Ion Grigorescu

A katalógusban megjelent szöveg Filip Florian író és Ion Grigorescu képzőművész 2015 májusában megtörtént beszélgetésének átirata.

Köszönet Filip Floriannak a hathatós segítségért.

Textele despre lucrări sunt transcrise din discuția purtată de scriitorul Filip Florian cu Ion Grigorescu în mai 2015. Mulțumiri lui Filip Florian pentru ajutorul acordat.

The text in the catalogue is the script of the discussion between the writer Filip Florian and the graphic artist Ion Grigorescu which took place in the May of 2015. Many thanks to Filip Florian for all his efficient help.

Austria

Austria

Austria

Ion Grigorescu: Régóta megvan, már első ausztriai látogatásom óta, akkor figyeltem fel Ausztria régi, illetve új címerére.

Ion Grigorescu: Este de mult făcut, în primele vizite în Austria, am remarcat stema veche a austriei şi stema nouă.

Ion Grigorescu: I’ve had this for a long time now, since my first visit to Austria, it was then when I noticed the old and new crest of Austria.

Filip Florian: Az Osztrák–Magyar Monarchiáé, melyet őszintén szólva nem is ismertem.

Filip Florian: Austro-Ungariei, pe cea nouă nici nu-am ştiut, sincer.

Filip Florian: It was the crest of Austria-Hungary Monarchy, which, to be honest, I wasn’t familiar with.

Ion Grigorescu: Ez van… Nem kereszttel van, én tévedtem, nem láttam messziről. Egy kard meg egy kereszt, de nem számít…

Ion Grigorescu: Asta e...nu este aşa cu cruce, dar am greşit eu, nu am văzut eu pe de departe. E o spadă şi o cruce, dar nu conteaza...

Ion Grigorescu: That’s it... It doesn’t have a cross, my mistake, I didn’t see it from distance. It’s a sword and a cross but it doesn’t really matter...

Gyertek, barátaim, találtam ennivalót

Veniți fraților am găsit de mîncare.

Come, friends, I found some food

Ez egy olyan kép, melyen szilvát szedek a földről. Valami ázsiai vászon, nem tudom, honnan való.

Nagy, két méteres vásznak. Ezt a vásznat egy afrikai nő blúzán láttam először. Ő fekete volt, a blúz meg fehér, és rá volt nyomtatva az egyik államelnökjelölt arcképe.

Azt mondtam magamban,ilyen anyagot kell keresnem. És a vászon nincs kifeszítve, olyan, akár egy függöny. A diplomata sátor. Ez egy olyan sátor, melyben az iraki vezetés fogadja az amerikai küldöttséget. És ide betettem magam egy a hetvenes években készült filmből, melyet a hetvenes években készítettem a lélekről, és volt benne egy körülmetélés¬szimuláció is…

E o poză, unde culeg eu prune de jos. Împrejur dintr-o ţesătură asiatică, nu ştiu de unde. Sînt pînze mari, de vreo doi metri. Am remarcat pînza asta la început, pe bluza unei doamne din Africa. Era neagră şi bluza albă, cu un imprimeu cu portretul unui candidat la președenție. Mi-am zis, că un asa material vreau să caut. Şi pînza nu este întinsă. Este ca o perdea.

This is a photo, on which I am picking plums from the ground. It’s some kind of Asian linen, I have no idea where it is from exactly.

They are large, two-metres tall linens. I saw this one on the blouse of an African woman for the first time. She was black, the blouse was white, and there was the image of a presidential candidate printed on it.

I told myself that I this was the texture I wanted to find. And the linen isn’t stretched, it is like a curtain.

A diplomata sátor

Cortul diplomatic

The diplomat tent

Ez egy olyan sátor, melyben az iraki vezetés fogadja az amerikai küldöttséget. És ide betettem magam egy a hetvenes években készült filmből, melyet a hetvenes években készítettem a lélekről, és volt benne egy körülmetélés szimuláció is…

E un cort în care conducerea din Irak îl primea pe americani la o discuţie. Şi aici m-am introdus eu, dintr-un film făcut de mine prin anii '70, despre suflet, printre care era şi o mimare de circumcizie...

This is a tent in which the Iraqi leadership receives the American delegation. And I inserted myself here from a film made in the seventies, a film that I made in the seventies about the soul and there was also a circumcision simulation in it...

Marx Freud a pokolban

Marx Freud în infern

Marx Freud in hell

Ez egy Delacroix-képen alapul, a Dante bárkáján. Különböző szereplők kapaszkodnak a bárkába, köztük Dante és Vergilius. Én meg kicseréltem a fejüket a Marxéval meg a Freudéval. Jó, hát a gesztusaik a Delacroix szereplőié maradtak.

...Bazată pe o lucrare de Dealcroix, mi se pare, Barca infernului. Tot felul de personaje se agaţă de barcă, printre care Dante şi Vergiliu. Şi le-am înlocuit capetele cu Marx şi Freud. Mă rog, gesturile au rămas a personajelor din Delacroix.

This one is based on a Delacroixpainting, The Barque of Dante.

There are some different characters holding on to the barque, among them there is Dante and Vergilius.

I replaced their heads with the ones of Marx and Freud. But their gestures remained the ones of the characters of Delacroix

Szabadulás

Ieşirea

Escaping

Ez egy olyan fényképen alapul, melyet Ruxandra készített rólam.

Tulajdonképpen két fénykép, én vágtam össze őket. És azt írja, angolul és románul is így van talán, és nagyjából így írja. A gyilkos kiszabadult a börtönből, és most ő lesz az úr, és a vezetőket börtönbe juttatja.…kettős arckép rólam, a bécsi paloták kapui között készült… ez egy régi őrkalap.

Aici este o fotografie pe care mi-a făcut Ruxandra. De fapt sînt două fotografii pe care le-am combinat eu. Şi scrie, s-ar putea să fie așa în englezește şi în română, care scrie cam aşa că, criminalul a ieșit din închisoare şi acuma o să devină el stăpînul şi o să-i bage pe conducători la închisoare. ...cu un dublu portret al meu între ușile palatelor din Viena...o gheretă veche de paznic.

This one is based on a photo made

by Ruxandra about me. They are two different photos actually, I edited them together. And there is a writing, it says in English but I think, it is like this in Romanian, too, it says that the killer has escaped from the prison and from now on he’s going to be the lord and he will put all the leaders into prison. ... it is a dual selfportrait about me, made between the gates of the palaces of Vienna... this is an old guard hat.

A Brâncoveanuk halála

Moartea Brîncovenilor

The death of the Brâncoveanus

Ez a Brâncoveanuk haláláról szól, Cozián láttam a képet, azokban a kolostor melletti épületekben, nagyon rég készült, a hetvenes évek elején. …aztán odaadtam egy németor­ szági barátnőmnek, és nagyon bántam, és készítettem egy új vásznat. És úgy készítettem, mint egy szőnyeget. Mindegyik beke­retezett mű egy bizonyos fajta szőnyeg.

O pictură de-a mea cu moartea Brîncovenilor, văzută la Cozia, la clădirile acelea de la mănăstirea Cozia, făcută de mult de tot, la începutul anilor '70. ...pe urmă lucrarea am dat-o undeva în Germania la o prietenă şi am regretat mult, şi am reimprimat pe pînza. Şi am pus așa ca un fel de covor. Fiecare lucrare înramată este într-un fel de covor.

This one is about the death of Brâncoveanu, I saw this picture in Cozia, in those buildings next to the monastery, it was made really long time ago, in the beginning of the seventies. ...then I gave it to a German girlfriend of mine and I regretted it very much and I made a new linen.

And I made it like a carpet. Every framed work is a carpet in a way.

Barcelonai folyamat

Procesiune la Barcelona

The Barcelona Process

Itt egy barokk szőnyeget használtam. A képek meg egy filmből valók, a barcelonai Szűzanya születését.

Egy utcai folyamat, melyben egy óriási alak forog, és mintha táncolna.

Itt van egy pap is, akit az erkélyről filmeztek le.

Aici am folosit de exemplu un covor baroc. Iar imaginile sînt dintr-un film, nașterea Maicii Domnului la Barcelona. O procesiune pe stradă, în care un personaj așa gigantic se învârte şi dansează vag. Aici e şi un fel de preot, filmat din balcon.

I used a Baroque carpet here.

The images are taken from a film, The Birth of the Virgin Mother of Barcelona. This is a street process in which a giant shape is spinning like it is dancing. And there is a priest, photographed in a balcony.

A szőnyegkeretes sonka…

Şunca cu ramă de covor

The Ham with a Carpet Frame

...talán egy németországi kirakatban van, mert németül ír valamit.

...s-ar putea să fie într-o vitrină dintr-un oraş din Germania, ca scrie în germană.

... it may be in a shopwindow in Germany because it says something in German.

Személyes zászló

Steag personal

Personal Flag

Én bekeretezem a zászlómat.

Feltettem egy botra, és egy merőleges rúdon feszül…Itt az Athosz hegyen vagyok egy kollégámmal, és egy szőnyegre nézünk, melyet kitettek száradni. Egy besszarábiai vagy ukrán szőnyegre. Amikor szóba került, hogy állítsak ki Ukrajnában, arra gondoltam, hogy mindenkinek joga van kikiáltani a saját köztársaságát otthon, hogy autonómmá váljon. Istenem, hát elég abszurd gondolat.

Eu înrămez steagul meu. Am pus pe un băţ şi atîrnă de un perpendicular.

Aici sînt la Athos cu un coleg, şi ne uităm la un covor care era pus la uscat. Or basarabenesc or ucrainian.

Cînd a fost vorba de expoziția mea în Ucraina mă gîndeam la dreptul fiecăruia de-a declara propria lui republică în casa lui. Să devină autonom, O absurditate mă rog.

I framed my flag. I put it on a rod and it is stretched on a perpendicular pole... I am on the mountain of Athos with a colleague of mine and we are looking at a carpet which was put out for drying. It is a carpet from Bessarabia. When it came up that I should exhibit in Ukraine, I was thinking that everyone has the right to proclaim their own republic at home to become an autonomy. My God, it’s an absurd thought.

Filip Florian: Abszurd, ha a mai, elég mesterkélt világhoz viszonyítjuk.

Amúgy egyáltalán nem az.

Ion Grigorescu: Egy dezintegrálódási folyamat eredménye, integrálódsz a családba, és kilazulsz a világból.

Filip Florian: O absurditate în raport cu o lume destul de artificială în care trăim. Fiindcă altfel nu ar fi deloc o absurditate.

Ion Grigorescu: Este un rezultat al unei dezintegrări, te integrezi în familie şi te dezintegrezi din lume.

Filip Florian: It is absurd if we compare it to this artificial world of today. Otherwise, it’s not.

Ion Grigorescu: It is a result of a disintegrational prices, you are just integrated in your family but get separated from the world.

Kivégzés

Sugrumarea

Execution

Itt Cantacuzino Udvarnagy halálát ábrázoltam, szöveggel együtt.

Valamikor a tizenhetedik században fojtották meg, Brâncoveanu előtt. Ő is karácsonykor halt meg, mint Ceaușescu. Gazdag, ugyanakkor értelmes ember volt, feszültség támadt közte és az uralkodó között.

Mint egy korábbi esetében, ezt is egy festményemről másoltam, melyet Svájcban adtam el a kilencvenes években, és eltűnt. Volt még néhány képem, és ahogy mondják, újra kaptam ihletet.

Aici este, împreună cu text, Moartea Postelnicului Cantacuzinio pe la 1600 şi ceva. Înainte de Brîncoveanu.

A murit tot de crăciun ca şi Ceauşescu. Era un om bogat şi deștept în același timp şi intelectual. A intrat în conflict cu domnitorul. Tot aşa, l-am luat după o pictură de-a mea, pe care am vîndut-o în anii "90 în Elveţia şi a dispărut. Mai aveam niște fotografii şi am recăpătat, cum s-ar zice.

I depicted the death of Knight Marshal Cantacuzino, with text.

He was strangled somewhen in the 17th century, before Brâncoveanu.

He died on Christmas, just like Ceaușescu. He was a rich and intelligent man and there was a tension between him and the ruler. Just like another time before, I copied this from a former painting of mine which I sold in Switzerland in the nineties and disappeared later.

I had some more paintings and, as it goes, I found inspiration.

Ion Grigorescu

Ion Grigorescu

Ion Grigorescu

Itt egy süteményes kirakat Angliából. Nem kell sok magyarázat hozzá, mindenki azt ért, amit akar.

Nem tudom, imaszőnyeg-e?.

Aici este o vitrină în Anglia, cu prăjituri. Nu necesită mare explicaţie, înţelege fiecare ce doreşte. Nu știu dacă este covor de rugăciune.

This is a shopwindow with cookies from England. It doesn’t need too much explanation, everyone interprets it as they want. I’m not sure if that is a prayer rug.

Filip Florian: Keletinek tűnik, Boszniából vagy Törökországból, és akkor lehet egy muzulmán imaszőnyeg.

Filip Florian: pare a fi ceva oriental, din Bosnia, Turcia şi atunci poate fi covor de rugăciune islamic.

Ion Grigorescu: Persze, mert perzsa honlapok vásárolják meg.

Ion Grigorescu: Sigur, că este luat de ceva siteuri persane.

Filip Florian: It looks oriental, from Bosnia or Turkey so it could be a Muslim praying rug.

Ion Grigorescu: Of course, because all the Persian websites buy it.

Illeték

Taxa de protecţie

Duty

Ez egy fénykép a netről, egy Rio de Janeiro¬i templom, a világ egyházainak találkozóján készült. Katolikusok, muzulmánok, talán anglikánok (ezek a pirosak). És amennyire én értettem, ez egy banki tisztviselő. A pénzember, ahogy ma mondanánk. És jól öltözött koldusokhoz hasonlítanak, akik alig várják a könyöradományt.

O fotografie de pe internet, cu o biserică din Rio de Janeiro, la o adunare a bisericilor din lume. Catolici, islamiști, anglicani am impresia (cu roșul ăsta). Iar din câte am înțeles, ăsta este un funcţionar de bancă.

Uite omul cu bani, cum ar venii. Şi e un aer de cerșetori bine îmbrăcați, care aşteaptă mila.

This is a photo from the internet, it’s a church from Rio de Janeiro, it was made on the meeting of the world’s churches. Catholics, Muslims, maybe Anglicans (the red ones on the picture). And this one, in my understanding, is a clerk. A financier, as we would say today. They are like some well-suited beggars, waiting for their donations.

Filip Florian: Akárhogy is, erre a mai világra rendkívül jellemző kép ez.

Filip Florian: Oricum pentru lumea în care trăim este extraordinară fotografia asta.

Filip Florian: Anyway, this photo characterizes these days very well.

Szövőnő

Ţesătoare

Weaver woman

Ez egy 1978 körüli kép Belényesről. Én ott voltam katona, de aztán oda utaztam egy barátommal, aki Mihai Șora veje volt. Kirándultunk egyet Mihai Șora úrral, és ott valahol van egy olyan nevű falu, hogy Feneiș. És ahogy ott sétálunk, hát az egyik háznak volt egy ilyen valamije, egy kis ház mellette, egy sátor. Ott szőttek a nők.

Aici e o poză de prin 1978 la Beiuş.

Eu am făcut armata la Beiuş, dar pe urmă m-am dus cu un prieten, care era ginerele lui Mihai Şora. Am făcut o călătorie cu domnul Mihai Şora, şi acolo pe undeva, e un sat Feneiş, lîngă Beiuş. Şi ne-am tot plimbat şi una dintre casele alea avea, ce o fi asta nu știu, o atenanţă, un cort adăugat la casă. În care ele s-au pus la războiul de ţesut.

This is a picture from around 1978 from Beiuș. I was a soldier there and later, I travelled there with a friend of mine, who happened to be the son-in-law of Mihai Șora. We took a trip with Mr. Mihai Șora and there is a village there called Feneiș. As we were walking there, one of the houses had this something, a small house with a tent next to it. There were some women weaving.

Filip Florian: Am fost recent, acum o lună, chiar de ziua de Sfîntul Gheorghe la un muzeu etnografic secuiesc, undeva la Cernaton la vreo 30 de km de oraşul Sfîntu Gheorghe.

Acolo sînt căteva case de secolul 17-18., exact ca aici la Muzeul Satului, şi c-am asta e şi interiorul să zicem maghiar de casă tradiţională, exact aşa au locul de pălării, războiul de ţesut, patul. Adică lucrurile de bază a unei familii. De o simplitate năucitoare.

Filip Florian: Recently, like a month ago, on the day of St. George, I was in a Székely Etnographic Museum in Cernat, 30 kilometres away from Sfântu Gheorghe. There are some houses there from the 17th–18th century, just like in the Village Museum here, and there is also a traditional Hungarian house interior exactly like this, they keep their hats, the loom and the bed in a place like this. Meaning, the basic things of a family. Unsettling simplicity.

Filip Florian: Nemrég, egy hónapja, éppen Szent György napján, jártam egy székely néprajzi múzeumban, Csernátonban, egy olyan 3o kilométernyire Sepsiszentgyörgytől.

Ott van néhány XVII–XVIII. századi ház, éppen mint itt a Falumúzeumban, és ugyanilyen a hagyományos magyarházbelső is, éppen ilyen helyen tartják a kalapokat, a szövőszéket, az ágyat. Vagyis egy család alapvető dolgait. Felkavaró egyszerűség.

Ion Grigorescu

Ion Grigorescu, born in 1945 in Bucharest where he lives and works, is an iconic figure of performance and conceptual art in Romania. Along with fellow Eastern European artists such as Jiří Kovanda, Július Koller, Mladen Stilinović, or the late Tibor Hajas, Ion Grigorescu is increasingly acclaimed for his role in effectively cultivating resistance, and underground, clandestine art under Communist totalitarianism. As a forerunner of the conceptual and performative use of the body as an artistic medium in Romania since the early 1970's, Grigorescu is also one of the very few Romanian artists who have radically and conceptually illustrated contemporary concerns in perfect synchronicity with his time. Grigorescu has made an invaluable contribution to the shaping of a critical consciousness capable of articulating a genuinely universal critique in rationalist-discursive, performative, and artistic terms.

Exhibitions – selection 2015 Új Kriterion Gallery, Miercurea Ciuc (Ro) 2011 Out of Place, Tate Modern Gallery, London Desene, Andreiana Mihail Gallery, Bucharest; Venice Biennale, Romanian Pavilion, Ostalgia, New Museum New York 1997 – Venice Biennale, Romanian Pavilion 1994 – São Paulo Biennale, Brasil