntean

heneVer I think of sacred However, it is difficult to establish to what experience. The entire conception and – experience in the plastic arts, extent an extremely conceptual and even afterwards – the perception of it becomes the scene from the film dry installation can sometimes still an act so rational, that the sensations WModigliani plays in the back of preserve some of that intensity of and emotions disappear in order to make my head, showing all the plastic artists which were important at that time signing up for the Paris painting contest; they are shown, individually, experiencing an ecstatic feeling while painting. Many may say it is a much too melodramatic scene, possibly even obsolete from the romantic perspective of the creative act. But it is more than eloquent in what regards the extremely intense experience which is generative for creation and which maintains alive the entire process of plastic exploration up to the final form.

Contemporary art still carries a touch of those times in some of its bits and pieces. especially when it comes to the traditional contexts of expression. Gerhard Richter retrospect

Samizdat june 2014 91 Gerhard Richter – Ella in the case that you are in perfect control of your working technique. It is part of the charm of “the game”. Many a times, battles are thought when something does not go as planned and you destroy The Holy Trinity by Andrei Rubliov the surface, only to reconfigure it afterwards, until suddenly the entire room for the rational mechanism which different ways, even in what concerns chaos starts making sense. It is a tries to find a meaning to a form that it their dynamic, to perceive the plastic arts remarkable feeling and the satisfaction Gerhard Richter – distinguishes. If this installation involves as a phenomenon which is first of all cannot be compared to anything else. Betty the beholder at a sensory level as well – human. That special experience from the through hearing and touch – can we still creation process is, from my point of talk of a more “special” experience? I view, much more intense and sometimes don’t know if truly sacred. disarmingly simple through the purity of sensation. You feel that you gave form, This intense experience may be that you materialized a sentiment, a regarded from both sides of the thought, an idea, and that the result barricades, from the perspective of the comes as a surprise most of the times. creator as well as that of the receptor. “You are the first spectator of your work”, You can experiment an extremely someone dear to me once told me. The powerful experience by creating a work control over your final work is relative, of art or by looking at it. These are two the process itself being a discovery, even

92 june 2014 Samizdat Andy Garcia in Modigliani The sacred experience in what regards are the luckiest person on earth at that hypnotizing atmosphere from the the perception of a work can also be particular moment. I look at the canvass painting – I feel I am becoming part of overwhelming sometimes. You find that Richter touched. “Richter touched Richter’s world, that it is including me in yourself standing in front of a this canvass and I am standing half a its unique universe. This sensation retrospective of portraits by Gerhard metre from it. Our energies are transcends geographic, temporal and Richter in the National Portrait Gallery or intersecting, it is fabulous!” This is more cultural coordinates – the visual in front of The Weather Project by Olafur or less the manner in which my thoughts language becomes universal and the eliasson in Tate Modern and your breath and feelings are unrolling at that transmitted emotion – sublime. is taken away. It is inevitable. The moment, in which the aesthetical aesthetic emotion is so strong that you perception finds itself at the highest of In what regards creation and the feel it flooding your entire body, chills heights, in which – beyond the ecstasy reception of an icon, things are entirely race down your spine and you feel you regarding the impeccable technique and different. Painting an icon (I strictly refer

Samizdat june 2014 93 to the Byzantine kind) presumes an entirely different type of involvement, firstly because it starts from some preset formal canons, which imply figurative elements, a particular manner of representation and a chromatic pallet already drawn out. The personal element in the entire process may occur at the level of expression and atmosphere, as there is a need for a great interior availability in order to permeate a universe which is by definition spiritual. Gerhard Richter Portrait The monks have a ritual of spiritual preparation through prayer and fasting work of contemporary art. The per - before they begin painting an icon. The spective is a different one to start with. tradition requires a certain purity of the Most times, an icon is not perceived as soul and of the conscience to “allow” an object of aesthetical valences, but painting it. When a plastic artist takes on only as means of an accepted painting an icon, this special experience representation of divinity. The Second (which can be also called “sacred”) may Commandment of the Decalogue The Weather Project by Olafur eliasson be felt through the process itself. The mentions: “You shall have no other gods representation of divinity beyond the before me. You shall not make for imposed icons and the transmitting of yourself a carved image, or any likeness that sacred atmosphere specific to of anything that is in heaven above, or Byzantine painting may be a challenge in that is in the earth beneath, or that is in what regards the experience concerning the water under the earth. You shall not the subject proposed for representation. bow down to them or serve them.” The If the artist assumes an interpretation of icon, according to the Bible, must strictly the cannons as well, a personal stylizing remain a vehicle for transmitting the of a world of overly well-known forms as divine message and mustn’t have the is the Byzantine canon, the meta - qualities of an aesthetic object per se. morphosis towards an individual and The admiration must be for the sacred personal direction can contribute to the subject depicted and not for the feeling of that sacred experience virtuosities of the artist. The emotion mentioned before. transmitted by it is only of religious nature, the aesthetic qualities remaining The reception of an icon may be a much in the background. When the two more complex experience from certain valences connect – i.e. the spiritual and points of view than the reception of a the aesthetic – Andrei Rublyov is the

94 june 2014 Samizdat result, with his undeniable work of art Gerhard Richter The Holy Trinity. The virtuosity, the Selfportrait pictorial qualities and the atmosphere of the icon transform its perception into one close to that of an exquisite painting. The sacred experience becomes in this case a sum between the perception of the divine and that of human virtuosity in the representation of the divine.

The powerful emotion which man experiences in front of the work of contemporary art and that which is experienced in front of the icon are different as far experiences go, but as human and positive as possible, due to their capacity for sensitization. In a dry, cynical and superficial world, they do not Gerhard Richter – offer an answer, but an alternative. Man on the phone

Gerhard Richter – Brigitte Polk next page: Olafur eliasson – Notion Motion

Samizdat june 2014 95 96 june 2014 Samizdat Samizdat june 2014 97 98 june 2014 Samizdat Design and Religion Astrid Þîrlea

esiGn – pArtiCulArly, fAshion van Beirendonck has reinterpreted the he condemns the trivializing of the desiGn – has always had a burka, worn by men, in very vivid colours, “deepest encounter and radical change” special role in the context of starting a scandal in the Islamic world. – the cross as a symbol of the torment social critique, in addition to the undergone by jesus. In the preface, he D fact that it sets new trends. But Christian imagery is experiencing a raises the following issue: “Are we now Taking into account that we still live in a revival, stronger and more subversive living with a symbol emptied of power world in which religion is present in the than ever. The cross is an element which by time and fashion?” This is a legitimate entire public space, it comes as no has been repeatedly recycled, having assertion, which can also be generalized surprise that relatively diverse reactions appeared in the past decades in the in regard to almost all sacred symbols. have emerged, courtesy of the collections of famous designers as Design can vacate of meaning any designers. Versace and Dolce & Gabbana only as a archaic stereotype or it can very well decorative element, completely separate bestow it with a new meaning, Although in the past years, we could from its religious value. This gesture is established by the contemporary context easily notice an intensification of the unavoidable – the inspiration from the which forms and which is defined due to interest towards religious symbols in religious area cannot be accidental when and together with all that is Design. fashion, it is evident that these symbols religion is a part of daily life. Moreover, have been inspiring creators from the very the Church boasts a history full of beginning of the past century (Lanvin, symbols and decorative aesthetics, so it Balenciaga). The new trends have incited was to be expected that it would inspire different reactions outside the fashion a tendency in the other decorative arts. world, thanks to the approach to religious Thus, from a concept initially presented themes in a very explicit manner. In the in the area of couture, the phenomenon ‘80s, Madonna was considered a rebel for has spread into the mainstream and wearing jewellery with crosses, in the most stores have started to source the ’90s, naomi Campbell wore a dress wearable variants of the movement, so inspired by the cardinal cloak, onto which that religious symbolism has made its the figure of Messiah had been printed, way into the lower layers of fashion and Gaultier was inspired by the attire of hierarchy. Concept: Astrid Þîrlea Virgin Mary. However, the new generation photo: emil Costruþ of designers is taking things further, into As a response, the Archbishop of Model, hair & Make-up: Loredana Lupea an area of protest; for instance, Walter Canterbury has written a book in which Assistant: Anteea Tocai

Samizdat june 2014 99 100 june 2014 Samizdat Samizdat june 2014 101 102 june 2014 Samizdat Samizdat june 2014 103 Samizdat

Contemporary art magazine with a periodical publication

Gabriel Miloia – Visual Kontakt president Olimpia Bera, Ph.D. – Visual Kontakt chief curator Ada Muntean – Visual Kontakt curator Astrid Þîrlea –Visual Kontakt designer Alina Staicu, Ph.D. – curator at large

Carlos Carmonamedina – contributor Andrada Luca – contributor Ana Telea – contributor Igor Mocanu – contributor Teodora Onutz – contributor

Sorbán Attila – editor-in-chief Romina Pop – assistant editor-in-chief Benkõ j. Zoltán – page layout designer Andreea Virag – translator Tímea Mátyás – translator

Alexandra Þelea – photographer Daniel Rãduþu – photographer Bogdan Gîrbovan – photographer

Arch. Arnold Platon – cover illustrator Constantin Stoian – illustrator

editing: Visual Kontakt Association Oradea, Bulevardul Dacia nr. 24A, et. I, ap. 4 Telephone: +40745 205 729 e-mail: [email protected]

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104 june 2014 Samizdat