Popescu Dan on Wed, 12 Nov 2014 13:25:59 +0100 (CET) |
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[Nettime-ro] invitatie - Vioara Bara - Miere de spin, vineri 14 noiembrie, ora 19, la galeria H'art |
Vernisaj pe 14 Noiembrie la H`art Gallery - ora 19 Åi pe 15 Noiembrie la Masaryk 25 - ora 14. Curator Erwin Kessler. For English scroll down. Erwin Kessler Miere de Spin Vioara Bara este pictor. Vioara Bara este femeie. Ar fi simplu sÄ o numeÅti -neutru- pictor-femeie aÅa cum cere gramatica corect politizatÄ, care recomandÄ sÄ o consideri un pictor ca oricare altul, al cÄrui gen doar este feminin. Numai cÄ Vioara Bara este mai degrabÄ femeie-pictor, un pictor care picteazÄ cu femeia dinÄuntru, ca Åi cum aceasta ar fi o enormÄ pensulÄ ÃnzestratÄ cu tot ceea ce poate sÄ Ãnsemne o femeie, de la bust la pubis pÃnÄ la afectivitate Åi isterie, de la maternitate la absurditate. Ãn aparenÅÄ, Vioara Bara picteazÄ cu culoare, dar Ãn realitate ea picteazÄ doar cu feminitate, acea umanitate ireductibilÄ care uneori este uimitoare ca un miracol iar alteori este uimitoare ca o oroare. IdenticÄ cu sine mereu, Vioara Bara a pictat pÃnze vioarabara de la debutul ei ca artist, la mijlocul anilor 80. Atunci s-a numÄrat printre primii (tineri) artiÅti care au ÃmbrÄÅiÅat neo-expresionismul. Ea aparÅine micii grupÄri care a re-inventat pictura figurativÄ dupÄ prÄbuÅirea realismului socialist dar Åi a succesoarei acestuia din arta romÃneascÄ a acelui timp, arta oficialÄ sau fÄcutÄ potrivit comenzii sociale, Åi care ÃntÄrea cultul personalitÄÅii liderilor de partid, Ãn ultimele douÄ decenii ale regimului comunist. AlÄturi de figuri intens tulburate precum Aniela Firon, Vioara Bara s-a aflat de partea sÄlbaticÄ a picturii, nu doar de partea pÄrelnic sÄlbÄticitÄ a acesteia, de partea Ãnfloririi decorative a ego-ului supradimensionat cultural, ce a caracterizat re-modernizarea temperatÄ a artei romÃneÅti din anii 80. Opera sa a fost Ãn chip simptomatic picturÄtoare, aruncÃndu-Åi simÅÄmintele Ãn faÅa privitorului, ca pe un afront. Exaltarea, frustrarea, anxietatea, plÄcerea, disperarea, pierderea credinÅei, dorinÅa, totul era despachetat brusc Åi trÃntit pe pÃnzÄ, Ãn culori brutale, forme ÃnvÄlmÄÅite Åi naraÅiuni sincopate. Precum o enormÄ albinÄ invertitÄ, ea producea miere din lipsÄ, din spinii Åi ghimpii unei vieÅi desfÄÅurate sub semnul lipsei: lipsa de libertate, de alimente, de dragoste, de credinÅÄ. Dar nicidecum a lipsei de expresie. DacÄ (neo-)expresionismul nu ar fi existat, Vioara Bara l-ar fi inventat.Ea nu a ÃmbrÄÅiÅat expresionismul, ci mai degrabÄ a crescut cu el, ca Åi cum s-ar fi hrÄnit dintr-o unicÄ substanÅÄ, aceea a prezenÅei stridente a sinelui perplex, ce se afirmÄ Ãn faÅa lumiii ÃnconjurÄtoare, oarbÄ Åi surdÄ. Un sine colorat, decupat pe fundalul unei societÄÅi terne. Fiecare operÄ a Vioarei Bara reprezintÄ dialectica formelor anxioase desfÄÅurate Ãn medii noroioase. Reinventarea sinelui mitic al artistului, deÅi pare atÄt de regresiv acum, a fost o provocare Åi un risc asumat Ãn acei ani 80. Pe atunci, toate cele trei tendinÅe majore ale artei locale se opuneau acestei reinventÄri a sinelui. Arta oficialÄ era cu totul dedicatÄ iconografiei acceptate, ce orbita Ãn jurul sarcinilor propagandistice ale regimului, de la demonstraÅii Ãn favoarea comunismului, a conducerii de partid, pÃnÄ la portretele liderilor sau reprezentarea figuranÅilor anonimi, constructorii societÄÅii socialiste multilateral dezvolatate - acestea erau subiectele obligatorii ale artei aliniate la cerinÅele sistemului. Pe de altÄ parte, opoziÅia neo-ortodoxistÄ emergentÄ Ãn artÄ se ferea Åi ea de sinele supradimensionat Åi combativ, dar din raÅiuni diferite, cÄci promova umilinÅa Åi reÅinerea ca strategii iconografice centrale Ãn contrarea voracitÄÅii figurale rutiniere a regimului. DeÅi mai puÅin influent, dar foarte respectat intelectualmente, curentul conceptual Åi neo-constructivist Ãmpiedica Åi el dezvoltarea unei arte fixate Ãn jurul sinelui, cÄci favoriza demersurile artistice legate de ÅtiinÅÄ, orientate spre produÅie Åi spre strategiile de operare Ãn interiorul comunitÄÅilor. Egotismul strident precum acela al Vioarei Bara era rar, radical Åi rebel. Izbitoare, complacerea sa Ãn faptele Åi datele aparent mÄrunte ale feminitÄÅii, insistenÅa ei iritantÄ de a profera mereu trupul, pÃntecul, ÅipÄtul, dorinÅa, fragilitatea universalÄ, a proiectat o nouÄ identitate, nu doar o piho-dronÄ cultural-artisticÄ, ci o prezenÅÄ carnalÄ Åi spectacularÄ ce confesa eÅecul repetat dar reÃnnoit al inserÄrii Ãntr-o lume nefÄcutÄ pentru feminitate, pentru individualitate. Din mediul autoritar din jurul sÄu, masculin, Vioara Bara a preluat mijloacele schizofrenice, tari Åi agresive, ale artei sale fragile Åi vulnerabile: pÃnzele mari Åi demonstrative, pe care se desfÄÅura retorica demonstrativÄ a unui meÅteÅug plastic ostentativ. Exhibarea sinelui ca perpetuÄ nepotrivire Åi a trupului ca o carcasÄ flamboaiantÄ atÃrnatÄ de suflet au contestat profund politicile de auto-diminuare a personalitÄÅii ÃmbrÄÅiÅate de cei mai mulÅi artiÅti romÃni ai acelor timpuri, care se aliniau, inconÅtient, intenÅiilor de obliterare a individalitÄÅii, manifeste Ãn politica regimului totalitar. Expunerea fÄrÄ ruÅine de sine a Vioarei Bara s-a numÄrat printre puÅinele modele exemplare de asumare a prezenÅei active a individualitÄÅii proprii necenzurate. Individualismul ca activism a fost nucleul antropologic al practicii sale artistice. Eul sÄu terfelit, cÄlcat Ãn picioare prin exhibare atroce nu a fost nicidecum negat astfel, ci hipertrofiat prin angajamentul devastator Ãn propria-i viaÅÄ. A reclama trupul Åi viaÅa acestuia ca existenÅÄ ultimÄ, ca unicÄ Åi veritabilÄ posesie nu era semnul unei retrageri, ci al unei agresive afirmÄri. Era un pas major Ãnainte pentru psihicul local al anilor 80, cÃnd alienarea individualitÄÅii era plenarÄ, cÃnd nevoile ireductibil personale erau aliniate la raÅii Åi porÅii, la norme, ritualuri publice Åi standarde generale impuse. De la hranÄ la progeniturÄ Åi de la cÄldurÄ la libertate sinele individual era copleÅit de presiunea unei legislaÅii ce cÄuta alinierea, alienarea, pentru a distruge orice semn al diferenÅei, al disputei, al rebeliunii. Fundalurile negre sau Ãntunecate pe care se contureazÄ figurile ÃnflÄcÄrate ale Vioarei Bara reprezintÄ o acutÄ redare a acestui univers scrupulos represiv, a unei societÄÅi ca o cortinÄ inertÄ Ãn faÅa cÄreia personaje frenetice ÃÅi gem patimile, fricile, misterele, exaltÄrile, erotismul, ratÄrile, rÄtÄcirile, Ãntreaga lor umanitate irepresibilÄ. Bezna ecranului social pare iluminatÄ de fulgerele izbucnirilor de pofte Åi de spaime. Ãmbinate, lubrice Åi lunecoase, lugubre, figurile sale apocaliptice izbucnesc exploziv doar pentru a ÃnfÄÅiÅa astfel implozia interioarÄ a emoÅiilor de nestÄpÃnit. Ele urlÄ, se rostogolesc, rÄnesc. Putrede parcÄ, cu verde, galben Åi albastru de mucegai, formele sale par sÄ se dezintegreze pe pÃnzÄ Ãn timp ce se insinueazÄ, febril Åi fertil, Ãn ochiul Åi mintea privitorului. Mai tÃrziu, dupÄ mijlocul anilor 90, tablourile sale s-au Ãnmuiat treptat Ãn ireale lumini alb-rozalii, ca Åi cum ar fi fost acoperite cu un veÅmÃnt asfixiant de bomboane topite. Rozul era ÃnsÄ rÄspunsul visceral al Vioarei Bara la consumismul ce se Ãnfiripa, la acea supra-abundenÅÄ irezistibilÄ, generalÄ, a cÄrei unicÄ excepÅie era fericirea. La fel de critic precum Ãntunericul tablourilor dinainte, rozul e culoarea negrului Ãn consumism, e redarea aceleiaÅi bezne sociale, acum cu tenta veselÄ a consumului sÄlbatic, ipostaza actualÄ a lipsei, atÃt de adecvat travestitÄ Ãn plenitudine. Erwin Kessler Thorn Honey Vioara Bara is a painter. Vioara Bara is a woman. She could be easily called a woman-painter â neutral as it is, grammar would blandly tag her as a painter like all painters, except for that she is a female. Yet, Vioara Bara is rather a painter-woman. The painter she is paints mainly with the woman inside her, as if with an inner, huge brush endowed with everything a woman could possibly mean, from breasts and genitalia to emotion and hysteria, from motherhood to nuttiness. Outwardly, Vioara Bara paints with paint, but inwardly she only paints with womanity, that irreducibly feminine humanity that sometimes makes people marvel as if in face of a wonder, or sometimes as if in face of a blunder. True to herself, Vioara Bara has been painting vioarabara paintings since her debut as an artist, during mid-1980s. Back then, she was amongst the very first Romanian (young) painters to embrace neo-Expressionism. She pertained to those who re-invented figurative painting after the crumbling down of both Socialist-realism and of its successor in Romania, the official painting, made under âsocial commandâ, to buttress the personality cult of the authoritarian rulers, during the last two decades of the Communist regime. Together with such tormented figures as Aniela Firon, Vioara Bara was indeed on the wild-side of painting, not merely on the wild-looking side of art, that decorative flourishing of culturally hypertrophied egos characterizing the tempered re-modernization of Romanian art in the late 1980s. Her work was symptomatically paintful, hurled feelings and affronted viewers. Exaltation, frustration, anxiety, pleasure, desperation, disbelief, desire, everything was abruptly unpacked on the canvas, in brutal colors, twisted forms, and syncopated narratives. Like a huge, inverted bee, she fabricated honey out of loss, from the thistles and thorns of a life under the aegis of lack. Lack of everything: of freedom, of food, of love, of trust; yet not of expression. If Expressionism didnât exist, Vioara Bara would have invented it. She has not embraced it, but she has rather grown alongside it, as if feeding on a unique substance, the visually vociferous presence of a perplexed self asserting its being facing the deaf and blind surroundings: a colorful self, drawn on the background of a murky society. Each and every work of Vioara Bara displays the dialectics of anxious, screaming forms in the setting of uniform, creamy conditions. The resurgence of the mythical self of the artist, as regressive as it might appear now, was a provocation and a risky innovation during the 1980s. Then, three different but complementary trends prevented it. On the one side, the official art of the time was entirely devoted to the allowed iconography revolving around the propaganda tasks of the regime. Mass demonstrations in favor of the Communist government, the portraits of the political leaders, as well as the figuration of the anonymous builders of the âprogressive societyâ were de rigueur subjects of the art aligned to the systemâs requirements. On the other hand, the emerging, politically and aesthetically oppositional, neo-Orthodox art was also eschewing the aggrandized and confrontational, hypertrophied self, as it mainly prompted humbleness and self-effacing as its central iconographic strategies of dissent from the regimeâs figural, voracious routine. The less[er] influential, but intellectually respected, conceptual and neo-Constructive tendency also prevented the development of an ego-based art, as it favored the science-linked, production-oriented and community-targeting artistic endeavors. Boastful egotism, such of Vioara Baraâs, was rare, radical, and revolutionary. Ground-breaking, her conspicuous complacency in the seemingly trifle facts of femininity, her blatant insistency to proffer the body, the belly, the yelling, the craving, the universal frailty, boosted a spanking new persona, not only an artistic and cultural psycho-drone, but a fleshy and flashy presence avowing the nuisance of inserting itself into a world unmade for womanity, humanity, individuality. From the authoritarian, male-driven milieu around her, Vioara Bara took the schizophrenic means of her sheer vulnerable art: the big-scale, demonstrative works, and the painterly, rhetorical self-indulgence in ostentatious craftsmanship. The self as a misfit and the body displayed as a troubling, noisy carcass heavily contested the self-diminishing policies espoused by most of the Romanian artistic trends and brands of the time, so subtly convergent with the individuality-obliterating intentions of the totalitarian regime. The noisy self-exposure of Vioara Baraâs type ranged among the few, exceptional cases of active presence, of the unbridled activism as nexus of artistic practice. Her thrashed persona and dilapidated self were not means of self-denial, but of a magnified character, energetically engaged into its own life. Reclaiming life and body as oneâs own true and only possession was a major step forward for Romanian psyche in the 1980s, when the falling Communism thoroughly alienated the individuals from their personal, irreducible needs, brutally aligned to atrocious norms and mad, state-imposed standards. From feeding to breeding and from warmth to freedom, the individual self was collapsing under general prescriptions aiming at leveling-down any difference, dispute or rebellion. The usually black or dark background onto which the fiery figuration of Vioara Baraâs characters unfolds is an accurate rendering of the no-exit universe of scrupulous repression, of the society as a dull curtain in the foreground of which frenzied figures squeak-out their passion, violence, fears, mystery, exaltation, dissolution, eroticism, failure â their overwhelming, irreducible humanity. The screen of social dusk appears as illuminated by the lightning of bursting crave. Imbricated, lubricated, luscious and lugubrious, her apocalyptical figures thrive in explosive color only to convey implosive, unbearable emotions. They howl, whirl, and hurt. Mold-tainted, with penicillium greens, yellows and blues, the contorted figural world of Vioara Bara seems simultaneously putrefying on canvas and proliferating in beholderâs mind. Later on, after the mid-1990s, her works thawed more and more into an eerie, light rose, as if a coat of melted candies asphyxiated them. Rose was her visceral visual response to the newly invading consumerism, the irresistible, overpowering abundance of almost everything imaginable, except happiness. As critical as the previous darkness of her works, the recent pervasive rose is nothing but the color blanket of the same general, social blackness, now with the specific pink blush of rampant consumption, todayâs brand of lack, so aptly dressed as affluence. www.hartgallery.ro +40722248744 https://www.facebook.com/events/733734956675100/ 25 C.A. Rosetti Street, 5th floor, Bucharest, 020011 _______________________________________________ Nettime-ro mailing list Nettime-ro@nettime.org http://www.nettime.org/cgi-bin/mailman/listinfo/nettime-ro --> arhiva: http://amsterdam.nettime.org/