”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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”The Post-Literary Era, Leonardo’s Paradigm”


the post literary era

My new ebook, ‘’THE POST-LITERARY ERA, LEONARDO’S PARADIGM’’ is now on KDP/Amazon:

This is the revised complet version of my best essay, a personal approach on the destiny of art and culture in our time:

http://constantinseverin.wordpress.com/2012/06/18/the-destiny-of-my-essay-on-post-literature/

The major ”characters” of my essay are Leonardo da Vinci, Gilles Deleuze, Felix Guattari, Madison Morrison, Adrian Marino, Ernest H. Hutten, Totosy de Zepetnek, Steven Connor, Scott Lash, Stephen Pfohl, Howard Fox, Richard Rorty, Gina Puica, Andrei Codrescu, David Bohm, Brett Yviet, Virgil Nemoianu, Ion Manolescu, Michael Heim, Jascha Kessler, Char Davies, Monica Spiridon, Luca Curci, Makoto Sei Watanabe, Ales Steger, A. Garrett Lisi, Sandu Popescu, Cris Orfescu, Henri Bergson and Milan Kundera. I had to study all of them in order to articulate my vision on post-literature…

I had the great privilege to receive from Michael Heim (”the philosopher of the cyberspace”, ”the father of the metaphysics of virtual reality”, but also an interesting artist of the virtual reality), a short forward/blurb for this ebook:

”Listening on the radio to the fascinating commentaries by Andrei Codrescu on National Public Radio, the American listener must wonder: “Where does such a voice come from, this ironic, oddly humorous, witty, supple, and perceptive voice? What view of the world lurks behind this freshly poetic way of thinking?” The question has now been answered definitively. The answer is in Constantin Severin’s essay “The Post-Literary Era, Leonardo’s Paradigm.”

Michael Heim

http://www.mheim.com/

Other links on Mike Heim:

http://www.levurelitteraire.com/0NUMERO3/TEXTES/heim.htm

http://constantinseverin.wordpress.com/2011/08/22/severins-choice-michael-r-heim/

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