A forword by Manrico MURZI for my book of selected poems


Manrico Murzi

Manrico Murzi

I hope soon I’ll find a good poetry publisher in Great Britain or USA for my first book of selected poems, in English,”Wall and Neutrino. The Poet in New York”, with a forword by a major Italian poet, Manrico MURZI, the disciple and university assistant of the famous poet Giuseppe Ungaretti, member of the editorial staff of the well-known Italian publisher Bompiani. He is also a member of the Committee of Writers of the European Union and an Ambassador of Culture of UNESCO.

MEGALOPOLI PER PENNA E SASSOFONO

Se la poesia è soprattutto creazione di musica con la parola e aggancio all’invisibile che abita nel visibile, nelle composizioni di Constantin Severin questi due fondamentali elementi sono di continuo presenti. I ritmi prevalgono costanti, tanto che le forme del discorso non necessitano di punteggiatura, né esigono il rispetto dell’ortografia. Come nel jazz, forma musicale che al pari della vita offre imprevisti accordi e avventate foghe, il flusso è inarrestabile, ricco di variazioni sincopate nelle simbologie che propone e nelle numerose metafore che sovrappone. Lo stesso Constantin modula cadenze suonando il saxofono, strumento modernamente espressivo degli anni Quaranta del XIX secolo. Il linguaggio, in tutti e quattro i poemetti della raccolta, è figurale, abbozza allegorie, presenta simboli, e il loro contenuto ha una congenita unità, siccome dà al lettore la rappresentazione di una realtà contemporanea inquietante: e, specie nell’originale romeno, si è costretti a rispettare l’esigenza di una recitazione a voce alta, come deve essere quella della poesia dove le vibrazioni dei suoni usciti dalla bocca rientrano dall’orecchio nell’interiorità stessa del lettore-cantore. Ed è spessa l’ombra dorata delle cose irreali, è dinamico l’angelo dai mille ritmi che misterioso vola tra le note della musica, e non è solo di natura fisica la profondità dello sguardo che due innamorati si scambiano: il legame è con il continuum che abita nelle cose di questo mondo.
Constantin non è mai stato a New York! Né ha vissuto immerso in realtà altrettanto complesse di questo nostro tempo. Dice egli stesso: questa città immensa era un simbolo di libertà per me quando ero giovane durante la dittatura di Ceaucescu, 1967-1989. Fin da quand’ero adolescente, uno dei miei sogni era di scrvere un poema dedicato alle città enormi, megalopoli. Nella letteratura romena non vi era un poema del genere, ed ero capace di scriverlo all’età di 26/30 anni. Avevo due modelli: “Il poeta a New York” di Garcia Lorca and “La Terra Desolata” di T. S. Eliot … Indicativa di tale stato d’animo è la foto del giovanissimo Severin che si atteggia a giovane americano dall’aria scanzonata: in testa un provocatorio cappello di paglia e nel volto un piglio di sfida al regime, si accende una sigaretta e sembra dire: mi comporto come si fa nel mondo libero! “E ora mi vedi/sigaretta tanto isolata/nell’angolo delle mie labbra/tutta la mia vita ho viaggiato/attraversando un’officina di cosmetici ad memoriam …” Sintomatica anche la figura del governatore in blue-jeans che giuoca a golf!
Il Nostro è riuscito con due sole parole, Muro e Neutrino, a formulare la sintesi di tutto quel che ha saputo assorbire, anche mentre scriveva (Ho lavorato tanto fino alla versione finale; credo di averlo riscritto circa cinquanta volte …, racconta) e attraverso la curiosità che scopriva informazioni relative al grande calderone di etnie, usi e costumi che è New York, città di otto milioni di esseri umani, e l’assiduo lavorio di ricerca in tutti gli aspetti che informano quel luogo unico e straordinario. Lui, in un angolo della sua Suceava, grossa cittadina di centoventimila abitanti nel Nord-Est di Romania, ai confini con l’Ucraina, dominato da una cittadella compatta come una noce: memoria di un passato glorioso quando, dal 1388 al 1565, fu capitale del Principato di Moldavia, con il passaggio terreno di personaggi che hanno segnato la storia: il monaco Dosoftei, figura del Seicento, studioso, poeta, traduttore e metropolita di Moldavia, il quale ci riporta con ammirato pensiero alla Bucovina dei monasteri di Voronet o di Dragomirna, e alla tradizione bizantina; Stefano il Grande, che nella seconda metà dell’Ottocento portò la sua patria al massimo splendore; personaggi degli anni recenti, come il poeta Nicolae Labiş, o dell’oggi, quali il romanziere Norman Manea, il pittore Dimitri Rusu … Luoghi dove il sangue si riscalda ancora se verso il cielo si levano le sonorità dell’acrobatica danza rituale Hora de la Frumuşica, quando i calusari volano in aria, come possono quelli uniti da legami fraterni forti e segreti, e nell’esaltazione della fertilità. Tutto ciò, messo a confronto con New York, regala a tutti noi la dimensione del paragone, la distanza mentale e psichica, oltre che geografica, tra le due realtà. Pare dunque un miracolo che la metropoli dell’Empire State Building, dei quartieri di Manhattan o di Harlem, del Central Park, della Subway, del Metropolitan Museum, dei club notturni musicalmente più arditi, abbia potuto diventare così intima a Severin. Il quale interpreta e mette in luce, perché ormai fortemente interiorizzati, non solo la complessità della Grande Mela, ma anche tutti gli effetti che le realizzazioni tecniche delle scoperte scientifiche, e la vita vissuta di corsa, operano nell’Uomo di oggi, in gran parte del mondo, con frizioni di ordine spirituale e attriti metallici ben espressi nella musica di Stravinsky, persino nei tempi di un Minuetto o di un Allegro; e le contraddizioni portate a galla dai tanti processi di trasformazione alchemica in moto negli ingranaggi della psicologia sociale e degli eventi politici ed economici; una società la cui sostanza è fatta di stramba alienazione e pesante solitudine, come quelle incarnate nell’axolotl (chiamato anche giuochi d’acqua), emblematica salamandra messicana con nome azteco che trascorre le ore del giorno nei muschi e nella vegetazione putrescente e la sera va a caccia di vertebrati d’ogni sorta. Severin rimase impressionato dalla lettura del breve racconto “L’axolotl” del romanziere cubano Alejo Carpentier.
In questi poemetti sono evocate le sedute psichiatriche per le anime malate dal muro e dal neutrino, dall’isolamento e dalla infiltrazione del male: in un reparto psichiatrico/muro e neutrino/il mondo alita attraverso la lastra di vetro.
In tutto questo mondo caotico, offre sollievo all’Uomo l’osservazione delle stelle con la speranza di un’evasione verso altri sassi ruotanti nello spazio, mentre non portano gran che conforto le fragole selvatiche o i tocchi della chitarra provocati da un casuale calcio alla sua custodia posata per terra, o una ventata propizia nella tromba di una scala troppo in salita! La conoscenza non è fatta solo di apprendimento e di esperienza, ma è soprattutto frutto dell’intuizione: strumento essenziale del poeta.
Seguimi amoremio/dentro alla città gialla/muro e neutrino/dove l’oscurità con lentezza avanza con l’elettronico fucile di caccia/di jazz/uragano e giacinto/equatore celestiale/nell’occhio dell’amante/eppure dove c’è l’oceano/verde e vuoto/oceano del suono originale… Muro: il risultato della spinta costruttiva dell’essere umano può divenire barriera, addirittura prigione dal colore dello zolfo. Torna alla mente la poesia del greco Cavafis: Senza riguardo senza pietà senza pudore/mi drizzarono contro grossi e alti muri./E ora siedo qui e mi dispero/Non riesco a pensare ad altro…/… questa sorte mi rode la mente. Il muro! Materia inanimata, come il metallo di cui sono fatti i treni sfreccianti nel buio del sottosuolo e le auto che rumoreggiano sulle vie cittadine o per i grandi spazi delle autostrade, le ruote/ le loro narici tragiche. In tale bosco di cemento/ una esplosione di profumo di lillà/dall’interiorità umana/investe le narici! Intrighi di ferro e gomitoli di acciaio rivestiti di gomma, la quale non riesce ad attutire la loro ottusità e freddezza. Ecco che le parole di Mihai Eminescu risuonano profetiche: noi e la natura non saremo più tutt’uno. Il nostro rapporto con lo real meravilloso che abita nella natura ha poco di organico. Tecnica e meccanica, così alla svelta sviluppatesi dal secolo XIX, hanno fatto e fanno riflettere poeti scrittori e pensatori su quanto incidano nella vita del quotidiano e in quella dello spirito, nell’Uomo. Secondo il filosofo russo Nikolaj Berdjaev alla tecnica si sacrifica tutto, mettendo innanzi la fede … nel progresso, nell’umanesimo, nella scienza salvatrice. E si arriva a credere all’onnipotenza della macchina e della tecnica. Il razionalismo, come afferma anche Aldous Huxley in Brave New World, e il meccanicismo hanno sostituito l’organicità, cioè il rapporto spontaneamente organico con il mondo della natura, delle piante e degli animali. L’artificio domina e inquina l’ambiente nel quale stiamo. Con il potere distruttivo delle armi la tecnologia cambia il destino dell’Uomo e il suo rapporto cordiale con Dio e le cose del mondo. Viene in mente l’affermazione di Albert Einstein, che ha passeggiato per le vie di New York, Temo il giorno in cui la tecnologia andrà oltre la nostra umanità: il mondo sarà popolato allora da una generazione di idioti. Dice ancora Berdjaev, filosofo dell’Esistenzialismo Cristiano, C’è un problema fondamentale … legato al crescere della potenza tecnica e alla progressiva democratizzazione di massa … la persona, aspirando ad emanciparsi, finisce per lasciarsi opprimere sempre più dalla società, è sempre più socializzata, collettivizzata … Già il sistema capitalista e industriale, fondandosi sull’individualismo, è giunto a schiacciare la persona, ha prodotto uno stile di vita impersonale, anonimo, collettivo e massificante. Da ricordare anche quanti liberi produttori, lasciando attività artigianali e campagna, sono divenuti salariati di fabbrica! E ancora, Il processo tecnico ed economico della civiltà contemporanea trasforma la persona in un proprio strumento, esige che questa sia perennemente in attività, che sfrutti ogni secondo di vita per l’azione: non per amore di Dio, ma per amore della merce! (for good’s sake, not for God’s sake!).
La civiltà contemporanea rifiuta la contemplazione e minaccia di escluderla completamente dalla vita, di renderla impossibile. Questo significa che l’Uomo smetterà di pregare, che non avrà più alcun rapporto con Dio, che non vedrà più la bellezza né conoscerà disinteressatamente la verità. Anche Marx e Engels si interessarono all’esperimento industriale inglese, arrivando a conclusioni e giudizi negativi: parlando di inadeguatezza e mancanza di equità.
Uomini come macchine di carne? E non è soltanto un gioco letterario. Occorre stare svegli, occorre essere coscienti e responsabili e trasmettere questo messaggio agli altri! La nostra situazione socio-politica, oggi 2014, è esasperata: occorre difendersi, e insegnare ai giovani come difendersi dalla tecnologia.
Nel 1864 al capitolo VII di Memorie dal sottosuolo Dostoevskij scrive, Allora si creeranno nuovi rapporti economici, già bell’e pronti e calcolati anch’essi con precisione matematica, sicché spariranno di colpo le questioni possibili, per l’evidente ragione che vi saranno per esse tutte le possibili riposte … l’illusione del benessere apportato dalla nuova era industriale: priva di attenzione alle esigenze degli esseri umani che non sono macchine o strumenti del progresso, bensì costruttori e fruitori dei risultati.
Severin nutre tali sentimenti nei confronti della tecnologia e della distanza dell’Uomo dalla Natura. Macchine! Jean Tinguely, scultore svizzero, costruì machine inutili, organism che vivono distruggendo se stesse, e, mentre lo fanno, offrono un divertente spettacolo. I suoi lavori si possono vedere a Basilea, Parigi, Zurigo … Si è divertito facendo cadere per terra I pezzi della macchina uno ad uno dando I suoni di una felice distruzione della macchina che rende schiavo l’Uomo.
Neutrino: così nominato da Enrico Fermi, è un’emissione di raggi beta, con un potere tanto elevato da sfuggire ad ogni metodo di osservazione, anche a causa della sua neutralità e della sua piccolissima massa che come una trottola fatta di niente è presente in tutto l’Universo; la sua radiazione ionizzante passa oltre i corpi degli animali, umani e non umani, trapassa muri e rocce, scorre attraverso piante e fiori, infila le farfalle! Senza intaccarne l’integrità? Che non sia la personificazione del Divino? E ritorna alla mente il libro di Gino Segré, Faust a Copenhagen, una lotta per l’anima della Fisica. Si parla del gruppo di sette alunni della fisica teorica che lavorarono a dar vita alla meccanica quantistica, quella che permise poi invenzioni quali quelle del laser e del transistor; e l’affermazione dell’esistenza della particella misteriosa neutrino, già formulata intorno al ‘930. Vale la pena rileggersi Goethe, e accostarsi al racconto popolare che sta all’origine del suo capolavoro, come riferito da Sylvan Barnett! Si narra che Faust, mentre era in prigione, in cambio di vino … si offrì di mostrare ad un cappellano come rimuovere i peli della faccia senza usare il rasoio; il cappellano procurò il vino e Faustus diede al cappellano un unguento all’arsenico, che rimosse non solo i peli, ma anche la carne. Ci sembra che nessuna storia possa meglio aderire ai risvolti umani che può avere la scienza.
Le scoperte della fisica includono l’anima mundi. Ogni scoperta è preceduta da un atto intuitivo, da un moto dell’animo, solo più tardi confermata dalla sperimentazione. Momento storico importante, siccome la disintegrazione del nucleo atomico ha aperto le porte all’era atomica e qualcosa di terribile si prepara per il mondo intero, con l’ascesa di Hitler e il cammino verso la guerra. Gli scienziati saranno costretti a essere complici della macchina bellica e a subire condizionamenti politici e militari. Tornando alla presenza del mistero nella realtà materiale del cosmo, spesso gli scienziati, sin dal tempo dei presocratici, individuano nella realtà terrena l’esistenza di numeri, il 3,14 ad esempio, che risolvono problemi di matematica o di fisica, ma inspiegabili: è perciò che sono chiamati numeri sacri. Alludendo dunque alla presenza del sacro nella materia. Ultimo esempio: si è chiamato la particella di Dio il Bosone di Higgs, la cui scoperta è stata appena confermata. Tale definizione sarà pure una battuta, ma conferma il sospetto, che in alcuni regna, della presenza del mistero nella materia: ICon il mio corpo stavo ascoltando/un’idea … La mente non ha sede nel cervello, ma in tutto il corpo dell’essere umano, è il corpo umano e le sue possibili estensioni: tu scrivi accadimenti con tutto l’inchiostro del tuo corpo.
Certo, Il poeta a New York di Garcia Lorca! Che richiama la visione di quella megalopoli nel canto di Walt Whitman e di tanti altri poeti, o quella di Chiang Yee nel suo Il viaggiatore silenzioso a New York, dove si recitano i versi di William Lloyd Garrison, Alti e grossi muri possono delimitare il corpo/e cancelli di ferro impedire lo sguardo del prigioniero/e pesanti chiavistelli possono avversare il suo progetto/ e guardiani vigilanti controllare i suoi tortuosi itinerari;/ma la mente immortale si fa beffe di un tale controllo;/Nessuna catena lo può legare, nessuna cella lo può rinchiudere. Sì, quando Constantin canta Il sole rinasce in un risveglio chimico/ sullo scheletro di sale del mare … ritorna alla memoria il canto di Lorca: L’aurora di New York ha/Quattro colonne di fango/e un uragano di negre colombe/che guazzano nelle acque putride./L’aurora di New York geme/sulle imense scale/… L’aurora viene e nessuno la riceve in bocca/perché non c’è domani né speranza possibile … Il canto è per una rumorosa Babilonia in cerca di unità e di redenzione, dove non si può più dire that aongi mattino ha l’oro in bocca. È utile mettere a confront queste immagini con quelle dei tempi andati: Omero, hl’aurora dale dita di rosa, nella sua gialla veste; Dante, L’alba vinceva l’ora mattutina,xche fuggia innanzi, sì che di lontano/conobbi il tremolar della marina;Omar Khayyam, Sveglia, il Sole che ha messo in fuga le stelle/ davanti a sé, dal territorio della Notte/trascina via la notte assieme a loro, dal Paradiso/e colpisce con una freccia di luce la torretta del Sultano.
Abbiamo detto, come il jazz! L’improvvisazione è un gioco che non si oppone in modo anarchico, come sembrerebbe, alle leggi, quelle musicali ad esempio, ma anche alle tante norme che per natura regolano le attività manuali dell’Uomo guidato dalla logica più che dalla razionalità, mentre crea e modula la voce nel canto, come nel caso di Severin. L’essere umano si serve dell’improvvisazione per instaurare un clima di libertà espressiva: come mare alla riva o dentro una grotta, rissoso sugli scogli o quieto in una fresca mattina di primavera, con le sue tante voci e le sue molteplici sonorità; la poliritmia tipica del jazz e le sue progressioni armoniche: io suono quel che vivo, io formo quel che vivo! Creare è dimenticare l’esistenza del mondo e concentrarsi solo nel realizzare l’idea e il disegno dentro di sé: quel che suoniamo è la vita: più lo faccio per mio diletto e più diletto gli altri. L’improvvisazione caratteristica del mare, con la sua festa e il suo disordine sempre regolato dal numero, palpita nel jazz obbediente alla nota. Da ricordare che Ben Webster amava moltissimo suonare sulla battigia del mare. Si costruisce una struttura sonora lì per lì, senza un disegno iniziale, e la processione sonora prende il suo corso inaspettato, fatta di emozioni momentanee che però hanno radice nel perpetuo. Talora le sonorità sono in dialogo tra di loro, talvolta in lotta, altre volte invece in completa armonia come unica voce ed espressione musicale omogenea, senza che una voce si distingua dall’altra: vieni, sbuccia/la luce del mio ascolto/i denti scintillanti/della stirpe negra. Ancorata al mondo del subconscio, al mondo di un dio giocherellone che evoca e invoca, prega e ride: scherza il dio dentro di noi! Quel che più affascina del jazz è la sincerità che contiene. Il musicista del jazz, che Severin eguaglia nel suo canto, attribuisce grande importanza ai ritmi liberi, non finge, dice: se mi vedi ridere, lo faccio per non piangere; come il jazzista, ha un proprio suono personale, e difficilmente si adegua a un ideale sonoro da tutti accettato.
Ogni tanto l’invito a cantare Old Man River che trasmette la pesante malinconia e la dura vita degli Afro-Americani, oppure un cenno alla violenza: i motociclisti cadono/per le inflorescenze del loro stesso sangue … un segno dello sprezzo della vita, che ci ricorda le parole di Emerson, L’Uomo cerca gli aspri picchi della realtà.
Aiutare il lettore nell’interpretazione delle numerose immagini partorite da Severin, e nell’analisi delle figure dinamiche presenti nella scena del suo poetare, sarebbe lavoro titanico, e poco consono ad una premessa. Possiamo soltanto commentare alcuni voli allegorici presi qua e là, e fornire in tal modo la chiave per comprendere anche gli altri. Severin compone di getto fulmini bizzarri, dettati dalla sollecitudine nutrita per gli esseri umani, consapevole dei pericoli spirituali e materiali che li sovrasta. Cerca così di mettere a lavoro la loro capacità di frenare questa corsa verso la desolazione: quella ch’egli stesso ha avvertito leggendo The Waste Land di T.S. Eliot. In uno dei suoi racconti, Ada Kaleh (in Turco: ada =isola; kaleh =fortificata), Severin esprime lo stesso tipo di sentiment per la perdita dell’isola della sua infanzia: sul Danubio, venne sommersa nel 1970 durante la costruzione degli Iron Gates, fabbrica idroelettrica. Ancora la tecnologia contro l’Uomo! Constantin canta: Sono alla ricerca di una casa che somigli alla voce materna/ho più volte sentito/la mia carne che avvolgeva/ una rossa macchia …
Con la forma sintetica di cui è capace, Severin bolla la visione della realtà che ci circonda come l’insieme di immagini prodotto dal bacovia effect on cathode-ray tube: il poeta lirico e filosofico George Bacovia (1821-1890), creatore della poesia moderna della Romania, con il suo simbolismo creò immagini rapide, fugaci, transitorie come quelle offerte allo spettatore dalla televisione. La sostanza della realtà come la tenerezza del cielo sono spesso colpite dal un urlo alto e straziante, che talora è un grido del litio, una gridata mancanza di sale, mentre la chimica (alchimia privata della sua componente sacra) fa il lavoro inquinante: dai tubi di scarico delle fabbriche fuoriesce l’ammoniaca come neve allabbrata, e che della neve sembra avere la pulizia e la leggerezza. Altro è l’alchimia, evento chimico nella spiritualità di un individuo, arte di convertire i metalli ignobili in oro.
La luce che domina l’universo/nero e antinero/bianco e antibianco/ rosso e antirosso … Gli scienziati hanno da oggi, 2014, la possibilità di lavorare su material e antimateria, come la recente scoperta dell’antiidrogeno a Ginevra suggerisce. Che cosa è l’antimateria?La celebrazione della Primavera/ha illuminato il respiro dell’invisibile … Come a dire che anche l’arte di Stravinsky ha affermato anzitempo la presenza del Divino nella materia.
E ancora Severin ci parla della cecità psicologica e mentale così diffusa: l’oscurità osa prendere dimensione di ogni evento/a fianco del gufo bianco, l’animale che è simbolo della solitudine e della malinconia. E dei fisicamente ciechi ci parla: per strada i motociclisti/strappano via I bastoni dei ciechi/per procurarsi una giocosa esistenza … o tuttavia prende per mano la città/il cieco che gira attorno/in un villaggio dei Carpazi. E i ciechi hanno la capacità di vedere il lato psicanalitico delle cose.
La donna appare ogni tanto in questi versi: la memoria delle curve rotonde/nelle lenti ubriache; fanno ubriacare persino le lenti degli occhiali di chi le guarda! La vita è chirurgia! E ancora, tla donna con occhi così intensamente/commerciali che si sbottona la blusa/un destino che non è suo … O evocata come femmina: soltanto il mare si srotola ai miei piedi/come un’ingenua prostituta; and la donna ballerina scultura cinetica/nel rilievo barocco della note/il club dei bimillionari/ è resa piena di malia dai proiettori/donne, con la loro filosoficamente bianca carnagione …
In Axolotl, poemetto di 20 stanze, le ultime due parti sono una celebrazione del dialogo. Il colloquio si svolge tra Constantin e un altro poeta rumeno, Serban Codrin, conosciuto per l’abilità nello scrivere haiku. Potrebbe aver luogo in una caffetteria o sul marciapiede di Bucarest. È nella forma tradizionale giapponese del renga o renku: verso circolare (nijuin=venti). Una ventata di fervida immaginazione e veloce prontezza nel creare quadretti di vita interiore e paesaggi naturali dove le cose create, minerali vegetali animali, vivono in un vivace e armonico scambio di energia e concordia.
È ricorrente, in questi poemetti, l’accento esoterico e l’interesse per un territorio immateriale. Sappiamo che chi ha nutrito nella ricerca esoterica Severin, è tra gli altri Vasile Lovinescu, nativo di Fặlticeni, nel territorio di Suceava. Amico di Mircea Eliade, di lui poco si parla. Sappiamo che subì molto l’influsso del convertito francese Guenon. Come questi, infatti, subì il fascino dell’Islam, incontrando il Sufismo, approccio filosofico e religioso alla Divinità con slancio rivoluzionario, fiorito molto prima della dettatura del Corano fatta da Maometto, e vissuto poi al riparo e nell’abbraccio dei Paesi islamici, come c’insegna lo studioso Robert Graves nella prefazione a The Sufis di Idris Shah.
Afferma il Nostro: Una città alchemica non può assumere forma stabile/è una danza di princípi/una instancabile creazione e trasfigurazione … E tale processo coinvolge anche gli abitanti, aggiungiamo noi. Per gli alchimisti, come per tante tradizioni, l’opera da realizzare è espresso simbolicamente da un libro eterno perduto. Il Liber Mundi, ora aperto ora chiuso, contiene la Saggezza divenuta inaccessibile all’uomo comune.
E chiudiamo indicando al lettore cinque momenti usciti dalla fervida immaginazione del Nostro, in Axolotl, Dopo la luce il fuoco: la mescolanza tra il celestiale e il terreno:
come l’arcobaleno trinca/la luce degli angeli;
il sottile svolgersi di un evento che coinvolge Natura e Uomo:
il silenzio della foglia che cade/su spalle caldo-frizzanti;
la sensibilità di un artista convinto dell’efficacia di gesti apparentemente folli:
il musicista cieco/che scalda le sue mani/ai rossi tulipani;
l’attrazione ineludibile di una sostanza alla sua fonte:
nel nostro sangue il sale del mare/è in cerca della riva;
lo strumento dell’arte che vince la forza oscura della natura in tempesta, come il dramma nascosto in un cuore umano:
le nuvole d’autunno messe in fuga/dalla viola d’amore!

Mi si lasci fare un’importante affermazione: la sua indole naturale porta sempre Constantin ad avere a cuore l’umanità.

MANRICO MURZI

PEN AND SAX MEGALOPOLIS

Is it so – that poetry is above all music created with words and link to the Invisible dwelling in the Visible; these two elements live in the compositions of Constantin Severin; for him they are fundamental. Rhythms constantly prevail since the discursive form does not necessitate punctuation, nor does it want an orthographic respect. Similar to jazz which, as life does, offers unexpected chords and reckless passion; the flow goes on: rich in syncopated variations of symbols and metaphors. Constantin modulates his cadences when he plays his sax, instrument of modern invention.
This language is expressed, among others, in the ‘poemetti’ of the collection: they are figurative; they sketch allegories, and their content shows a congenital unity. They give the reader a picture of contemporary reality, which is disquieting.
Particularly in the original Rumanian, we feel the vocalization in its recitative fullness; poetry, read on a loud voice, which utilizes mouth-vibrations, and through the ears reaches our interiority. The golden shadow of the unreal is dense, the multi-rhythmic angel flying among the notes is dynamic: there is a continuum which is part of the matters of the world. Meanwhile, the depth of a glance exchanged by two lovers is not of physical substance.
Constantin has not been subjected to the real complexities of our times. He has
never been in New York! He discloses: this huge city was a symbol of freedom for me when I was young during Ceauşescu’s dictatorship, 1967-1989. Since I was a teenager, one of my dreams was to write a poem dedicated to the huge cities, megalopolis. There wasn’t such a poem in Rumanian literature, and I was capable to write it at the age of 26-30 years. I had two models, “The Poet in New York” by Garcia Lorca and “The Waste Land” by T.S. Eliot … Indicative of a young Severin, who feels himself a young American, (see the photo: provocative straw-hat, lighting his cigarette, and a challenge-the-regime look. “And now you see me/such a lonely cigarette/in the corner of my lips/all my life I’ve travelled/through a cosmetic-for-memories plant … His reference is a governor playing golf, clad in jeans; a figure of the free world.
Using only two words, Wall and Neutrino, he indicates the synthesis of everything he had absorbed, while writing: I worked a lot until the final version; I think I have re-written it around 50 times … Trough his innate curiosity and continuous research he came to know the great hotchpotch of the varied ethnic groups, their usages and customs. Note, that New York, more or less eight million inhabitants, is that extraordinary place!
His was a corner in a large village, Suceava, more or less of a hundred twenty people. His home town is dominated by a citadel, memory of a glorious past, when, from 1388 to 1565, was the capital of the Principality of Moldavia, with the earthly presence of persons who have marked its history: the monk Dosoftei, XVI century, scholar, poet, translator and metropolitan of Moldavia, who brings us back, with admiration, to Bukovina and its monasteries of Voronet or Dragomirna, and to the Byzantine tradition; Stefan the Great, who, in the XVIII century brought his country to its maximum splendor. In recent times: the poet Nicolae Labis, the novelist Norman Manea, the painter Dimitri Rusu, the renowned Parisian Constantin Brâncuşi … His homeland which evokes the ritual dance Hora de la Frumuşica; the acrobatic calusari flying in the air, a secret strong fraternity exalting fertility. Put together, we feel the dimension of the paragon, beyond geography, of the mental and psychic distance of both realities. It seems a miracle that those far-flung sites: Harlem, Central Park, the Metropolitan Museum, the underground world of the subways, the night-clubs of far-out music, could become part of Severin: intimate identification; how completely represented the complexity of the Big Apple, and also its realized technicality of scientific discoveries; even the effect of the rapidity in which so many parts of the world are swept into: a spiritual and metallic friction. Igor Stravinsky brings it out in his music, even in a Minuet or Allegro; the alchemic process of transformation in the strident gear of social psychology, political and economic. The contradictions bring forth alienation and solitude: incarnated in the axolotl, also called water-games, emblematic Mexican salamander with an Aztec name. Severin was impressed upon reading the short story The Axolotl by the Cuban novelist Alejo Carpentier.
There is evoked a psychiatric session of souls made sick by the wall and the neutrino, by the isolation and the infiltration of evil: in a psychiatric unit/wall and neutrino/the world breezes through the glass pane.
Inside the chaos, some relief for the observer there is, an evasion for Man: stars, other stones which whirl around in space, while wild strawberries, or the twang we hear for a casual kick to the guitar-case abandoned in a corner, or a benign wind in the too-steep staircase do not give much comfort to the world! Knowledge is not only learning and experience: it is, above all, intuition: the poet’s basic essential.
Follow me my love/into the yellow city/wall and neutrino/where dusk creeps on with the electronic shotgun/of jazz/hurricane and hyacinth/celestial equator/in the lover’s eye/yet where’s the ocean/green and empty/ocean of the original sound…
The Wall: the pursued construction of humans can become a barrier, even a sulphur-hued prison. Cavafis wrote, With no consideration, no pity; no sensitivity,/they’ve built walls around me, thick and high./And now I sit here feeling hopeless./I can’t think of anything else …/… this fate gnaws my mind. The wall! Unanimated matter, as the metal of which the underground trains, flashing past the darkness, are made off, and the cars making noise in town-streets or in motorways, the wheels/with their tragic nostrils. In such a grove of cement an explosion of lilac smell, coming from the human inside, hits the nostrils. Intrigues
of iron and ball of steel coated with rubber, unable to deaden obtuseness and coolness. Mihai Eminescu says, we and nature shall never be one again. Our relationship with the real meravilloso dwelling in nature has little of the organic.
Techniques and mechanics, so rapidly developed starting from the Eighteenth Century, arose and arise reflections in poets, writers and thinkers with reverberations in the every-day life, and in Man’s spiritual life. Aldous Huxley, in Brave New World affirms that rationalism and mechanism have taken the place of the organic, of the spontaneous relationship with plants and animals. The artificial dominates and contaminates the ambient where we live; with the distractive power of weapons, our destiny has changed, and we’ve lost our cordial rapport with God and with things of the world. We can think of what Albert Einstein, who walked in the streets of New York, has said: I fear the day when technology will go beyond our sense of humanity: then the world will be filled with a generation of idiots. The Russian Nicolay Berdjaev, philosopher of the Christian Existentialism, stimulated faith in progress and humanism, but in a science which saves! And again Berdjaev, who says: There is a fundamental problem … tied with the growth of technical power and the progressive democratization of the masses. Those who aspire for emancipation end up by becoming more oppressed by society, and more and more socialized, that is collectivized … since the capitalistic and industrial system is founded so much on individualism, it has come to pound out the person, has produced an impersonal life-style, anonymous, collective …. We see how many individual-producers have left crafts and the countryside to work in factories for a limited salary. Technical and economic progress of the contemporary civilization transforms the person into instrument, demands to be continually active, using every minute for action: for good’s sake, not for God’s sake. This civilization refuses contemplation and threatens to completely exclude it, or make it impossible. If it continues, prayer will be alien and we will be unable to have contact with our Creator, we could not be in touch with beauty, nor be able to have an interest in truth.
Men like flesh-machines? We must be awake, aware, and conscious, and make others aware. In Letters from the Underworld, Dostoevskij wrote: and they will create new economic rapports, confectioned and calculated, even them, with mathematical precision … there will be lack of attention for the needs of human being… Severin hints at these feelings about technology and distance of Man from Nature. Machines! Jean Tinguely, a Swiss sculptor, built useless machines, organisms which live destroying themselves, and, while doing it, give an amusing performance. A kind of philosophical revolt. His works can be seen in Basel, Paris, Zurich … He enjoyed himself making the machine’s pieces fall on the floor one by one giving the sounds of a happy destruction of what makes a slave of Man.
The Neutrino: named by Enrico Fermi, is an emission of beta-rays and is so powerful that it makes impossible our observation, just because of its neutrality and the minuteness of its mass, it is similar to a made-of-nothing top, ware present in all the Universe; the ionized radiation imbues all; animals, humans, passes walls and rocks, through plants and flowers, butterflies. All this without destroying their integrity. It seems a personification of the Divine. Gino Segré in his book Faust in Copenhagen, a struggle for the soul of Physics speaks of a group of seven students of theoretic physics who work to create the Quantum Mechanics- it is this research which permitted the invention of the laser and the transistor: the affirmation of the mysterious neutrino, already formulated since 1930. It is worth our while to re-read Goethe, and draw near the popular tale which is at the base of his masterpiece, as Sylvan Barnett recounts it! Faustus, while in prison, in exchange for wine, offers to show the prison-chaplain how to remove face-hairs without using a razor. When the chaplain procures the wine, Faustus gives him an arsenic salve which then removes, not only the hair but also the flesh. It seems to me that no tale could adhere to human actions, more than that of science; the discoveries in physics, also include the anima mundi, and each of such acts are preceded by intuition which become action, only later confirmed by experiment. The disintegration of nuclear atomic began the atomic age and the terrible scenes with war and Hitler. And scientists were forced to collaborate with the engine of war and accept political and military conditions. If we seek the presence of mystery in material reality of the cosmos, we often find in the terrestrial existence the numbers, 3,14 for example, even since the Pre-Socratics, which resolve problems in mathematics or physics; these are called sacred numbers, despite not being understood; obvious recognition of the sacred in matter: see the God particle, the Bosone of Higgs recently confirmed: I was listening with my body to/an idea … Our mind’s seat is not in the brain, but in our whole body and its possible expansions: you write events with all of your body’s ink.
Certainly, The poet in New York by Garcia Lorca! Which recalls the American canto of Walt Whitman and many other poets, and The silent traveler in New York, of Chiang Yee reciting verses of William Lloyd Garrison: High walls and huge the body may confine,/and iron gates obstruct the prisoner’s gaze,/and massive bolts may baffle his design,/and vigilant keepers watch his devious ways;/but scorns the immortal mind such base control;/No chains can bind it, and no cell enclose. When Constantin sings: In chemical wake the sun comes to life/on the salt skeleton of the sea … , he reminds us of Lorca’s: New York’s dawn has/four columns of mud/and a hurricane of black doves/which wallow in rotten waters./New York’s dawn moans/on the immense stairs/… Dawn comes and nobody welcomes it in his mouth/since there is no tomorrow, nor any possible hope … That is singing a noisy Babilonia searching for unity and redemption. No longer: any morning has gold in its mouth. It is useful to compare these images with Homer’s: the rosy-fingered dawn, in her yellow robe; Dante’s: The dawn had chased the matin hour of prime,/which fled before it, so that from afar/I spied the trembling of the ocean stream; Omar Khayyam’s: Wake, for the Sun who scattered into flight/the stars, before him, from the field of Night/drives night along with them, from Heaven/and strikes the Sultan’s torret with a shaft of light.
Going back to jazz: improvisation as play which doesn’t oppose, as would seem, to a regulating nature of music, or other norms which accompany Man’s manual labor, which is guided by logic more than rationality while trying to create and modulate one’s singing voice, as Severin does. We serve improvisation to give us the climate of expressive liberty: as the sea with its many voices and multiple sonorities; here is the polyrhythmic sound, typical of jazz: of harmonic progression, I play what I live, I form what I live! To create and forget the existence of the world and realize the idea and what is inside of you: what you play is life: more delight for me brings more delight for others. The sea’s disorder is regulated by number as jazz obeys the notes: Ben Webster loved very much to play on the shore-line! Momentary emotions with roots in always. Though sometimes sonority has a dialogue, or even battle within, or it can be harmonious as an only voice: come peel off/the light of my hearing/the shining teeth/of the black race. Anchored to the world of the unconsciousness, to the world of a jesting god who evokes and invokes, prays and laughs: god trifles inside of us! What is fascinating in jazz is its sincerity. The jazz musician, whom Severin equals in his lyric, attaches importance to free rhythms, and doesn’t pretend: if you see me laugh, I do it not to cry. As the jazz-musician, he has a personal sound, and seldom he conforms himself to a resonant ideal accepted by all.
Constantin fears Man’s run toward desolation: the same he felt reading The Waste Land by T.S. Eliot. In one of his stories, Ada Kaleh (in Turkish: ada =island; kaleh =fortified), Severin expresses the same kind of feeling for the loss of his childhood’s island: on the Danube, it was submerged during the construction of the Iron Gates hydroelectric plant in 1970. Still technology against Man! Canta Constantin: I’m looking for a house that resembles mother’s voice/often have I heard/my own flesh surrounding/a red stain …
In his synthetic form, Severin marks images of today’s reality as bacovia effect on cathode-ray tube: The lyric and philosophical poet George Bacovia (1821-1890), creator of modern poetry in Rumania, with his symbolism created rapid images, transitory as those appearing in television. Often, the substance of matter and the tenderness of the sky are hit by a high scream: it is sometimes the scream of lithium, a yelled loss of salt. Meanwhile chemistry (which is alchemy deprived of its sacred component) is defiling: from factories the ammonia-lipped snow comes out, appearing clean and light as the real snow. Where is alchemy, the chemical event in an individual spirituality?
The light which dominates the universe/black and anti-black/white and anti-white/red and antired … Starting from now, 2014, scientists have the possibility to deal with matter and antimatter, as the recent discovery of the anti-hydrogen in Genève is suggesting. What’s antimatter? The Spring’s celebration/illuminated/the breath of the invisible … Like saying that even the art of Strawinski has affirmed before time the presence of the Divine in Matter.
Severin speaks to us of psychological and mental blindness: darkness takes size of any occurence/beside the white owl, the animal which is symbol of solitude and melancholy. And of physically blind men: on the street motorbikers/steal blindmen’s canes/to acquire a ludic existence … or yet take the town by the hand/circular blindman he/in a village in the Carpathians. And of the blind men who are able to see the psychoanalytical side of things.
The woman appears once in a while in these verses: the memory of round curves/in the drunk lens; it makes drunk even the glasses! Life is a surgery! And still, the woman with eyes so intensely/commercial unbuttoning her blouse/a destiny not hers … Or evoked as female: the sea only crouches at my feet/as a naïve prostitute; and the woman dancer kinetic sculpture/in the baroque relief of the night/the billionaire’s club/is fascinated by spotlights/women their complexion philosophically white …
In Axolotl, a 20 stanzas-poem, the last two parts are a celebration of the dialogue. A conversation of Constantin with another Rumanian poet, Serban Codrin, renown as skilful composer of haiku. In the Japanese traditional form of the renga or renku, linked verse (nijuin means twenty).
In these poems, the esoterically-accent recurs, and the interest for an immaterial territory. In his research Severin was helped, as we know, also by Vasile Lovinescu, from Fặlticeni, in the zone of Suceava.
He affirms: An alchemical city cannot assume a stable form/it’s a dance of principles/a tireless creation and transfiguration … For the alchemists, as for the followers of other traditions, the Opus to be realized in an endless lost book. The Liber Mundi, now open and now closed, which contains the Wisdom, unapproachable for a common human being. It will be recovered by the dwarf: symbol of the unconsciousness and of the dark forces we are brooding inside of us.
Once in a while we hear Old Man River sung; that transmits the heavy melancholy and hardship the Afro-Americans had experienced. Yet a gleam of violence: motobikers fall off/the spikes of their own blood … a sign of disdaining life. Emerson says: Man seeks the sharp peaks of reality.
To help the reader’s interpretation of the numerous Severin’s images and in analyzing his personal dynamic figures involved in his poetry, would be too difficult and verbose for a Premise. I must indicate some moments of his fervid imagination. In Axolotl, the mixture of the celestial and the earthly:
how the rainbow soaks up/the light of angels;
the subtle event which involves Man and Nature:
the silence of the falling leaf/on sizzling shoulders;
the sensibility of an artist convinced of the efficacy of foolish gestures:
the blind musician/warming his hands/the red tulips;
the attraction of a substance to its source:
in our blood the salt of the sea/is seeking the shore;
Art winning the dark forces of stormy nature or human heart’s drama:
Autumn clouds scattered/by viola d’amore!

Let me make the important point: Constantin’s nature brings him, always, to care for humanity.

MANRICO MURZI

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”Limbajul mediatic şi virtual îşi vor impune supremaţia”


the post literary era

Constantin SEVERIN în dialog cu Daniela STANCIUC

– Sunteţi jurnalist,scriitor şi artist plastic. Activaţi, deci, în registre diferite; acestea se completează reciproc ori constituie domenii distincte de activitate?
– Suntem copii ai unei ere de tranziţie, în care diferitele domenii de activitate tind să interfereze, să nu mai fie distincte. O nouă paradigmă, îmi place să o numesc paradigma Leonardo, fiindcă repetă parţial şi la o scară mai mare, cu personaje conceptuale cu mult mai numeroase, experienţa intelectuală a unor mari artişti şi gânditori ai Renaşterii. La ora actuală există tot mai mulţi creatori interesaţi atât de literatură, artă, filosofie cât şi de implicaţiile complexe ale ştiinţei şi tehnologiei în viaţa noastră, de la cea mentală la cea utilitară. În mod firesc între domeniile în care activez există o continuă şi fascinantă osmoză, în artă sunt preocupat şi de text (de altfel, ’’Text şi Timp’’este titlul celui mai cunoscut ciclu)iar în scriitură de strategiile aventurii vizuale, de reflecţia filosofică ori de impactul realităţii virtuale, prin urmare sunt încă din adolescenţă un personaj de tip Ianus bifrons.
  - Sunteţi teoreticianul a două concepte -al  expresionismului arhetipal în arta contemporană, respectiv al postliteraturii în filosofia culturii. La ce se referă ele şi care a fost impactul pe care l-au avut?
– Cele două concepte sunt situate într-o perspectivă diacronică aproape la antipod, în timp ce expresionismul arhetipal încearcă să pună în valoare străvechile arhetipuri ale unor culturi preistorice, Cucuteni, Hamangia, Gumelniţa, dar şi arhetipurile utilitare sau sacre ale civilizaţiei ţărăneşti tradiţionale, postliteratura descrie fenomenul creaţiei epocii prezente şi viitoare într-o viziune înrudită cu transdisciplinaritatea lui Basarab Nicolescu, de care nu auzisem din păcate în 2002, atunci când am scris eseul în limba engleză. Am fost invitat apoi să-l prezint la un simpozion academic (am fost singurul cercetător independent, ceilalţi erau cu toţii profesori universitari) organizat la Austria Center din Viena, de câţiva membri marcanţi ai Asociaţiei Internaţionale de Literatură Comparată. La cel dintâi concept am ajuns în anul 2000, după un studiu profund şi de durată al operelor şi viziunii artiştilor mei preferaţi, Brâncuşi şi Ţuculescu, evident şi după lecturi consistente din Carl G. Jung, iar pentru cel de-al doilea am avut şansa de a-i studia în acelaşi an, timp de opt luni, pe filosoful francez Gilles Deleuze şi pe filosoful american Michael Heim, supranumit părintele metafizicii realităţii virtuale, care îmi dăruise câteva dintre cele mai importante cărţi ale sale. Aparent o ‘’întâmplare’’care ţinea de un subiectiv grafic al lecturilor, din acea perioadă, mi-au oferit şansa şi inspiraţia unei noi viziuni asupra culturii contemporane, iar eseul scris cu febrilitate şi bucurie a avut parte de un destin special, a fost publicat în 2003 de prestigioasa revistă academică TRANS din Viena, apoi preluat de saituri internaţionale de filosofie, recomandat studenţilor în arte vizuale de profesori universitari din Boston, citat ulterior de autori cu mult mai cunoscuţi şi influenţi ca mine. Scriitorul american Madison Morrison mi-a spus că dacă aş fi dezvoltat acest subiect într-o carte, aceasta ar fi fost acceptată de orice mare editură din lume, eu am fost însă cu mult mai preocupat de pictură în ultimii 10 ani, dar sper ca un tânăr să transforme cândva ideile mele într-o carte de succes, priorităţile mele pe termen lung rămânând arta şi romanul. Orice creator e o persoană capricioasă, care nu se ghidează în acţiunile sale după instinctul gloriei şi al beneficiului imediat, ci după setea de a trăi nişte clipe unice, sub semnul emoţiei şi al comunicării. E o mare bucurie să primesc semnale de la artişti din întreaga lume, de la americani şi africani la cei din triburile maori din Noua Zeelandă, care îmi scriu că se regăsesc în conceptul pe care l-am descris, există deja o mişcare artistică sub egida expresionismului arhetipal, iar prima noastră expoziţie de grup va fi organizată la târgul internaţional de artă din Rotterdam, în septembrie 2014. Din lipsă de spaţiu las cititorilor noştri plăcerea de a descoperi pe net esenţa celor două concepte, cred că povestea lor este abia la început iar impactul este deocamdată relativ modest, dar mă bucur mult că a auzit despre ele şi o elevă talentată de la prestigiosul Colegiu Naţional ‘’Ştefan cel Mare’’ din Suceava.
  – În ce măsură modifică conceptul de “postliteratură” viziunea generală asupra literaturii ,în genere, asupra actului de creaţie?
– Prin scrierea acestui eseu nu mi-am propus decât să ajung eu însumi la o viziune mai coerentă asupra unor aspecte aparent ireconciliabile ale creaţiei actuale. Deşi textul a fost apreciat de Richard Rorty, considerat cel mai mare filosof american al secolului al XX-lea, cu care am avut un schimb de mesaje, nu am avut orgoliul şi naivitatea să modific viziunea generală asupra literaturii, de altfel nu am nici autoritatea profesională şi morală pentru aşa ceva, cu mult mai bine au făcut-o înaintea mea legende ale culturii precum Gilles Deleuze, Adrian Marino, Steven Connor, Scott Lash, Stephen Pfohl, Howard Fox, Richard Rorty, Michael Heim ş.a. pe care a trebuit să-i studiez cu creionul în mână şi apoi să-i citez. Dincolo de viziunea despre viitorul literaturii la care am ajuns în urma lecturii operelor celor amintiţi, eu am dorit în primul rând să subliniez faptul că de vreo două decenii, de când realitatea virtuală a pătruns cu forţă pe toate palierele societăţii, a apărut o nouă formă de artă conceptuală, mai complexă, de graniţă, interdisciplinară, de o complexitate simfonică uneori, în interiorul căreia coabitează liber şi tuşant literatura, muzica şi reflecţia filosofică cu ultimele cuceriri ale ştiinţei şi tehnologiei. O astfel de artă nu se poate face decât în echipă şi visez de mult ca şi în oraşul meu, Suceava, să apară un grup precum OSMOSE din Montreal (oraşul în care locuieşte o parte din familia mea), alcătuit din artişti vizuali, scriitori, muzicieni, psihologi, experţi în tehnologia de ultimă generaţie şi filosofi. De la a scrie un eseu despre postliteratură şi a realiza un show de postliteratură e o cale lungă, pe care nu pot să o parcurg singur, din păcate nu sunt un ‘’uomo universale’’.

– Scrieţi deopotrivă proză, poezie şi publicistică. Ce preferaţi să citiţi, însă? Aveţi ceea ce se poate numi un “scriitor de suflet”?
– În diverse etape ale vieţii am avut preferinţe diferite în privinţa lecturilor, în adolescenţă şi tinereţe citeam mai mult poezie, filosofie şi scrieri despre artă, acum de pildă citesc mai mult romane şi eseuri despre destinul culturii contemporane, de aceea de la ‘’scriitorul de suflet’’Mihai Eminescu am trecut la ‘’scriitorul de suflet’’ Mario Vargas Llosa, ca să spun doar două nume care au contat în evoluţia mea spirituală.
  – Sunteţi, aşadar, un artist complet. Lăsând deoparte penelul, de această dată, cum aţi creiona, prin cuvânt, profilul scriitorului de secol XXI?
– Aş fi fost un artist complet dacă eram în primul rând muzician, dar din nefericire nu am ureche muzicală, părinţii mi-au spart o vioară valoroasă în cap, când au aflat asta de la profesorul meu de vioară, la vârsta de 12 ani…Nu există un ‘’portret robot’’ al scriitorului din secolul al XXI-lea, cei mai mulţi au rămas la fel ca în secolul trecut, deşi ar fi fost poate mai bine să scrie precum cei din secolul al XIX-lea, probabil ultimul mare secol al literaturii universale. Există însă şi scriitori care reuşesc să devină figuri emblematice ale timpului lor, un timp nebun al mutaţiilor culturale, o eră post-literară în care literatura de după literatură-postliteratura-trece de la retorica lingvistică la retorica imaginii şi a creaţiei interdisciplinare. Scriitorul va semăna tot mai mult cu un cyborg, limbajul mediatic şi virtual îşi vor impune supremaţia şi stilul non-linear şi asociativ, aproape non-uman, iar cititorul va fi înlocuit de lectorul-spectator. Vor exista însă şi grupuri mari de oameni care vor refuza această evoluţie a societăţii globale şi se vor retrage în oaze ale lumii tradiţionale.

Daniela STANCIUC
(interviu pentru un viitor număr al revistei ALECART, Iaşi)

Daniela Stanciuc

Daniela Stanciuc

Info despre Daniela STANCIUC:

http://basarabia-acasa.ro/voluntarul-zilei-daniela-stanciuc/

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The Stranger of Ada Kaleh


index

The Stranger of Ada Kaleh (excerpts)
Novel
by Constantin Severin
Motto: “There is a double birth of the mortal, and a double passing-away” (Empedocles of Agrigentum)
English version by Roxana Costinescu

At the Scientific Library of Dubrovnik, Nini is again alone in the reading room, and he keeps on studying, with the pencil in hand, a book of Boscovich, published in London, in 1961, by Lancelot Law White. On the last page of his reading diary, he had marked in the morning, during the classes of Inter-University Centre, a mere sentence said by Zdravko Mršić, the Minister of Foreign Affairs of Croatia, We have land, people and democracy, we must invent the owners. And you, Nini, have a topic, the characters and the narrative technique, you just need to invent your state of grace – the patron of writing and reader.
He could not understand what supernatural powers prevented him from talking to sister Clarisse. Why won’t you admit, Nini, that sometimes, during your night-time dreams, you thought of her as your girlfriend? You are too hungry for human and para-human passions, you want too much to experience every possible state, from the infernal to the paradisiacal. Because you wish it so, your life is a constant communion with demons and angels. He kept remembering how natural his recent date and conversation with another nun was, when he was all alone in the compartment of the train that would take him from Bucharest to Dubrovnik. Although he felt as a sinner, he had been expecting for a long time to meet a gifted nun that would open her soul to him. A nun touched by the wing of gift, he would tell himself, is a musician of love. Burning love. Working love. Changing love. Purifying love. Crucifying love. She gradually discovers the freedom of listening by a rhythmic commitment, by tightening the rules, by solitude and the cult of passion. She gives her body every day to an inner troubling experience. Her soul becomes a mysterious canvas of inner crosses and time opens to the celestial swirls of the essential world. In that universe of aerial images, should a thought make its way, Nini, a falling mountain would appear.
Vesna Čučić entered the reading room, accompanied by a man in his mid-sixties, massive but swift, with a crepuscular face, large green eyes, a straight and strong nose, thick and long grey hair, his chin and moustache white, black and red. I hope this is a pleasant surprise, Mr. Orhan Hamdja is an expert in the secret history of the Balkans.”
– I’ve known it for some time that you would come to visit us; I am glad to meet you in person.
– Interesting, I only found out a couple of months ago that I would come to Dubrovnik, after reading the names of the winners of the Soros grant at the Inter-University Centre in the newspaper.
– The book you are to write has always existed, in a parallel universe, and it will not leave you one moment to wander about like your new Scottish friend or the numerous gigolos in Dubrovnik (You’ve been caught, Nini, admit that you’ve put yourself in their shoes enough times!), it is a book that will seize your destiny in a clip, and it was it, not Vesna, that made us meet today.
– I do not even know what book you are talking about, truth be told I do have some sort of diary, rather fragmented, of my journey here, but I do not think I will ever publish it. So far, I have only published poetry books, and I am currently working on another, The Alchemical City, which has nothing to do with what is happening to me here.
– Everything is connected to everything. I am talking about your novel The Stranger of Ada Kaleh. Sometimes books choose both their characters and their authors, many years before they are even written. He who studies the writings of Boscovich, both the published ones, and especially the secret ones, which are preserved in manuscripts in Dubrovnik, at the Royal Society of London or at the Vatican Library, manages to gradually seize the realities existing in parallel universes. I have known for quite some time your name and how you look, and the name of the book on which you will start working 20 years from now…
– Are you a science-fiction author? If, against all reason, I admitted that you had access to those parallel universes, which were indeed thought by Boscovich to interconnect with our universe, it is only common sense to believe that the images you see are amazingly infinite and diverse and I do not understand how you could have got to me, an anonymous fish in that endless ocean.
– It was not difficult to get to you, we share something in common. The island Ada Kaleh. We are both preoccupied with its tragically ended story.
A cold shiver runs down your spine, Nini, through your entire skinny body, splitting your body in two, you can no longer feel your right side, and the hearted one seems on fire, the word Ada Kaleh is a hatchet fallen on the multitude of thoughts, grown as the rings of a huge oak tree, that would place the person in front of you in the category of those lovers of imagination and cheap games, concepts and emotions. This is getting heavy, Nini, the sipahi before you can read your most intimate thoughts. For a few moments, you have a memory flash of Corina, when you were a student, you hold onto her image every time the earth slips beneath your feet. Last night I dreamt that a dog bit me. I woke up, but tears would not let me fall asleep. Do you know that you see things more clearly at night? Then, whispering, I repeated the few words I am so afraid of: “I’m in love.” They say lovers are happy. I’m in love and I’m crying. All around me there is only light, sun and flowers and I am crying. I cry because everything is ugly without you. A little girl used to beg for the love of a mean boy. She is determined to get it at any cost. Will she make it? The only thing she has left is hope. Do you know who the little girl is? A big fat liar saying the truth.
– Ada Kaleh is indeed one of my major obsessions. A childhood myth. I am amazed and glad at the same time that we can talk about this, have you visited it by any chance?
– I used to have a good friend there, Giovanni Esposito, originally from Napoli, we used to meet every once in a while in Dubrovnik or Ada Kaleh, and lend each other early editions of rare books and manuscripts. After the island was submerged, he moved to Australia. I know you are studying Roger Boscovich, maybe you would be interested in the fact that during his travel around Moldavia, in 1762, the famous Croat thinker met in Galaţi, also for exchanging early editions… Giovanni Esposito, my magician and alchemist friend. If you don’t believe me, I will show you some unpublished pages of Boscovich’s from his travel diary, which he copied at the Franciscan Monastery, and where he writes about his meeting with Giovanni. I also photocopied at the Royal Society Library of London 30 letters sent by him to Boscovich between 1752 and 1770. Sir Anthony Epstein, the Chairman of the society, helped me find them. Giovanni’s words, told one night at my place over a Turkish coffee, I live the end of the world every day, otherwise I could not survive or discover something essential, have become my motto. Please come by my place tomorrow evening, we shall continue our discussion.
The apartment of Orhan Hamdja is on the ground floor of a 16th century building, in the North-Eastern side of the Medieval city, on the small alley Zlatarska, close to the Dominican Monastery (a true bastion, of quadrilateral shape, red roof tiles with partial sides, interior court with palm trees, a high tower, made up of three parts) and the old harbour. The place you are about to set foot in, Nini, is also a three-level tower, a Borgesian universe (consisting of books, early editions and rare manuscripts, but also of Turkish weapons, brass, silver trays, decorated with Oriental motives, prayer rugs, hookah, Turkish trousers, belts, old coffee toasters, kettles, various rare editions of Koran, portable stoves with brazier, with two interior red-coloured wooden stairs, one leading to the upper floor and the other to the basement, it is as if you were in an ocean of pages, through which the light unveiled into surreal peacock tails, engraved with characters from all essential languages, where you identify the old prohibited tomes, which you did not even dream of touching, Codex Lugubrum, Arte d’amare, Cronica del paradiso, Religione cristiana liberata dalle ombre, Abusos introducidos en la disciplina de la iglesia y potestad de los principes en su corrección, Historia politica del pontificado romano, Compendio de la historia de la inquisicion extractado de los mejores autores, Encyclopédie progressive, ou collection de traités sur l’histoire, l’état actuel et les progrès des connaissances humaines avec un manuel encyclopédique, Turris Babel, Istruzioni secrete della compagnia di Gesù, con importanti aggiunte, Compendium Diabolicum, Vida escandalosa dos papas, Il codice della fortuna, Dio, l’uomo e le lettere, pensieri d’un esule italiano, Horae apocalypticae; le profezie di Daniele e l’apocalisse di S Giovanni apostolo, Vie voluptueuse des capucins et des nonnes, Cabala Speculum, Zur Geschichte des vaticanischen Concils, Rome souterraine. The library is also an oasis of smells, of dominant olfactory sensations, especially a mixture of dry hay, onto which there a touch of vinegar and vanilla is added. No trace of mould or dust, of rottenness or mice. On the contrary, everything seems a true encyclopaedia of pleasant tastes, soft, smooth and bright, which create a touching sensation in the perceptive nostrils, a stunning mixture, in which you can feel the perfume of the dry grass, of pumpkin pies, baked pears, church candles, grapes crushed in autumn, mountain fir trees resins, embraced couple, white horses galloping, lilac, violas, lavender, new-borns, grandparents’ house in the countryside. An island of extremely lively aromas, of pure, self-sufficient and complete, almost impossible to grasp in words.
– Many of them have been brought here from Ada Kaleh by my friend Giovanni Esposito, over many years, before its submersion. They were part of a huge secret library built by the Austrian general Friedrich Ambros, Count of Veterani, inside the tunnel that connects the island to the Serbian shore, but the books weren’t brought until later on, after 1716, at the order of Eugene of Savoy, who also reinforced the forts, connected to underground roads, a food store room, ammunition store rooms. Almost all of them were still works prohibited before the Inquisition, subsequently by Vatican as well, so numerous that they could not be hidden in the imperial library in Wien. An impressive collection of rare alchemy books was taken there, which came from the emperor’s library and from that of my good old friend, who was responsible for taking care of keeping this treasure. And of course that he took with him the alchemic laboratory, a place of communion with the absolute in the underground of the island-palimpsest. At the beginning of the ‘60s I also entered the underground Babel Library, which has had only one librarian for almost three hundred years, Giovanni, through a hatch hidden in the mosque, the book shelves were organized as hexagons, so that everything looked like a giant “honeycomb” of books and alchemic vessels, an alternative universe, where I felt as if I was floating inside a god’s mind. I don’t know why, during my first night there, near a scriptorium, I dreamt Dali, dressed in transparent and subtle clocks, taking photos of him and the fly standing on the double moustache, as though he detached the skin of Danube, under which lied my childhood dog…
– I begin to understand better why I feel a strange attraction to Ada Kaleh, why my ego sometimes strikes a chord with its childhood image. Perhaps the ego is also a submerged exotic island, with the Babel Library included. The Lilliputian island with perfume of mimosa and lilac, donkeys loaded with oranges, roses that would serve for making delicious jam, best quality tobacco leaves, anemones, orchids, lavender, olives that would serve as food for the gods, stone or clay houses, in which you could sometimes see a women with hair black as pitch working on a miniature loom, has insensibly become my lucky charm. I understand why the frequency of my thinking strikes a chord with that of the island, why I could feel its body so accurately, the aura of that place, a space where the seven skins of time are lost, why the island would gradually become the island-mirror, which shaped me by its own face, guided me when I was lost, dizzy, stunned and at times would even live inside me entirely. I feel the island-mandala changing the sensations and feelings as I speak, its inner architecture making my soul melancholic. It is some sort of strange attractor that causes turbulences of thought and sensitivity with every moment of thinking about it. On the island Ada Kaleh there is no time, only duration. Duration is the inner look, musical communion. It is time merged with the spirit, with the Babel Library. It now seems that, for most of us, time cannot merge with the spirit, which is why we live in a zombie world, with people lacking consciousness of and communion with the sacred. I can now easily understand this hard to describe metaphysical longing, a longing after a place I was not born in. Unfortunately, the island of my childhood has two overlapping faces, one serene and dauntingly beautiful, full of light and peace, with paradisiacal scents, and another one, scary, pinned by a dark suffering. Probably these emotions are more intense among intellectuals that were born and lived in Ada Kaleh, such as my friends, Omer Kadry, Constantin Juan or Mustafa Uzeir. Some of them, such as the latter, believe that the island will re-emerge one day, by a miracle, from the Danube waters, and life will reborn, and its inhabitants, scattered all over the world, will fulfil the ancient oath of finding peace there. Look in my notebook, at his words, which I have copied from his book “Ada Kaleh or the Lost Paradise”: I, Uzeir Mustafa, son of Fenzi and Fatima, born on June 15th, 1936 on this island and brought-up here, consider that it is my duty to leave my words behind, so that the truth is known about this island, since its beginnings and until present time, praying to Allah, our All Mighty Lord, together with the survivors, to perform that miracle, so that the island Ada-Kaleh reborn again like the Phoenix bird, from its own ashes, returning forever more beautiful, so that we can find our peace within it…
- You are so fortunate, such metaphysical connection with Ada Kaleh is the best access method to the unknown powers of the soul. Bear in mind that the vision of Mustafa Uzeir does not lack body, thought means creation and, attached to strong emotions similar to the ones described above, it could shed light on the island. But I think this would be possible only if there were 800-1.000 persons captivated by this dream.
– Maybe after my novel is published… How could that library remain unknown to anyone, since the stranger of Ada Kaleh is somehow forced to emerge every once in a while? I now realize that in May 1962 when I went with my parents to the island, it is possible that they drank coffee with him on a porch. I even remember my mom receiving an unusual gift from him, an A4 notebook with cherry leather covers, which she never showed to me. I could not hear what they were talking about, I was playing with some Turkish children. Giovanni was no more than 40 years old, his pale hair was contrasted with his dark, curly hair, covered by a blue cap, and his green eyes, covered by bushy eyebrows, had an emerald glow.
– He would only go to the island two-three times a year, when he mingled among the numerous tourists, he did not communicate with local people, he would get out through the Serbian hatch to get supplies or travel to other places. During the last years he had obtained a proficient sealing system from Vienna to protect his precious library, after the island would be submerged.
Orhan offers Nini a sand coffee in a china cup bearing a drawing of the mosque from the former island, surrounded by the words Muslim Society, and lights up for himself a brass hookah, with black, carefully treated tobacco. A pleasant and fresh tobacco smoke, with notes of well-ripen apricots and cantaloupe gradually replaced the complex scents of the library, as if an unseen fairy touched the keys of an olfactory piano.
– I like mixing tobacco with bee honey and dried fruits, it is a new recipe. I usually smoke alone, that is when I almost feel the time breathing. That is how I reach the heart of silence, from where universes can be seen differently. O, happy silence, as it is always in silence that we listen and learn everything there is to learn and the word of wisdom appeared from the fountain of silence, Dimitrie Cantemir would say in “The Hieroglyphic History”, a book I have admired since I was a boy. Your vision about the fusion of time and spirit is interesting, I think you are right, but form should not be overlooked in this equation. Perhaps the mystery of the spirit itself lies in the still soundless symphony between form and time.

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New monochrome artwork


IMG_5011

”Text and Time 105”, oil on canvas, 50×90 cm, 2014. Monochrome artwork of Archetypal Expressionism, old archetypes from Tassili culture, Africa.

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Interview with the visual artist Cris Orfescu


cris.orfescu

”NanoArt is a new art movement and is universal accepted as a new art discipline by the art community”.

Interview with the visual artist Cris Orfescu

Q: Dear Cris, it seems that ”transition” is a major word for your destiny, you made until now some successful transitions: from the Romanian culture and civilization, to the American; from the Romanian language and way of thinking, to the English; from science and technology to art. You are now among those intellectuals who are very active in the heart of change. Is ”transition” a memento of our age, as many of us are thinking?
A: Yes, active is the word. I am a dynamic individual living in a dynamic world. I think that “transition” is a voluntary memento of our age. Not everyone in our generation is active. We are the Post-War World II generation, the Baby Boomers or Generation X, and we are transitioning on a need basis. The Millennial generation or Generation Y which follows us seems to have the “transition” factor built-in, they are born more dynamic. It’s just a response of the human’s adaptability to a dynamic society. And going back to myself, I just fear boredom. I have to try new things continuously. I look for and accept new challenges. Often I work on several projects in the same time. Some people say that my energy level is very high. Change is the drive here and is like a perpetuum mobile: the more I do, the more I would like to do. I wish this will never stop… There are so many things I would like to do…I feel like I am running out of time. There is no limit in what someone can create as a scientist or/and an artist. I am trying to do the most out of “the unlimited” in a limited time.
Q: Maybe running out of time being in time is the destiny of a major creator, a kind of laceration. Levure littéraire dedicated this issue to the creative evolution of an artist’s life, with all its pitfalls, disappointments, resignations, anxieties, pleasures and ephemeral experiences. When did you have the first signs that you are going to become an artist?
A: Here is how it started. This sounds funny, but during the first 5 grades, my mom used to draw and paint for me. In the 6th grade, I guess I had a crush on my art teacher, because I finished all my art projects by myself. I even had one of my paintings exhibited at a national salon (Sala Dalles) in Bucharest. In the 8th grade, one of my collages was awarded with the 4th place in a national competition and I got a honorary mention. Since then, I experimented for over 40 years with different media and art forms, including digital art, murals, acrylics and oil painting, mixed media, faux painting, trompe l’oeil, collage, graphics, animation, web design, video, multimedia, photography. For the last 30 years, I was working on the NanoArt project, developing my technique and style.
Q: You are now among the few international artists who created and promoted a new and successful art concept, NanoArt, which reflects your amazing transition from Science to Art through Technology. The famous newspaper, New York Times, dedicated an article to your art vision and you’ve been a special guest of the prestigious Prince of Asturias Awards, Oviedo, Spain, in 2008 with a NanoArt solo show. Can you tell us the story of NanoArt and its impact on the contemporary art scene?
A: I was always interested in nanotechnology as a cutting edge technology capable of changing our lives. I was fascinated by the structure of matter at ultra small scale, and combining my art and science backgrounds I began to develop my NanoArt process over 30 years ago. I see myself as an artist and a scientist equally. The challenge for me is in the creativity power that both art and science offer. As far as the NanoArt story, I consider that early NanoArt period (although not recognized as art) started when the first commercial electron microscope was available, in the late 1930s. Siemens produced the first commercial transmission electron microscope (TEM) in 1939. Even though the scientists who were imaging those tiny structures apparently didn’t have any artistic intention, they created images that could be considered artworks, in my opinion. Not to mention that sample preparation for electron microscopy is science and art in the same time and is responsible for more than 50% of a successful analysis. One of the first nanoartists in history, probably without his intention and knowledge was George Emil Palade (1912 –2008), a Romanian cell biologist. Described as “the most influential cell biologist ever”, in 1974 he was awarded the Nobel Prize in Physiology and Medicine together with Albert Claude and Christian de Duve. The prize was granted for innovations in electron microscopy and cell fractionation which together laid the foundations of modern molecular cell biology. The George E. Palade Electron Microscopy Slide Collection of electron microscopy images at Yale University is freely available to students and scientists worldwide. The end of the 20th Century would be the second NanoArt period, when all technological-scientific-artistic conditions were in place for the NanoArt to evolve in a new art discipline. Let’s not forget that we are now in a New Renaissance period, and NanoArt is a reflection of the technological movement and a logical follow-up of the Nanotechnology development. The third NanoArt period started at the beginning of this century, NanoArt being now recognized as a new art discipline, I would say an artistic-scientific discipline. Scientists are exploring now the nanoworld hoping to find a better future and there is evidence that nanotechnology might be the answer. Since the nanoworld is so interesting and aesthetically sound, there are a lot of scientists or artist-scientist teams who manipulate the scientific imagery they capture and create new artworks. The NanoArt movement is alive and is catching up a lot of speed lately. I will give you a couple of examples: when I started to organize the international online competition there were no similar projects. Now there are a lot of NanoArt contests organized by Universities and scientific societies. The artists, in general, are very interested in novelty. Definitely, NanoArt is a new art movement and is universal accepted as a new art discipline by the art community. We have a very active and rapidly expanding group of international artists. One of the biggest challenges that nanoartists are facing is to exhibit their artworks for the general public. It is pretty difficult and non-productive to carry an electron microscope to the exhibition venue. So, artists and scientists have to find creative ways to bring those “invisible” artworks in front of large audiences. I founded the NanoArt 21 several years ago to educate people worldwide and promote this new art discipline and movement and to help artists showing their works to the general public. We organize the International Online Competition each year, the International Festival of NanoArt, and NanoArt 21 group exhibitions in brick-and-mortar galleries all over the world.

Q: What is the impact of this new art movement in your native country? Are you interested by a solo show in a major art gallery or art museum from Romania?
A: There are several scientists/artists in Romania who participated at NanoArt competitions and festivals organized by NanoArt 21 (http://nanoart21.org) worldwide. Elena Lucia Constantinescu participated at several editions of the NanoArt International Online Competition coming in TOP 10 and also at the International Festival of NanoArt in Stuttgart, Germany. Mirela Suchea and I.V. Tudose participated at the NanoArt International Online Competition coming in TOP 10 at the 6th edition. You can view their works on the NanoArt 21 online gallery at http://nanoart21.org/nanoart-exhibitions/. We are preparing a NanoArt International Festival at Alexandru Ioan Cuza University in Iasi, next September. I would be happy to have a solo show in a major art gallery or art museum in Romania. In the past, I was approached by a couple of people to exhibit over there, but nothing materialized so far.
Q: NanoArt is really a reflection of the technological movement and we live in a New Renaissance period, as we both think. What other new tendencies in art did you notice, fitted to our post-literary epoch, when we experiment the co-existence, even merging of fields heretofore exhibiting autonomous profiles in time: that is, philosophy, art and science/technology?
A: There are other new art forms that define the role of art in a technological society like ours, and I am thinking contemporary new media art which incorporates all art created with new media technologies like digital art, video art, computer graphics, computer animation, game design, interactive art, net art, fractal art, algorithmic art, virtual reality. These forms of art are used a lot in advertising, movie making, and publishing, and are a natural following of the technological development. These days, art is moving away from traditional forms allowing people to build their own artistic experience. The interactivity of the Internet inspires the contemporary new media art. Social activism, environmental art, energy art are present also in these new forms of creation and communication. Contemporary new media art is multidisciplinary and artists have to learn new emerging technological platforms to be able to create these new types of artworks.
Constantin SEVERIN
Media excerpts:

“…artists face a fundamental hurdle trying to represent the molecular landscapes of various materials, where features are measured in nanometers… For abstractionists like Mr. Orfescu though, such limitations are simply invitations to let color and shape-shifting run wild.” (The New York Times)

“NanoArt is a glimpse into an unbelievably tiny world that only a small number of scientists have viewed. For the average person, the realm of nanotechnology — that is, structures smaller than a billionth of a meter — is as remote and inaccessible as the moon. But nanoartist Cris Orfescu wanted to change that. He created the NanoArt Exhibition to share the beauty of the nano-world with those of us living in the macro-world… Although you may be interested in learning what the image is, Orfescu wants the public to see the nano-world independent of its source, for just its simple beauty” (Discovery News)

“Artist and scientist Cris Orfescu manipulates chemicals and creates nano-sculptures, which he then blows up into large artworks with an electron scanning microscope.” (The Wall Street Journal)

Cris Orfescu was born in Bucharest, Romania, and lives and works in Los Angeles since 1991. He is a self-taught artist and also a degreed scientist who is experimenting for over 40 years with different media and art forms including digital art, murals, acrylic and oil painting, mixed media, faux painting, trompe l’oeil, collage, graphics, animation, web design, video, multimedia.
More than 25 years he is experimenting and perfecting a new art form, NanoArt, which reflects the transition from Science to Art through Technology.
“Shouting their presence in loud shades of red, blue and yellow, artist and scientist Cris Orfescu’s images look first like abstract pieces. The colorful curves, angular lines and sudden bursts that command the canvases appear to be the fantastical expression of the artist’s whim and creative taste…Orfescu’s partner in the exhibit, photographer Rick Chinelli, said “personally, I think that Cris works on another level both physically and mentally.” (Pasadena Star News)

Orfescu was showing internationally his awarded works in USA, Italy, France, Finland, Korea, UK, Ireland, Spain, Germany, Colombia, Greece in numerous solo and group exhibitions. His art was commissioned for public and private collectors.
“Cris Orfescu lives in a fun universe, populated by phantasmagoric creatures which one would say come from another planet… In his studio-lab he is having a good time sculpting the imperceptible.” (translated from the French magazine Stuff)

“Cris Orfescu is one of the most actual artists, a child of our time, a post-literary epoch, when we experiment the co-existence, even merging of fields heretofore exhibiting autonomous profiles in time: that is, philosophy, art and science/ technology… Every solo show by Cris Orfescu is a cutting-edge show of post-literature (I also named it, Leonardo’s paradigm), a true memento of our epoch, where philosophy, art and science/technology (nanotechnology) are intermingled. Modulations of dynamic forms, vital intensity of radiant, bright and expressive colours, structured by a wild harmony of the invisible world, are all subordinated to a secret music of spheres. In all his assertions, Cris is convinced that the old language of art is no longer adequate for the human actual consciousness. Cris Orfescu is a Fauvist of the micro-universes.” (Constantin Severin-The Alchemical City)

Cris Orfescu’s site: http://crisorfescu.com/

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Archetypal Expressionism Art Gallery


''Dictators'' by Doru Covrig

”Dictators” by Doru Covrig

I’m thrilled about the true emulation among many major international visual artists who shared my new awarded art concept, archetypal expressionism.

http://redroom.com/member/constantin-severin/blog/the-archetypal-expressionism

Our dream to look for an art dealer interested to build the first art gallery to promote archetypal expressionism seems to be fulfilled in the near future. A young Swiss art dealer is already interested by this idea and he already selected the following visual artists belonging to Archetypal Expressionism:

France/Romania:

Doru Covrig,

http://www.covrig.net/

http://constantinseverin.wordpress.com/2011/06/28/severins-choice-doru-covrig/

Canada/Sudan:

Hussein Salim

http://www.johansborman.co.za/contemporary-artists/salim-hussein/

Switzerland/Russia:

Yulia Kirschner

http://constantinseverin.wordpress.com/2014/01/07/severins-choice-yulia-kirschner/

Switzerland:

Natalie Detsch Southworth:

http://constantinseverin.wordpress.com/2013/12/27/debate-on-archetypal-expressionism-nathalie-detsch-southworth/

Portugal:

Alberto D’Assumpcao:

http://constantinseverin.wordpress.com/

Netherlands:

Carla Lensen

http://www.carlalensen.nl

Great Britain:

Bruce Rimmel

http://www.biroz.net/

Czech Republic:

Michal Trpak:

http://www.michaltrpak.com/cs/

Ireland:

Susanne Iles

http://www.susanneiles.com/

Peru:

Pablo Maire:

http://www.pablomaire.com/

Brazil:

Fefe Talavera:

http://fefetalavera.com/

USA:

Donald L Conover:

http://archetypeinaction.com/

Mexic:

Paola Gonzalez:

http://paolagonzalez.com.mx/

Romania:

Constantin Severin:

http://www.saatchionline.com/profile/128

Our group was accepted by the first Rotterdam art fair organized by the Global Art Agency, 12-13 September 2014 and by Art Zurich, 17-19 October 2014.

We all hope that other major art dealers from USA, Germany, Great Britain, etc will focus on our team of outstanding visual artists who brought a new and fresch vision on the contemporary art scene.

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Debate on Archetypal Expressionism: Donald L. Conover


skip

A well-known and respected American author and visual artist, Donald L. Conover, specialized in Carl Gustav Jung’s works and its impact on the contemporary science, culture and politics, featured my concept, Archetypal Expressionism, on his site:

http://archetypeinaction.com/

Artwork by Donald L. Conover

Artwork by Donald L. Conover

Donald L. Conover, founder of the Archetype in Action™ Organization is also a former contributor on the magnitude of archetypes in art:

http://www.archetypeinart.com/

Artwork by Donald L. Conover

Artwork by Donald L. Conover

Portrait of the Artist

Donald L. “Skip” Conover began his avocation as an Artist in 1995. He first wanted to do sculpture, but found the clay dried his hands too much, so he moved into imagery on paper and canvas. While he has worked in many media, including watercolor, acrylic, oil, and pencil, on fabric, canvas, and paper, his main directions of development today are his Black & White images, which elucidate the concept of numinous eroticism in Jungian Archetype, and his monoprints. The monoprints are now the most dramatic, in that they are produced by first applying paint to the model, and then the model to the medium. The results are truly dramatic abstractions of the beauty of the human form in all its grandeur. Skip’s work has been on continuous display in several venues. His art is owned by scores of collectors in at least 6 countries on three continents. Skip has not held a public exhibition since 2005 due to the press of his international business career and writing activities. He considers this business career to be Archetypal Expressionism in another medium.

skip4

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