Arta Arhetipală&Expresionismul Arhetipal

Text and Time 109, oil on canvas, 40x50 cm, 2015

Text and Time 109, oil on canvas, 40×50 cm, 2015

Probabil ştiţi cu toţii, dragii mei cititori şi colegi, câte ceva din aventura mea în lumea artei, începută mai pregnant în 2000-2001, după lecturi, exerciţii plastice şi scrieri în domeniu de o viaţă; cam pe atunci am devenit tot mai convins că în istoria artei ar trebui să se discute şi despre cea de-a treia paradigmă, arta arhetipală, situată între cele doar două paradigme majore recunoscute până în prezent, figurativul şi abstractul, dar în mod cert anterioară acestora. În acea perioadă pe plan internaţional nu vorbea aproape nimeni despre arta arhetipală, dar în ultimii ani au început să ia în calcul această paradigmă (pe care doar istoricul de artă român Mircea Deac a remarcat-o la Brâncuşi, încă din anii ’80) şi pasionaţii de ezoterism.

Tot în acea vreme am teoretizat şi lansat un nou concept, expresionismul arhetipal, pe care am încercat să-l abordez şi în pictura mea, după ce i-am studiat cu atenţie pe maeştrii care, în opinia mea, ilustrează acest concept cu mult mai bine: Brâncuşi, Klee, Ţuculescu, Apostu, Maitec, Norval Morrisseau ş.a.

Acest concept s-a transformat în câţiva ani într-o adevarată mişcare artistică de impact internaţional, deoarece mulţi artişti de pe toate continentele s-au regăsit şi recunoscut în această nouă/veche viziune, iar recent a fost lansat un sait dedicat celor mai importanţi reprezentanţi actuali:

Încep să cred tot mai mult că este posibil ca ideile mele să devină în timp pagini în dicţionarele şi enciclopediile importante ale lumii, de altfel renumita New World Encyclopedia, atunci când descrie Arhetipul introduce la capitolul legături externe şi manifestul meu despre expresionismul arhetipal:

Ar fi un lucru de neuitat pentru mine ca în această încercare de a impune o prioritate românească să-mi fie alături şi câţiva specialişti de elită de acasă. Iată ce afirmă recent un mare artist britanic, Bruce Rimell, un membru de marcă al grupului nostru:

In 2001, Romanian artist and theorist Constantin Severin conceived of the possibility of a third major paradigm in contemporary art, that of the archetypal as existing between and beyond the customary figurative and asbract forms. Since meeting online in 2008, Constantin has been extolling the virtues of this paradigm and considers me to be one of a number of artists whose work exemplifies his theory. He has decided to turn his theory into a movement and I am delighted to announce that at the beginning of this year, he invited me to join the Archetypal Expressionism Group to promote and disseminate this movement. I am joined by a glittring array of other artists and we hope to raise the profile of this beautiful artistic ideal across the world.

Mi-aş dori mult să reuşim împreună, trebuie să recunosc că m-am simţit extrem de singur acasă în polemica pe care am iniţiat-o pe blogul meu la începutul acestui an, în 3 ianuarie 2015, cu Laura Hoptman, curator la MoMA New York, deoarece nu am primit nicio reacţie de la vreun expert român în artă, nu mi-a răspuns nici Roxana Marcoci, curator de origine română la MoMA:

În schimb, iată ce am primit a doua zi, pe 4 ianuarie 2015, de la J.B., o fostă angajată la MoMA, care m-a căutat pe Facebook pentru a-mi transmite un mesaj emoţionant de încurajare (m-a rugat să nu-i fac public numele, se teme şi acum de posibile represalii…):

January 4th, 1:32pm
Hi Mr Severin, Happy New Year to you. I was reading an article about your research and art theory. I am an art history major. I studied at NYU and I worked at MoMA in the Dept of Education (Public Programs Coordinator) from 1996 to 2002…when Laura Hoptman was in the Drawings Dept. there. I was surprised to see that she had not acknowledged your research…and somehow I was not surprised. MoMA has become a very big art machine which does not respect and honor all of the talents and skills of MANY individuals (staff and outsiders). So…you are in good company.

E un mesaj de susţinere care mă face să cred că pariul meu şi al colegilor din Grupul Expresionismul Arhetipal va fi câştigat cândva, poate şi cu sprijinul fanilor mei din ţară. Pentru început cred că ar fi minunat dacă un tânăr critic, istoric sau curator de artă din România ar inaugura în Wikipedia pagini cu informaţii corecte şi necesare despre Arta Arhetipală şi Expresionismul Arhetipal, atât în română cât şi în engleză, aşa cum mi-a sugerat un jurnalist de artă din străinătate.

Vă mulţumesc anticipat!

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Severin’s Choice: Tracey Tawhiao


Some years ago, when I visited Klee museum in Bern (Zentrum Paul Klee), I was very impressed that the famous Swiss artist, in his difficult financial periods, when he had no money to buy canvases, he used a lot of newspapers/newsprints as a media in order to continue his art adventure, in any conditions. Some weeks ago, when my friend Tepora Watene, the Maori artist who became a big fan of Archetypal Expresionism, recommended me Tracey Tawhiao’s art, a well-known international Maori artist and poet from New Zealand, I had the surprise to discover the same preoccupation and pleasure to use newsprints as a media. Tracey had the idea to paint on newsprints because she is also a writer and a huge swallower of texts.


And I think Tracey’s art vision is very close to my new awarded art concept/movement, the archetypal expressionism, because she is a follower of Paul Klee and she explores the old and atemporal Maori archetypes for her impressive and expressive art compositions, most of them almost musical, where the accompanied contrasts of the vivid colours, the proliferation of curve white lines, like in the strange primordial Cucuteni culture from Romania, the mixture of actual texts and universal symbols create an unique atmosphere of atemporal aesthetic space.

tracey 2

In my opinion there are six major paradigms in the painting of the XXth century and they have been invented by Paul Klee, Pablo Picasso, Wassily Kandinsky, Piet Mondrian, Salvador Dali and Francis Bacon. When you study the developments of the global art market in the first two decades of the XXIst century, you may notice that the followers of the cutting edge figurative British painter Francis Bacon, like in our days the British artist Jenny Saville or the Romanian artist Adrian Ghenie, are are the most successful. I think there are already some signs (the enthusiasm among some major international artists, curators and native artists from America, Africa and New Zealand for the archetypal expressionism movement, the group show Forever Now, curated at MoMA, New York by Laura Hoptman, etc) that after 2020 the global art market will be dominated by Klee’s followers. And as I always asserted, Klee was a forerunner of archetypal expressionism in painting, in the XXth century, together with Ion Tuculescu and Norval Morrisseau.

Constantin SEVERIN, March 2015

tracey 3

Artists’s statements:

’’I had no idea I wanted to be an Artist. I just knew I had to do something energetic and self reliant while I was a Mother at home with small children. I did a Law degree while pregnant and mothering my babies and I countered that training with poetry and painting. It felt natural. I was a busy woman but it never felt hard and I never thought I was being an Artist. I was very aware that a lot of international deals were going on that would directly impact our future as a country and as Maori. Also the paternalism in Law towards Maori horrified me. The Resource Management Act just annoyed the hell out of me. The tone was … you can have YOUR land back to use and live on but here are the rules. I remember getting angry and I think that fueled my need to expose the outright hypocrisy and injustice of that tone. It was clear I could not be a Lawyer; I was already too disgusted to adhere to that Authority. I still finished the degree. My mother taught me to finish things.’’

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’’I knew I’d been repressed through the confiscation of lands, through loss of spiritual practice by prohibition of language and whakapapa. I didn’t fully understand the loss, it was just a strong feeling. Painting taught me to understand. Nothing in my very first paintings was constructed, it was just allowed to exist as it was coming. I threw them out. The next ones were very constructed as I practiced form. The next paintings were paintings on vinyl outlining all the legislation that removed land from Maori Families. They were my Lawyer paintings. The next were signs to the twelve heavens. I was woken up by those paintings to the kinds of thoughts I was missing having around. But my first paintings, where everything was engaged and complicit with some sense of this new language, were my newspaper paintings. These paintings were about discovering the hidden Maori world. I felt like I was embarking on a long love affair. The moment was very exciting.’’


’’Certainly I have done overtly political things, like support fundraising for Labour with my Art. Creating the backdrop painting for Hone Harawira’s campaign the year he got into parliament. Curating Te Urupatu, a protest exhibition with Tame Iti on the land confiscation line in Tuhoe. I don’t mind being very vocal about the weaknesses in the democratic system. My painting is much bigger than any politically motivated act. It’s closer to a spiritual reaction to a very soul less system. The soul has been crushed out of existence in every western framework, including religion. So my act of engaging my soul in this work is very liberating and very powerful to experience. That experience is the Art.’’


’’Maori philosophy has added so much to my life and in particular, life with the elements as my Ancestors. This view greatly increased my awareness of The Sun, The Wind, The Earth, The Sea, The Sky, The Mountains, The Stars, The Trees, and The Endlessness. Maori Art is one of the heavenly wonders of the world. It’s an endless story of life with history, science, belief, language and love all in there.’’

Artist’s site:

tracey 8


Tracey Tawhiao (Ngai te Rangi, Whakatohea, Tuwharetoa) was born in 1967. She is a multi-skilled contemporary artist who has studied and worked in a variety of fields. She is a writer, performance poet, filmmaker, qualified lawyer and practising artist. Her artworks convey the breadth of her experience and her position as a Maori woman in a European-dominated society. She is a regular contributor to Te Ao Maori Collective and her work has been incorporated into several Contemporary Maori art group shows. The book ‘Taiawhio: Conversations with Contemporary Artists’ includes a chapter on this artist and one of her artworks features on the cover of this publication.
Her practice employs the unconventional art material of newspaper. Her use of this media evolved from her interest in the written word and text and is an extension of her live performances in which she highlights the oral aspect of Maori history. The newspaper series has its origins in Tawhiao’s youth, when as a way of brightening up her grandparent’s home on Matakana Island in the Hauraki Gulf, she suggested redecorating their newspaper-covered walls with colourful murals. While completing this project she noticed the negative connotations in the headlines and decided to embark on her series of artworks that subvert the ‘truth’ of the daily news.
Tawhiao employs pages of newspapers such as the New Zealand Herald and the New York Times and obscuring certain passages of their text using alternating blocks of boldly coloured oil pastel and single graphic symbols. The symbols she uses are sourced from Maori rock art and Creation myths. She has also created her own visual language comprising of fish motifs and other symbols that relate to her Matakana Island heritage. Her blanking out of news stories acts to ‘rewrite’ them from an alternative, Maori perspective. By obscuring certain words in a headline or passages of an article she changes the focus of each news item and subverts the editorial slant.

tracey last

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A Challenge: Archetypal Expressionism Art Gallery

''Maiastra'' by Constantin Brancusi, Guggenheim Museum, NY

”Maiastra” by Constantin Brancusi, Guggenheim Museum, NY

Probably the best international visual artists who represent the new awarded art concept/movement, Archetypal Expressionism, are now together in a virtual art gallery:

I hope this conceptual art group will be a challenge for the international art market and for possible major art investors, who could transform the project into a cutting edge art gallery.

Worldwide art lovers, collectors, gallerists, art museums and curators can extend their research to other important international visual artists who shared the values of Archetypal Expressionism: Hussein Salim (Sudan/Canada), Carla Lensen (Netherlands), BIBI (Nigeria/Dubai), Susanne Iles (Ireland), Donald L. Conover (USA), Paola Gonzalez (Mexic), Kerryn Madsen-Pietsch (Australia), Tracey Tawhiao and Tepora Watene (New Zealand), etc.

A contemporary art museum dedicated to Archetypal Expressionism or a project for a future edition of the Venice Biennale could become outstanding achievements of the group.

The design of the site is signed by a young and gifted stage director, Victor Olăhuţ from Cluj Napoca, the city of the most successful wave of young Romanian visual artists, with Adrian Ghenie as a worldwide acclaimed leader.

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Hélène Cardona’s atemporal poetry

Aphrodite in the 21st century: Hélène Cardona. Photo by Paul Smith

Aphrodite in the 21st century: Hélène Cardona. Photo by Paul Smith

There are few visionnary poets in our time, who learned to contemplate the world with the ’’eyes of heart’’ and Hollywood star, award-winning poet and linguist Hélène Cardona is a brilliant representative of them. A follower of some giants of poetry and thinking, like Blake or Rilke, she seeks the patterns of the invisible world, the old archetypes situated beyond time. This is a vision close to my art concept of archetypal expressionism, the quest for common cultural roots beyond the tragic accidents of history.
Hélène Cardona’s atemporal poetry is rich in meanings, vivid and very expressive; every poem has the architecture of a secret temple and to build it in ’’a language older than time’’ you need rigor and mystery, arithmetic and lyricism, simplicity and paradox. Dream, light and music seem to be the primary laws to put together such a unique poetic universe, in which ’’all is light and legend’’, a true copy of our innner world. To explore the inner universe was also a major task for Blake and Rilke, in order to look for the secret geometry of our spirituality. Like her masters, Hélène Cardona is convinced that all creative process begins with a dream, a spiritual insight, a true big-bang of creation and ends in the mystery of time: ’’The dream opens forgotten realms of creation/I think that’s what time is.’’ Time as an essence of creation is also a key to Bergson’s philosophy and I’m sure that Hélène loves his work. I wonder if a contemporary American poet could write such visionary poetry. This could be a spiritual herritage of Old Europe and we know that Hélène Cardona has a Greek mother and a Spanish father. America and Europe have a specific relationship with time and space, maybe Old Europe is a civilization of temporal senses, marked by the impalpable, the immaterial, the unstable, by the inwardness of metaphysics and America belongs to a civilization of spatial senses, with the stress on wholeness, matter, equilibrium, outward and pragmatism. Time means succession, and space is characterized by simultaneity. One might say American people have the genius of space (virtual reality, without temporal dimension, which is apparent in the USA) and European people the genius of time.
’’….discover that in dreaming/lies the healing of earth,’’ writes the poet. She seems to say that “Dreaming will save the world” as once Fyodor Dostoyevsky asserted that “Beauty will save the world.” Hélène Cardona’s illuminating words longing for crystalline temples, fairy tales, ambrosia, mythological birds, lilac sonatas, sirens, figures from Greek mythology, magic flutes, myriad books, metamorphic frontiers, are in their essence a ’’fairy dance/poetic memory/alive’’.

Constantin SEVERIN

Hélène Cardona’s site:

 Dreaming My Animal Selves (Salmon Poetry) by Hélène Cardona

Dreaming My Animal Selves (Salmon Poetry) by Hélène Cardona

Hélène Cardona BIO

Hélène is a poet, actress, linguist, literary translator & producer, author of Dreaming My Animal Selves (Salmon Poetry, 2013), winner of the Pinnacle Book Award and 2014 Readers’ Favorite Award, The Astonished Universe (Red Hen Press, 2006), Life in Suspension (Salmon Poetry, 2016), Ce que nous portons (Éditions du Cygne, 2014), her translation of What We Carry by Dorianne Laux, and Beyond Elsewhere, her translation of Gabriel Arnou-Laujeac.
She co-wrote the screenplay Primate with John FitzGerald, based on his novel, holds a Master’s in American Literature from the Sorbonne, and taught at Hamilton College & LMU. Hélène received the Poiesis Award of Honor and fellowships from the Goethe-Institut and Universidad Internacional de Andalucía. She is Chief Executive Editor of Dublin Poetry Review and Levure Littéraire, and Managing Editor Fulcrum. Publications include Washington Square, World Literature Today, Poetry International, The Warwick Review, Irish Literary Times, & many more.
She played Françoise “Fuffi” in Lasse Hallström’s Chocolat, Candy in Lawrence Kasdan’s Mumford, the French Food Critic in The Hundred-Foot Journey, a BBC Reporter in Dawn of the Planet of the Apes and World War Z, the French Announcer in Jurassic World, roles in Law & Order, Chuck, Nikita, & more. Among her many voice credits are Happy Feet Two, The Muppets, Muppets Most Wanted etc. For Serendipity, she co-wrote with director Peter Chelsom & composer Alan Silvestri the song Lucienne, which she also sang.
Producing credits include the award-winning documentary Femme: Women Healing the World and Pablo Neruda: The Poet’s Calling.
She speaks six languages: French, Spanish, German, Italian, Greek & English, and has lived in Paris, Switzerland, England, Wales, Monaco, Germany, Spain, New York City and Santa Monica, and travels extensively.

Hélène Cardona at BAFTA LA, 2015, photo by Kerstin Alm

Hélène Cardona at BAFTA LA, 2015, photo by Kerstin Alm

Hélène Cardona at Sue Wong’s Fairies and Angels Fashion Show, 2015

Hélène Cardona at Sue Wong’s Fairies and Angels Fashion Show, 2014

Hélène Cardona at Oscars 2013

Hélène Cardona at Oscars 2013

Hélène Cardona - wearing Sue Wong - necklace by Vilaiwan, at Sue Wong's FAIRIES AND ANGELS Fashion Show. Photo: Glenn Francis

Hélène Cardona – wearing Sue Wong – necklace by Vilaiwan, at Sue Wong’s FAIRIES AND ANGELS Fashion Show.
Photo: Glenn Francis

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Severin’s Choice: Bruce Rimell

Dakini-Daemon (Daylight and UV views), 30cm x 90cm, Acrylics, Inks, Markers and UV Lacquer on Canvas, 2013

Dakini-Daemon (Daylight and UV views), 30cm x 90cm, Acrylics, Inks, Markers and UV Lacquer on Canvas, 2013

Artist’s statement:

Bruce Rimell is a visionary and archetypal artist based in Leeds-Bradford in the UK whose vibrant work springs from the alchemy of his own personal visions, sensations of archaeological or mythological prehistories, and migraine experiences since childhood. Rendered in a vivid style which as much recalls Aboriginal textures, Mayan codices and Minoan frescoes as it does graffiti art, psychedelic experience and surrealist forms, his art occupies a space somewhere between painting, drawing and illustration, and a time somewhere between the ancestral past and the shamanic future.

Fernal Earthly Garden,60cm x 90cm, Acrylics, Inks, Markers and UV Lacquer on Canvas, 2013

Fernal Earthly Garden,60cm x 90cm, Acrylics, Inks, Markers and UV Lacquer on Canvas, 2013

The central focus of his practice is to bring those very ancient archetypes – whether Palaeolithic, Neolithic or sometimes the High Civilisations of the Bronze Age – into the modern field of experience, variously inviting or challenging the viewer to look underneath the contextual aspects of contemporary art and modern experience to view the universalities and disquieting visionary sensations common to all human cultures past and present, and which we have inherited from our ancestors.

Fernal Underworld Garden, 60cm x 90cm, Acrylics, Inks, Markers and UV Lacquer on Canvas, 2013-14

Fernal Underworld Garden, 60cm x 90cm, Acrylics, Inks, Markers and UV Lacquer on Canvas, 2013-14

He aims to speak to those aspects of us which operate without words – dreams, magic, psychedelic experiences, animistic songlines and other non-rational modes of experience feature strongly – whilst abstract commentaries and critical positions are abandoned in a quest to seek and express direct communion with the deepest essences of the living and sacred human being: Come and see, and look within. What will you find?

Hear Me I Speak (Daylight and UV views),30cm x 60cm,Acrylics, Inks, Markers and UV Lacquer on Canvas, 2011

Hear Me I Speak (Daylight and UV views),30cm x 60cm,Acrylics, Inks, Markers and UV Lacquer on Canvas, 2011

Hermes, 100cm x 100cm in four 50cm square panels, Acrylics, Inks and Markers on Canvas, 2012

Hermes, 100cm x 100cm in four 50cm square panels, Acrylics, Inks and Markers on Canvas, 2012


Persephone,100cm x 100cm in four 50cm square panels,Acrylics, Inks and Markers on Canvas, 2012


She Is In MY Blood She IS My Shining Blood,100cm x 100cm in four 50cm square panels, Acrylics, Inks and Markers on Canvas, 2012


The Dream Of Bellerophon, 75cm x 50cm, Acrylics, Inks and Markers on Canvas, 2014


Xochipilli,50cm x 50cm, Acrylics, Inks and Markers on Canvas, 2012


K’u Ikil Ta Yaxal Vinajel ~ What I Saw In The Blue Sky, 50cm x 75cm, Acrylics, Inks and Markers on Canvas, 2014


Bruce Rimell

Ammon Ra Gallery, Monterrey, Mexico
Bash Contemporary, San Francisco, USA

Ex-Convento de San Domingo, San Cristóbal de las Casas, Mexico
Marienplatz, Witten, Germany
Blue Door Gallery, Yonkers, NY, USA
Chiméria Festival, Sedan, France
ArtManila Art Fair, Manila, Philippines
Centro San Marcos, Toledo, Spain
Sala de Arte, Maracena, Granada, Spain
Globally and online Launch of my Voice Project
Atelier Porte-Soleil, Paris, France
Guerilla Zoo, Apiary Studios, London

Cartwright Hall, Bradford, UK
Phantasten Museum, Vienna, Austria
Skylight Gallery, New York City, USA
Cosmo Festival, Taunton, UK
Glade Festival, Norfolk, UK
Cupola Gallery, Sheffield

Design Innovation Centre, Leeds, UK
Union 105 Gallery, Leeds, UK
Marienplatz, Witten, Germany
University of Malta, Msida, Malta

Durban Art Gallery, Durban South Africa
The Bingley Gallery, Bingley, UK
The Art House, Wakefield
The Rainbow Experience, Cape Town, South Africa
Kahlshof, Rodenkirchen, Cologne, Germany
Murphy Hill Gallery, Chicago, USA

Mount Beacon Fine Art Gallery, Beacon NY, USA
Yorkshire Craft Centre, Bradford, UK
ArtMazia, Massy, France
Holy Trinity Church, Leeds, UK
Leeds College of Art, Leeds, UK
Throughout Derbyshire, UK

00130 Gallery, Helsinki, Finland
Cupola Gallery, Sheffield, UK
Yorkshire Craft Centre, Bradford, UK Co-winner of Merit Award for piece in Flesh Open Exhibition.
Mitzpe Ramon, Negev, Israel


Encyclopedia of Fernal Affairs, Paris Contributing artist & myth/language creator – launching May 2015
Eleusis Beautifully presented book of my 2011-12 series with essays
Divining The Dream, Paris, France Two Eleusis artworks in this International Visionary Art book
Galactic Trading Card Complex Inclusion of Janus Lux Mundi in 2013 Celestial Cycle
Shamanic Quest for the Spirit of Salvia Salvic artworks in forthcoming book by Ross Heaven

Ink & Marker Visions…
Retrospective book of Ink & Marker illustrative & visionary work
Invisible College Magazine, USA Feature-length article with images
COSM Journal, New York, USA Three images in vol #7: Cosmic Creativity

Dialogue Among Civilisations, Durban, South Africa Project publication from Art for Humanity
A&U Magazine, USA Red Ochre… artwork in support of Real Stories Gallery
Visionary Artists Podcast Interview on podcast VAP007 (2010)

Planet Earth Planet Art Mirca Art Group artists book – Contributing Artist and Editor
Logical Unsanity, Australia Inclusion of Visionary work in the Spring ’08 edition
Freedom & Art Mirca Art Group artists book – Contributing Artist


ArtsMix* Emerging Artists Award, Leeds, UK Winner of Fine Art 2D Practitioner Award
Private Collection, Cologne, Germany Multi-panel dual image (Light/UV) work Gaia
Tiger 11, Hillside, Leeds, UK Large scale commission for Entrance Hall
Durban Art Gallery & Municipal Collection, South Africa Artwork Blombos: We Are All South African
Flesh Open Exhibition, YCC, Bradford, UK Co-winner of Merit Award with …Flesh Alone
Negev Jeep Karkom Tours, Mitzpe Ramon, Israel Negev Rock Art series in permanent collection
Further work in private collections across Germany, Israel, the USA and the UK


Royal Society of Arts
Dreams & Divinities International visionary art initiative and artists network
Visionary Artists Group International network of artists working in the visionary and surreal
Society For Art Of Imagination International group aiming to publicise visionary and surreal art
Mirca Art Group Internet-based international art group pressing for global justice
The Art House Yorkshire-based national organisation supporting artists UK-wide

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Hierarchy of Light: New Monochrome Artworks

Text and Time 108, oil on canvas, 70x90 cm, 2015

”Text and Time 108”, oil on canvas, 70×90 cm, 2015, monochrome artwork belonging to the Archetypal Expressionism Series, inspired by old Aztec archetypes (Coatlicue, the Mother of Gods). This is a radical monochrome artwork, using the same colour and tone, a kind of ”sculpture in light”.

Text and Time 105, oil on canvas, 70x100 cm, 2014

”Text and Time 105”, oil on canvas, 70×100 cm, 2014, monochrome artwork belonging to the Archetypal Expressionism Series, inspired by old archetypes from Tassili culture, Northern Africa.

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Întoarcerea personajului

Norman Manea şi George Bălăiţă

Norman Manea şi George Bălăiţă

Eu nu sunt decât un personaj episodic din ”Întoarcerea huliganului”, cea mai cunoscută carte a scriitorului sucevean Norman Manea. Gloria mea anonimă şi efemeră pe plan universal nu a durat decât în momentele în care cei câteva sute de mii de cititori din întreaga lume au parcurs, probabil mai relaxaţi şi mai puţin atenţi, paragrafele din capitolul ”Ziua cea mai lungă: miercuri, 30 aprilie 1997” ce-mi sunt dedicate, în ultima parte a romanului autobiografic. Unii dintre ei chiar au încercat să mă cunoască, în special tineri din România interesaţi să dedice o lucrare de licenţă sau de doctorat celui care m-a transformat în personaj … Dar cea mai spectaculoasă întâlnire din viaţa mea de personaj episodic s-a produs în urmă cu vreo 7-8 ani, când m-am trezit, într-o vară, în Suceava, cu o echipă de filmare de la o importantă televiziune germană, sosită să facă un reportaj despre locurile copilăriei cunoscutului scriitor, echipă care aflase de existenţa mea din cartea amintită. Jurnaliştii germani aveau atunci informaţii că Norman Manea se afla printre candidaţii cu şanse reale la câştigarea Premiului Nobel pentru literatură şi nu vroiau să rateze momentul, fremătau la gândul că vor da lovitura cu un reportaj inedit, imediat după anunţarea posibilului câştigător. Imaginaţi-vă ce ar însemna pentru Suceava şi Bucovina întruparea acestui vis, am cunoscut deja intelectuali din Occident care i-au citit cărţile şi au venit într-un fel de pelerinaj cultural, pe cont propriu, să cunoască locurile copilăriei sale, de pildă Rossella Giovannini din Milano, care îmi spunea că doreşte să înveţe limba română pentru a citi şi alţi scriitori români contemporani (îmi amintesc că i-am recomandat şi o scriitoare pe care o apreciez mult, pe Doina Ruşti; personajele au şi ele autori favoriţi).
După 1990 începusem să aflu tot mai des veşti incitante despre cel mai important scriitor în viaţă al Sucevei şi Bucovinei, spaţiul atât de drag pe care l-am denumit într-o carte, Imperiul Sacru, şi în care mi-am petrecut aproape întreaga viaţă. Începuse să fie publicat de câteva din cele mai importante edituri din lume, iar cărţile îi apăreau în numeroase limbi şi câştigau premii prestigioase. Iată de ce, în 1996, ca membru al juriului Fundaţiei Culturale a Bucovinei din Suceava, întemeiată de un bancher sucevean, Dumitru Cucu, mi s-a părut normal şi benefic pentru prestigiul acelei asociaţii culturale să-l propun pe Norman Manea pentru Premiul de Excelenţă; ceilalţi colegi au avut încredere în opţiunea mea, deşi nu ştiau aproape nimic despre opera sa. În oraşul său natal autorul era complet necunoscut, atât de autorităţi cât şi de majoritatea intelectualilor. Aşa am ajuns să comunic cu Norman Manea, anunţându-l în toamna anului 1996 că a câştigat un premiu literar în oraşul în care s-a născut. Mi-a răspuns că va trece prin Suceava în primul trimestru al anului următor, 1997, când îşi va ridica premiul (o diplomă şi un plic cu 1 milion de lei) şi atunci vom avea ocazia să ne cunoaştem.
A venit însoţit de un vechi prieten, cunoscutul scriitor George Bălăiţă (transformat de asemenea în personaj, Cap de Aur, dar unul mai consistent) şi am vizitat împreună oraşul, sinagoga Gah din Suceava şi cimitirul evreiesc, unde am păstrat un moment de reculegere la mormântul mamei sale, Janeta, iar Norman Manea a donat modesta sumă, care însoţise premiul, administratorului cimitirului pentru a repara gardul. Cititorii revistei ”Vatra” pot admira şi o fotografie inedită, realizată de mine în ziua întâlnirii, 30 aprilie 1997, unde scriitorul bucovinean este alături de George Bălăiţă ”Cap de Aur” şi de secretarul Comunităţii Evreieşti din Suceava, în faţa unicei sinagogi din oraş, înălţată în 1870. Dar iată cum sună intrarea mea în text: ”La ieşirea din aeroport, suntem acostaţi de un necunoscut, înalt şi blond, cu un aparat fotografic pe umăr. Se prezintă ca poet şi ziarist local, trimis de directorul Cucu să ne ducă la sediul Băncii Comerciale, unde mi se va înmâna premiul Fundaţiei Bucovina. Mai întâi vreau să ajung, însă, la cimitir”. Eu nu-l voi descrie pe Norman Manea, cred ca fotografia care însoţeşte această mărturie de tip proces verbal e suficientă, aceasta nu este menirea unui personaj episodic, în plus sunt sătul de personajele care visează să devină scriitori, nu doresc deloc să sar peste cal. S-ar spune că un proces verbal semnat de un personaj e ficţiune pură, dar nu este aşa întotdeauna, în relaţia ficţiune-realitate totul este posibil. Am cunoscut în Suceava o fată care, timp de 18 ani, între 6 şi 24 de ani, a fost îndrăgostită de personajul unui roman de Radu Tudoran. Dragostea lor a fost atât de provocatoare şi reală încât au devenit amândoi personajele unui alt roman. Fata aceea, devenită între timp scriitoare şi doctor în filosofie, nu ar fi putut trăi acele momente unice şi intense ale unei poveşti de dragoste devoratoare, dacă nu ar fi devenit ea însăşi o ficţiune.
Eram jurnalist la ”Monitorul de Suceava” şi am reuşit să obţin de la laureat şi un interviu, publicat în 2 mai 1997, cu titlul ”Am iniţiat un proiect de salvare, de restaurare şi conservare a fondului Enescu”. Din acel interviu aflam şi eu că premiatul nostru venise în România însoţit de preşedintele Colegiului Bard, Leon Botstein, un faimos dirijor american, pentru a iniţia împreună un proiect de salvare, restaurare şi conservare a fondului Enescu şi de deblocare a drepturilor de autor pentru o mai bună pătrundere în lume a muzicii sale, dar şi pentru o colaborare între Colegiul Bard şi Universitatea Babeş-Bolyai din Cluj Napoca. Cât despre premiul Fundaţiei Culturale a Bucovinei, noul meu amic îmi declara: ”Premiul de la Suceava m-a bucurat, deşi nu este un premiu literar, ci sentimental, un premiu al apartenenţei la această zonă. L-am primit cu bucurie când am aflat că mi s-a dat. N-am venit la Suceava pentru acest lucru, însă. Am venit pentru cu totul alte scopuri. Am profitat de această vizită ca să revăd prieteni, străzi, morminte”. În introducerea la acel interviu am făcut şi o mică profeţie, infirmată însă de succesul neaşteptat al scriitoarei Herta Müller, în 2009 : ”Aceste succese internaţionale ne determină să afirmăm că, dintre scriitorii români contemporani, suceveanul Norman Manea are poziţia cea mai avansată în competiţia pentru Premiul Nobel”. Au trecut 16 ani de atunci, iar scriitorul sucevean şi-a mai adăugat la consistentul palmares internaţional premii literare de mare anvergură, precum Médicis Étranger (2006) sau Nelly Sachs (2011) şi probabil de acum încolo profeţia mea are şanse de a se împlini, deşi probabil va fi cu mult mai greu ca un alt scriitor născut în România să primească în următorii 30-40 de ani o astfel de recunoaştere în plan universal. Competiţia este acerbă, există mari puteri ale literaturii mondiale care nu au primit decât o dată sau de două ori acest premiu, iar comunitatea noastră literară este prea dezbinată şi dezinformată ca să mizeze doar pe candidatul cu şanse reale. Extrem de naivi şi prost informaţi sau sfătuiţi mi se par scriitorii români care visează să câştige Premiul Nobel pentru literatură, deşi nu au publicat la cele mai importante edituri ale lumii, nu au câştigat cele mai importante premii literare internaţionale, nu sunt reprezentaţi de unul dintre cei mai influenţi agenţi literari (Norman Manea este promovat de unul din primii 5 agenţi literari ai momentului, Wylie Agency, am descoperit lucrul acesta după o căutare pe net, încercând să caut emailul scriitorului britanic Martin Amis, cu care doream să fac un interviu pentru revista Levure littéraire ) şi nu investesc (ei, editura lor sau statul român) milioane de euro pentru un astfel de vis …
În 2002, după ce am publicat în presa locală ştirea despre câştigarea Premiului Internaţional Nonino, în Italia, de către Norman Manea, am propus Consiliului local Suceava ca marele scriitor să primească titlul de cetăţean de onoare al municipiului Suceava, fapt realizat câteva luni mai târziu. Nu ne-am mai revăzut din 1997, dar comunicăm uneori online, atunci când avem ceva important de spus. Anul trecut a scris un scurt text (”blurb”) pentru coperta unei posibile ediţii în limba spaniolă a primului meu roman, ”Iubita lui Esto”, apărut în 2010 la editura Curtea Veche. Invitaţia făcută de scriitorul Iulian Boldea, de la revista ALPHA, de a contribui cu un text la Dosarul Norman Manea, este un bun prilej pentru o întoarcere a personajului …
(revista ALPHA, nr. 1-3/2014)

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