[Nettime-ro] Andreea PÄtru in dialogue with Eugen RÄdescu @ Pavilion

["PAVILION [journal for politics and culture]" <pavilion@pavilionmagazine.org>]

PAVILION

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Andreea PÄtru Ãn dialog cu Eugen RÄdescu
Corpo Santo

Dialog/Lecture
Joi 24 octombrie 2013, 19.00

@PAVILION | proudly supported by UniCredit Èiriac Bank
Str. C.A. Rosetti 36 (intrarea din str. Jean Louis Calderon)

FB event: https://www.facebook.com/events/1422004388014145/

Moda este o practicÄ culturalÄ cu propriile sale reguli Èi structuri, iar schemele teoretice care se bazeazÄ pe ideea de dominare Èi reprimare presupun, de cele mai multe ori, un sens Ãn care dominanta exclude termenul reprimat, aducÃndu-l aproape de invizibilitate â moda nu face excepÈie, pentru cÄ Èi aici maniera evidentÄ prin care grupul marginal se opune acestei condamnÄri la invizibilitate pare sÄ fie perseverenÈa Ãn a se face vÄzut/ a se remarca/ a ieÈi din tiparul mainstream.
Axioma la care se raporteazÄ practicile culturale occidentale Ãn domeniul modei Èi al stilului vestimentar este chiar piatra de temelie a creÈtinismului: Dumnezeu a fÄcut omul dupÄ chipul Èi asemÄnarea Sa. Omul este un produs al creatorului sÄu Ãntinat de imperfecÈiunea pÄcatului originar. Hainele ascund, dar Èi exprimÄ â stilul se construieÈte. AdevÄrata misiune a modei este aceea de mijloc de expresie, de a te comunica pe tine ÃnsuÈi celorlalÈi Ãn faÈa cÄrora te ÃnfÄÈiÈezi. SÄ fie influenÈa creÈtinismului Ãn modÄ o declaraÈie publicÄ a resorturilor religioase care ne conduc, sau o declaraÈie publicÄ de emancipare a credinciosului? Uneori influenÈa religiei Ãn modÄ se vede Ãn castitatea elementelor de ÃmbrÄcÄminte, Ãn portul de zi cu zi a unui modest lÄnÈiÈor cu cruce, simplitatea cusÄturilor Èi culorilor de un ascetism ce trimite la modestia monahalÄ. SÄ fie modestia Èi umilinÈa noile atribute ale influenÈei religioase Ãn modÄ sau, cu exagerÄrile de rigoare, blasfemie?
DupÄ folosirea siluetei moderniste, corpul femeiesc subÈire Èi funcÈional al anilor 20, eliberarea de corset Èi de toate podoabele feminine, are loc o reÃntoarcere, ca refuz al modernitÄÈii spre stilul eclectic, ÃncÄrcat Èi ornamental. DacÄ Ãn anii â50 Èi â60 Balenciaga folosea mantia neagrÄ cÄlugÄreascÄ, robele purpurii ale cardinalilor Èi austeritatea cÄmÄÈilor purtate inclusiv de femei pentru a crea memorabile piese de haute-couture, Ãn anii â80 Èi â90 copiii teribili ai modei ÃncepÃnd cu Jean-Paul Gaultier deconstruiesc veÈmintele religioase Èi elementele de iconografie pe podiumurile pentru mase. Ãn 1989 Madonna lanseazÄ âLike a Prayerâ, iar creÈtinismul devine aÈa cool ÃncÃt Èi MTV Ãl aprobÄ.
Dialogul propus nu este o criticÄ a diverselor culte, nici o criticÄ de colecÈie, ci o examinare a unei influenÈe evidente Ãntr-o culturÄ care, practicantÄ sau nu, este profund religioasÄ. Simbolurile religioase nu sunt aÈa diferite de imaginile glossy folosite de publicitatea contemporanÄ perfecÈionistÄ. Ambele reprezentÄri au fost create, folosind codurile estetice specifice limbajului cÄruia Ãi aparÈin, pentru a ne convinge de pe piedestalul pe care au fost ridicate. Pentru cÄ ne sunt superioare trebuie sÄ ÃncercÄm sÄ fim ca ele Èi sÄ aspirÄm prin esteticÄ la aceastÄ versiune mai bunÄ a noastrÄ.
 
Eugen RÄdescu este politolog (specializat Ãn relativism moral Èi eticÄ politicÄ), manager cultural, curator Èi teoretician. A scris pentru diferite reviste Èi ziare naÈionale Èi internaÈionale. A fost, printre altele, curatorul Bucharest Biennale 1, cu tema âIdentity Factoriesâ, al expoziÈiilor âHow Innocent Is That?â, âpresently i have nothig to show and iâm showing it!â Èi âCommon Nostalgiaâ la Pavilion BucureÈti. A publicat cartea âHow innocent is that?â la Revolver Book, Berlin. Este co-editorul PAVILION â journal for politics and culture Èi co-directorul Bucharest Biennale (ÃmpreunÄ cu RÄzvan Ion) Èi preÈedinte al board-ului organizaÈional al PAVILION Èi BUCHAREST BIENNALE. Este membru al board-ului de selecÈie apexart New York, pentru programele apexart âFranchiseâ Èi âUnsolicited Proposal Programâ. A Èinut numeroase prelegeri Èi conferinÈe la diverse instituÈii, printre care apex, New York; Badisher Kunstverein, Karlshrue; Casa Encedida, Madrid; Universitatea de Arte, Cluj. Ãn prezent lucreazÄ la editarea volumului: âRelativism moral â douÄ perspectiveâ. Este doctorand Ãn Ètiinte politice la Universitatea BabeÈ-Bolyai. Este profesor asociat la Universitatea BucureÈti Èi Universitatea BabeÈ-Bolyai din Cluj. LocuieÈte Èi lucreazÄ Ãn BucureÈti.

Andreea PÄtru este manager cultural Èi specialist Ãn comunicare Èi relaÈii publice. Ãn prezent este coordonator la PAVILION â centrul pentru artÄ Èi culturÄ contemporanÄ Èi co-director executiv al Bucharest Biennale (ÃmpreunÄ cu Andrei CrÄciun). A participat la ManyFest â Festival al Artelor Vizuale, TimiÈoara Èi a fÄcut parte din echipa de organizare a Festivalului InternaÈional de Film NexT. Este masterandÄ Ãn producÈie multimedia Èi audio-video Èi a publicat Ãn diverse ziare Èi reviste. Ãn 2011 a absolvit SNSPA cu lucrarea âImagini cult Ãn cinematografia lui Andrei Tarkovsky â o meditaÈie crono/topogeneticÄâ. A cÃÈtigat premiul CineMAiubit pentru criticÄ de film Èi lucreazÄ la proiectul âDe la cubul alb la cutia neagrÄ Èi viceversa. Imagine Èi iconografie Ãn cinema Èi post-cinemaâ. LocuieÈte Ãn BucureÈti. 


Eveniment Ãn cadrul expoziÈiei "AfluenÈa clasei muncitoare de la diferenÈiere la colectivism"

Imagine: Still from Madonna, âLike a Prayerâ, music video, 1989

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Andreea PÄtru in dialogue with Eugen RÄdescu
Corpo Santo

Dialogue/Lecture 
Thursday, 24 October 2013, 19.00

@PAVILION | proudly supported by UniCredit Èiriac Bank
Str. C.A. Rosetti 36 (Entrance from str. Jean Louis Calderon)

FB event: https://www.facebook.com/events/1422004388014145/

Fashion is a cultural practice with its own rules and structures, and its theoretical schemes which are based on the ideas of domination and oppression suppose, mostly, a means in which the dominant shuts out the oppressed, by bringing them closely to invisibility â fashion makes no exception, here also the obvious way by which the repressed fight back this condemnation to invisibility seems to be the perseverance in making oneself seen/ remarked/ breaking the limits of the mainstream pattern.
The statement to which the western cultural practices in fashion and style relate is the cornerstone of the Christianity: God made the human being after His Own image. The human is a product of His creator tainted by the imperfection brought on by the original sin. Clothes hide, yet express â a style is a developing process. The true mission of fashion is the one of a means of expressing, of communicating yourself to the world. Should the influence of Christianity in fashion be a statement of the religious beliefs by which we are driven or the emancipation of faithful? Sometimes, the influence of religion can be seen in the chastity of the clothing items, the average wearing of a small necklace with a cross, the simplicity of the seaming and the colors which remind us of the modest monastic clothing. Should modesty and humility be considered the new attributes of the religious influence in fashion or, with some exaggeration, blasphemy?
After the androgynous modern silhouette was introduced, the female slim and functional body of the â20s and with the dismissal of the corsage and all feminine accessories, a comeback took place, as a refusal of the modernity, embracing the eclectic style, ornamented and embellished. In the â50s and â60s Balenciaga used the priestâs black cassock, the cardinalâs crimson robes and the nunâs austere habit as a basis for many of his fantastic haute couture designs, then in the â80s and â90s bad-boys starting with Jean-Paul Gaultier deconstructed religious vestments and iconography in their runway collections. In 1989 Madonna released âLike a Prayerâ and the christianity became so cool even MTV showed interest in displaying it.
The proposed dialogue is not a criticism of several cults, nor a fashion show critique, but an analysis of an obvious influence in a culture, which, actively or not, could be considered profoundly religious. Religious icons are not so different from the glossy retouched images in contemporary perfectionist advertising. Both kinds of representations have been created, following the aesthetic codes of their own, to seduce us from their pedestal. Consequently, they have a major influence in our behaviour and in the way we conceive our bodies and they are meant to incite devotion, trying to convince us that we should aspire to be more like them, because they are a better version of ourselves.
 
Eugen RÄdescu is politologist (specialised in moral relativism and political ethics), cultural manager, curator and theoretician. He wrote for various magazines and newspapers. He curated, among others, Bucharest Biennale 1 with the theme âIdentity Factoriesâ, âHow Innocent Is That?â, âpresently i have nothing to show and iâm showing it!â  and âCommon Nostalgiaâ at Pavilion Bucharest. He published the book âHow Innocent Is That?â at Revolver Book Berlin. He is co-editor of PAVILION â journal for politics and culture and co-director of Bucharest Biennale (with RÄzvan Ion) and the chairman of the organisational board of PAVILION and BUCHAREST BIENNALE. He is member of the selection board at apexart for the programs âFranchiseâ and âUnsolicited Proposal Programâ. He held different lectures at several institutions such as apex, New York, Badisher Kunstverein, Karlshrue, Casa Encedida, Madrid, University of Arts, Cluj. Currently he is working on a new book, âMoral relativism â two perspectivesâ. He is Phd in political science at BabeÈ-Bolyai University. Also he is professor at Bucharest University and BabeÈ-Bolyai University, Cluj. Lives and works in Bucharest.

Andreea PÄtru is cultural manager and communication and public relations specialist. Presently she is coordinator at PAVILION â centre for contemporary art & culture and executive director of Bucharest Biennale. She participated at ManyFest â Visual Arts Festival, TimiÈoara and took part in organising NexT, International Film Festival. She holds an MA in audio-visual and multimedia production and she has been published in different newspapers and magazines. In 2011 she graduated SNSPA with the work: âCult images in the cinematography of Andrei Tarkovsky â a chrono/topogenetic meditationâ. She won the CineMAiubit prize for film criticism and is working on a new project âFrom white cube to black box and vice versa. Image and iconography in cinema and post-cinemaâ. Currently lives and works in Bucharest. 

Image: Still from Madonna, âLike a Prayerâ, music video, 1989


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PAVILION center for contemporary art & culture 
proudly supported by UniCredit Tiriac Bank

Str. C.A. Rosetti nr. 36 (crossing with Str. Jean Louis Calderon), 
Bucharest 020015, Romania

T: + 4 021 310 5469
E: pavilion@pavilionmagazine.org
www.pavilioncentre.ro

Facebook: www.facebook.com/pavilionjournal

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PAVILION (proudly supported by UniCredit Tiriac Bank) este un centru pentru arta si cultura contemporana, un spatiu independent work-in-progress, spatiu de productie si cercetare a vizualului, a discursivului si a performativului. Este un spatiu al gandirii critice  care promoveaza o Ãntelegere implicata socio-politic a artei si a institutiilor culturale.

PAVILION (proudly supported by UniCredit Tiriac Bank) is a center for contemporary art & culture, a work-in-progress independent space, a space for the production and research in the fields of audiovisual, discursive and performative. It is a space of critical thinking, and it promotes an artistic perspective implying the social and political involvement of art and of cultural institutions.

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This is a project by PAVILION - journal for politics and culture. 
www.pavilionjournal.org

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PAVILION, BUCHAREST BIENNALE and PAVILION CENTER are projects devised and founded by Razvan Ion and Eugen Radescu

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Institutional Partners:
Netherlands Embassy in Bucharest
Embassy of the United States in Bucharest
FSPUB - Faculty of Political Science
University of Bucharest
CNI Coresi
IASPIS
Alert Studio
Romanian Cultural Institute
Rumanska Kulturinstitutet Stockholm
Make A Point
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Cinema Union
Arhiva Nationala de Filme
White Night of the Galleries

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Official Hotel: Intercontinental Hotel

Official coffee: Illy

Printing Partner: Evergreen Concept

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Official Club: Control

Official Restaurant: Shift

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