We are not taking the Freirean perspective on critical consciousness for granted. It is based on the western conception of the autonomous individual (an enlightened elite guiding the others). Even though Freire is a starting point for us we are also trying to move beyond his ideas and look into the evidence of how people have governed themselves instead, through what Theodore Shannin called “vernacular revolution” (vernacular means not of foreign or learned formation but native, indigenous). The Radical Education project therefore supports the creation of “open spaces” (Vanessa Andreotti) – these are spaces where participants can talk about issues that affect their lives, reclaim the right to question received knowledge and participate in constructions of alternative visions of the future.

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Bernard: We (Heike Schleper and I) have been organizing experimental concerts at that time in a space called Atelierfrankfurt, basically a big house with lots of artist studios and a so called “club”. The label started with the idea of documenting these concert series, we didn’t have the plan to release every concert we did there but the ones that where most interesting to us. Very soon (actually instantly after the first release by Carlos Giffoni) it became clear that we would go different ways as well. Carlos’ CD is a worked over and shortened version of the recording of his concert in Frankfurt. The second release by Kouhei Matsunaga is not live at all. We did invite him to play here in Frankfurt and also did a recording of the concert but agreed about releasing something he would rather produce in the studio.

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From the position of a promoter of European art values, Mie Lefever is sharing her point of view, in finding how she sees the potential of the Romanian artists and the local art market in European context.

CN: When did you discover Romanian art and how do you find young Romanian artists?
ML: I’m interested and involved in contemporary art since a long time, so it was natural that I tried to find out the position of Romanian contemporary art, while I was living there for more than one year. I got for the first time in touch with young Romanian art, when I lived in Bucharest.

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Fiecare parte diplomatica are versiunea ei, iar fiecare cetatean are retinerile si convingerile sale. E dubios. Se vorbeste aceeasi limba, se dovedesc relatii de rudenie, se constata ca se face apel la aceleasi „personalitati istorice” ca fond genetic al identitatii culturale si, cu toate acestea, un dictionar de regionalisme si argouri e dat drept dictionar al limbii unui stat independent si suveran care poarta numele unei provincii istorice a Romaniei.

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De curand a avut loc o expozitie care promoveaza „un nou tip de arta”: tennising. Artistul ceh Juraj Kralik a invitat-o pe vedeta tenisului mondial Martina Navratilova sa lucreze impreuna la producerea unor serii de evenimente expozitionale care se inspira din practica si accesoriile jocului de tenis, generand imagini spontane prin lovirea panzelor cu mingi impregnate cu vopsea acrilica ori introducand in tablouri urme ale pantofilor de sport pe tuse, tricouri, jocuri de culori si forme care ar surprinde „frumusetea” accidentala a fanteziei cu care poate fi asociat acest sport.

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E clar ca nu-i urma de designer in spatele acestor interfete, sau, ma rog de designer adevarat, ci doar de ingineri pusi pe capatuiala. Ce-i mai grav insa e ca site-uri web importante si extrem de populare (vezi mai jos cateva semnificative exemple) recurg la o astfel de imagine.

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descriere proiect
studiobasar arhiveaza o situatie de supravietuire urbana, documentind fenomenul printr-o interventie de eficientizare a protestului, si anume producind o portavoce de protest pusa in mina locuitorilor de case fantoma, ce raspunde nevoilor de protectie a bunurilor, cit si celor de identitate si intimitate a locuitorilor.

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Astfel de circumstante aduc in prim plan utopisti, afaceristi, teoreticieni de serviciu, ingineri inaripati, politicieni si vanzatori de publicitate care cu totiii se sforteaza sa convinga ca, odata cu sosirea respectivei noi tehnologii, vom fi de-a dreptul mantuiti. Revolutia tehnologica ne aseaza inevitabil pe un plan superior, ea ne „scoate” si ne salveaza.

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