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UNSOLVED DAY
Asociatia K'ARTE
2023. 09.16-29.
NEGRU
Moarte, (vacanță)
nu există soluție/rezolvă totul/închide
PORTOCALIU FLUORESCENT
Atrage atenția
Nu există soluție/ rezolvă totul/ atrage atenția asupra a altceva, ceea ce reprezintă o chestiune de existență dincolo de ea însăși, din afara culorii, în esență un avertisment asupra unui fel de pericol.
Un obiect marcat cu o anumită culoare, prin faptul că este marcat cu culoare, își pierde posibilitățile canonice ale funcționalității sale estetice sau practice independente de context. În acest fel, culoarea și obiectul, anulându-se reciproc, creează o transparență falsă, liniștitoare (informativă!): are loc combinarea lor, un act de distrugere reciprocă și astfel, simultană a două fenomene, care pruduce, ca rezultat, INFORMAȚIE. Această informație denotă și prezintă ca realitate, de obicei, paradigme care pot fi interpretate ca teze. Din punct de vedere ontologic, însă, această informație este în mod implicit o antiteză. Fenomenele anumite, în acest caz în calitatea lor de CULOARE și OBIECT (părul negru, hamacul portocaliu fluorescent, tablourile albe și gri, florile de lemn de culoare portocaliu fluorescent) provoacă moartea sensului fiecăruia, a descifrabilității fiecăruia: se anihilează reciproc, astfel încât coexistența lor este INFORMAȚIA distructivă ce rezultă din ahinilarea reciprocă a lor.
INFORMAȚIE = actul ENERGIILOR MOARTE.
INFORMAȚIE = NU EXISTĂ SOLUȚIE.
INFORMAȚIE = MIȘCARE PERPETUĂ DISTRUCTIVĂ.
INFORMAȚIE = ÎNTOTDEAUNA DE VÂNZARE,
INFORMAȚIE = ÎNTOTDEAUNA DE CUMPĂRAT
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BEG YOU
PADUREA ROTUNDA VIII with DANIEL DJAMBO, NORBERT FILEP, LEA RASOVSZKY, IRINA SPÎNU
CAMERA K’ARTE 05.08.19
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FIFTYTHOUSANDDOLLARS
NETWORKS, MAGMA, 05.08.17          
UAP Art Gallery and K'ARTE, 09.11.17 
uncountable elements unite for a common goal.
disregarding the goal the multitude of elements is important.
the multitude relates in a certain, absurd way to the given goal
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CULTIVATE YOUR VIRTUAL CONNECTIONS
MAYBE 4, REVISION, MAGMA, 15.09.17
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DUCHAMP WANTED
movie, performance project, 2018, work in progress
The desire to realize my project entitled DUCHAMP WANTED derives from the idea bothering me for a long time: approximately 25-30 men aged around 60-70 resembling to Marcel Duchamp should be gathered together (irrespectively of nationality, being at least 170 centimeters tall). They should resemble Duchamp so much as if they were his clones. The aim of DUCHAMP WANTED is to carry these people – in the frames of a group bus tour – to the greatest European contemporary art galleries where they participate as visitors. Their presence as visitors could be qualified itself as an exposition (a kind of happening): being an “exposition in the exposition”.And here I reach the essence of DUCHAMP WANTED which has multiple meaning on theoretical level. Its functional reference would be a bizarre phenomenon this way, due to the means of realization and the specific way of implementation as well.The project DUCHAMP WANTED as a mode of action would confirm Duchamp’s axiom of “everyone is an artist, every object can be a piece of art”. The DUCHAMP WANTED tour should be followed all the time by a group making a documentary.
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NEVER ALONE
01.11.15, MNAC, Bucharest, RO24.07.15, 
MAGMA, Sfantu Gheorghe, RO04.10.15, 
B5 / K’arte, Târgu Mureș, RO
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JOB
NEVER ALONE, 27.06 – 24.07.15, MAGMA CONTEMPORARY ART SPACE, SF.GHEORGHE 

LED display, 100 x 20 cm, 2015 The notion of “work” has almost disappeared from the Romanian language. The lack of jobs on the national job market has dissolved the raison d’être of this particular word. Job = job

Moduri personale
Indicativ 

eu jobez
tu jobezi
el ea jobează
noi jobam
voi jobati
ei ele jobează 

Inperfect 
eu jobam
tu jobai
el ea joba
noi jobam
voi jobaţi
ei ele jobeau 

Perfect Simplu 
eu jobaşi
tu jobai
el ea joba
noi jobarăm
voi jobarăţi
el ele jobară 

Perfect Compus 
eu am jobat
tu ai jobat
el ea a jobat
noi am jobat
voi ati jobat
ei ele au jobat 

Mai mult ca perfect 
eu jobasem
tu jobaseşi
ei ele jobase
noi jobaserăm
voi jobaseraţi
ei ele jobaseră 

Viitor 
eu voi joba
tu vei joba
el ea va joba
noi vom joba
voi veti joba
ei ele vor joba 

Viitor anterior 
eu voi fi jobat
tu vei fi jobat
el ea va fi jobat
noi vom fi jobat
voi veti fi jobat
ei ele vor fi jobat 

Conditional optativ 
Prezent 

eu as joba
tu ai joba
el ea ar fi joba
noi am joba
voi ati joba
ei ele ar joba 

Perfect 
eu as fi jobat
tu ai fi jobat
ei ea ar fi jobat
noi am fi jobat
voi ati fi jobat
ei ele ar fi jobat 

Conjunctiv
Prezent 

eu sa jobez
tu sa jobezi
ei ea sa jobeze
noi sa job​ăm
voi sa jobaţi
ei ele sa jobeze 

Perfect 
eu s​ă fi jobat
tu s​ă fi jobat
ei ea s​ă fi jobat
noi s​ă fi jobat
voi s​ă fi jobat
ei ele s​ă fi jobat 

Imperativ 
jobează 

Moduri nepersonale 
Infinitiv 

a joba 

Participiu 
masculin singular
 
jobat 

feminin 
singular 

jobat​ă 

masculin 
plural 

jobaţi 

feminin 
plural 

jobate 

Gerunziu
jobănd
 
Supin 
de jobat

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STIMULATED VIBRATIONS
10.10.13, Magma Contemporary Medium
ANECHOIC TALES OF MASSIVE SOUND DECAY

Alergische Platze ¬ cicalley ¬ Cosmin POP ¬ CSIKI Csaba ¬ Raphael Lostak ¬ MIKLÓS Szilárd ¬ OVEKK_FINN ¬ M. Sadomazoveanu ¬ SZABÓ Péter ¬ SZÁNTAI János ¬ Jackie Triste ¬ VERES Szabolcs ¬ VeresPop Art Reproduction ¬at MAGMA gallery 

Really, before orienting my (and yours I hope) concavities to the subject of a whole exhibition dedicated to some of the most excruciating and uncompromising sound bellowing out of the galleries/basements/rare rehearsal rooms/queer and hetero- clubs/theaters of Romania in the last 20 odd years or so, I'll first confess two things. Firstly, my lusty adventures into sound wonderland somehow got to brusque halt at a teledildonics Arse Electronica hacklab at MQ Vienna, when we were all invited to 'play' with different musically hacked-sex toys. At that time I was slowly getting away from the Japanoise/Mego krach and contributing monthly blurbs to an obscure column about musique concrete/binaural & fields recordings for a local dead-alive mag called Sunete.Secondly, I have written this text from a certain geographic distance, watching the performances on vimeo, hearing the recordings online(yeah shit I missed the live concerts & the show) – but hey sound travels, and pulsating, throbbing, screeching sound travels even faster and more accurate.Sounds needs an echo room, they need the distance between two walls, between two years and even beween incredibly fragile ear-bones(the smallest bones of our body), they need air or liquid to expand their waves, and reverberate full spectrum from cosmic background radiation to subsonic customized car woofers.Magma gallery managed some incredible teleportation act - bringing under one roof, on two floors, in the city center of a small town endowed with an incredibly busy and generous space a huge, lost and very important audio file. An audio file that really somehow have to for on lost hard drives, old glitchy CDs, unreadable DVDs or un-listenable broken mp3 or wav formats. After re-reading for the first time a text I wrote in 2003 entitled Allergenic Substances, I realize what an immense excitement it was to listen to something like the 3000 seconds, et met deussaj, quattro stagione or Coco tracks from some freshly burned demo CD with live recordings by Alergische Platze and conjure up those anarchic bruitist flashbacks and extended atonal storms in a split second.Since then I had the chance to organize a few sound events myself with some of the above mentioned – especially OVEKK_FINN, Jackie Triste and Raphael Lostak, either solo or as a group made an indelible sonorous appearance, whether it was inside a freezing acoustically fortified church in the middle of nomansland Transylvania (Dealu Frumos Arhitext awards), some dubious sweaty dance club(Crashlanding @ Biennial of young artists), in a room inside a streetwear shop with two meter thick walls in old center of Bucharest or during some famous Protokoll Gallery grills droning into the night with them and fellow noisician dyslex. MIKLÓS Szilárd's 'costume' was also there, and his wearable sound shell speaks to us data volumes now, in the squelchy voices of the synthetic voice precariat – as if the sound of immaterial labor is now being harnessed out of more basic lowtech jobs; the real-time where working movements get converted into GNH (gross national happiness – yes, you can check the current position of your country). Szilárd is also contributing with the “Our company...” vicious video – and there is nothing more acousmatically and tormentingly suggestive than a game of clicking nails and their infinite potential - just imagine nails and blackboards, nails and needles.Another sound installation reverberates with low vibrations stirring our daily sunflower portion, a loudspeaker transformed into membranophone with golden-iridescent painted seeds that convert a lowly street corner snack into a gallery bongo beat.METALLEATHER – don't touch it if you have a peacemaker. This is maybe a very good approximation of how to interface directly with a poster line-up, with a series of celebrated project names, artist handles, all the sonorous and wholly unpronounceable a.k.a. Csiki Csaba and Szabo Peter have wired up the show's names and made them react at each touch and eletrical charge from the outside. Sounds from outside the showroom box and benevolently transparent but usually mute cube. I'm gonna end up now with my own apocryphal story that made instant accidental heroes for me out of industrial-music Cluj maverick combo M. Sadomazoveanu.First I must confess my name-acquaintance with the Cluj experimental scene doesn't date before 2000, so well after M. Sadomazoveanu was entering its self-imposed anechoic cryo-sleep. Nevertheless, I first heard about them from a good friend, obviously a hardened fan, an impeccable sysadmin and refined music connoisseur & late night youtube party mixer. I take upon myself the usual data corruption and subsequent embellishments – or my utterly damaged internal memory.So during this historical M. Sadomazoveanu performance, the audience, a great Cluj audience, but like all audiences definitely already ADHD-infected – was sitting in front of the band in this concert room waiting and waiting, starting to get impatient and bedazzled, “when are they going to start?”, “when is the instrument tuning finally going to stop?”. Well that was it, that was the performance and the concert. Somehow I completely enjoyed the story, out of context, and out of time, because for me M. Sadomazoveanu were playing the audience, what they did was so new, for them and for the audience that somehow the entire protocol of the ordered, preprepared composition and delivery completely broke down and left a gaping crack, that I'm sure very few will be ever able to fill and to fulfill. Stefan Tiron 

Stefan Tiron
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MADE IN CNINA
MAGMA: COLLECTION, 2011
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WUNSCHTRAUM*
07.27.10, MAGMA Contemporary Medium, Sfantu Gheorghe, RO
ALWAYS COCA COLA 
It is the journey and not the arrival that is the essence, they say. The inconveniences during the journey - the unbearable heat, the traffic jams, or the monotonous, nerve-racking noise of the cicada choir - are all part of your journey. Just like when you become one with the spectacle, or you meet friendly foreigners, and this makes you happy. The essence is in fact: your essence. The way you endure your own journey, the way you experience the encounters - it depends on the web of your personality and your experiences. The space and time, in which you travel, is the time and space which become personified through you and together with you. As I suspect, Csaba Csiki's works function in the same way as an encounter with a foreign space, country or seaside. The participant turns with all his/her knowledge, sensitivity and experience so far towards the works which do not represent or explain, and which do not function according to particular concepts. They rather mobilize - and frame at the same time - the personality that turns towards them, they put into action some latent patterns of interpretation and orientate the attention. The German art historian Oskar Batschmann properly describes the endeavours of contemporary artists when he defines the concept of "experience formation". According to him "the essence is the process itself, that is, the (...) series of experiences triggered in the participant." The process in this respect is the artistic product itself, whose medium can be the music, the video, the installation, the photo or any other, mostly visual structure. So we had better not speak about closed works of art in the traditional sense of the word, which are based on the receiver, but rather about the invention and exploration of structures, objects and situations which trigger the processes of experience.It appears from Csaba's curriculum vitae that he deals with experimental (noise) music, he designs theatrical scenery and for years he has been taking part with various video works and installations in individual and group exhibitions in the country and abroad. In his works one can grasp in a condensed way the atmosphere, the feeling with which he gets into contact with the viewer in the theatre, with the participant in the exhibition space or with the audience during a concert. The videos and installations, even if there is a text attached to them, do not force towards a possibility of interpretation, they rather urge to free associations. They test the patience along humour and irony, however, in the meantime they call upon a "private journey". According to Batschmann it is self-evident that the experience formation described above "implies the difficult process of the public's becoming an active partner (even if not devoid of problems), and adjusts to the act of participation and involvement through the moments of invitation, enticement, aggression, shock and endangerment." In this way the works, even if through trials, can become the artistic media of experience formation only together with the viewers. If we travel to the seaside, we arrive at a new scene, where through memory our experiences so far involuntarily come into action, so we recognize that this is a seaside, still, we behave like explorers, because we would like to find out what is different, what is new in this seaside, how this new encounter can form our experiences. For example, Csaba's video entitled Vamos a la playa offers exactly such a journey. On a white background, accompanied by noises, there floats a spot, we may even discover an island in its shape, when suddenly, silently there appears a rocky shore evoking the photos of the Google Earth, the image of an archetypal journey. The series of images that have triggered all kinds of personal associations roughly turns back to the starting image, there appears again the noisy white background with the island figure and overwrites, modifies, wipes out the triggered associations. Its perception may vary from person to person. Of course, it is paradoxical to describe a contemporary video work in such a way. as it is not a verbal work at all However, the experiment may be adequate, as it illustrates a personal encounter, which manifests itself in one's own words.As I experience my own journey, in the same way I have to make an attempt to experience the encounter with Csaba's works. I have to let them provoke me, calm me. I have to find the personal points of contact. I can only believe him saying "Always Coka-Cola" if I let myself be trapped, if I react to the challenge and add myself to it. Even if I do not like the Coke. 

Zonga Bartha
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CONFESSOR
with ZSUZSANNA KISS, 2009, B5 STUDIO, TG. MURES, RO
Artificiality: gum-lifestyle: the radicalized atmosphere of the industrial use of material in the 21st century, created by the accidental grouping of a whistling rubber toy, a smith-iron imitation doormat made of compressed gum, a huge black plastic sack and a white(!) cloth having an unpleasant nylon smell, perfectly reconstructing the pattern of the bone-lace. Here the real or supposed functions of the respective objects can draw the attention to the lack of the natural material.
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EZ SZENT!, ASTA-I SFÂNT!, THIS IS HOLY!
movie, performance project, 2018, work in progress
Cu ocazia unei vizite la Sfântu Gheoerghe, Csíki Csaba se plimba în centrul orașului și a remarcat un perete alb, proaspăt văruit de autorități. Pe locul curățat de mesaje, afișe și anunțuri, el scrisese cu un spray negru “ez szent” (asta-i sfânt). Opt ani au trecut de atunci și peretele este încă neatins, cu excepția textului scris de el. Dacă nu făcea asta, putem presupune că peretele expus spațiului public din centrul orașului s-ar fi umplut iarăși cu fel de fel de semne. Modul în care acest enunț a putut deveni operativ poate fi înțeles prin descrierea lui J. L. Austin a unei categorii lingvistice care surprinde capacitatea performativă a limbii11. Aceste performative sunt enunțuri care din spatele unor constatări sau afirmații, constituie o acțiune, o faptă exercitată înafara sistemului semiotic. Cum ar fi de exemplu “te iau” în actul de mariaj, sau în numirea unui lucru (Austin dă exemplul numirii unui vapor însoțit de spargerea unei sticle de șampanie pe ea). Acestea nu sunt descriptive și nu constată nimic ceea ce poate fi redus la adevărat sau fals ci depind de circumstanțe apropriate în care acestea se pot efectua, și necesită alte acțiuni fizice sau conceptuale, în unele cazuri și ale altor actori implicați. În cazul enunțului scris de Csaba, comunitatea sa autosesizat, identificându-se cu jestul aceastei fapte, o “vandalizare” a unei măsuri administrative, traducând-o pe aceasta într-o promisiune care până acum nu s-a deraiat în decepție sau dezamăgire ca în cazul unui mariaj eșuat de exemplu. Peretele alb, marcat cu acele cuvinte devine deci o arhivă a inacțiunii comunității în reacoperirea acesteia. În relație cu măsura oficială a administrării, comunitatea se prezervă în gestul de rezistență a acelui graffiti, care nu mai este șters nici măcar de autoritățile locale. 

Miklós Szilárd
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METAL+LEATHER
with Péter Szabó, 2006, Resonance Electromagnetic Bodies, Ludwig Musem, Budapest
Interactive sound installation, that can be sounded only by touch, or with a metal object attached to the human body. On the monochromatic surface of the rectangular solid, we see scattered undefined metal-spots, which give the impression of liquid. When these enigmatic configurations on the surface are touched, the sounds of electricity sound. The installation amplifies the electric vibrations and droning that are, in our everyday life, often imper­ceptible, or barely audible, although they are always present. An open system is created that comes to life and is revived with the insertion of a body or a metal object, terminating this openness, so that the sound, vibrating across the network, unites the com­ponents. In this way, the body coming into contact with it will become part of a vocal process in which living and inanimate substances oscillate together. Since every single spot has a different pitch, this ob­ject may also be used as a musical instrument. Due to its structure, interactivity and the free variability of the sounds, we have called it a feeling-art-object, whose impression and voice can be the changing sensations and moods transmitted by movements and gestures. The dimensions of the object make it possible for several people to use it simultaneously; thus, it also possesses an implicit aspect of community-building. The users, while trying to figure out the functioning of the object, also begin to get to know each other, as the interpersonal communication between users can render the touch-communication of the installation even more interesting. MetalLeather encourages discovery of the sensory electronics of touch and the (social) game of vibrations.

Resonance Electromagnetic Bodies ►
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FUZZOMAT
PRODUCER presents programmer Bálint Kis
with Péter Szabó and Ákos Siegmund, 2006, PRODUCER, DINAMO, Budapest, HU FUZZOMAT Is the cods name of our experimental system that attempts to find similarities among human faces. Although biometrics Is an important aspect of this particular project, the main focus of this system is content based search. Built on top of web and content based search technologies the core of FUZZOMAT can be easily reconfigured to search on virtually any feature that appears on digital media. FUZZOMAT was designed and trained to detect and categorize human faces based on common facial features, such as eyes, nose and mouth and to cluster similar faces, while providing a simple and straightforward interface to present these clusters. Biometric search is an extremely difficult task and we do not claim that ours is the ultimate solution to recognize human faces. Please be aware that the results displayed by FUZZOMAT might be fuzzy (hence the name) and inaccurate.
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MOSZKVA TÉR PLUSZ
with Péter Szabó, 2003, Gravity, Ludwig Musem, Budapest
Cavendish's experiments, it has been demonstrated that everything is in gravitational interaction with everything else. Recently, Einstein's hypothesis regarding gravitational space has been verified, in that it does not merely "exist", but spreads, and, what is more, it spreads at a specific speed, at the speed of light. It is a fact institutions - museums, galleries or studios - contemporary artistic intervention has found itself in a much more complex and problematic environment of legitimacy. A political or economic public space, or a space belonging to the arena of city planning, only provides protection for artistic intervention in the manner cultural spheres do - insofar as its own context is reflected in it Similarly, Moszkva tér Plusz is not a publication that "simply is", but one that has come about in part thanks to having conceived theMoszkva tér (Gravitation) exhibition. Also, Moszkva tér has lent itself, with its given features, as a specific point of departure to bring about a cultural event, related to public art. And last but not least, Csaba Csiki and Péter Szabó have come from the Romanian city of Cluj- Napoca to contribute to the project with their outsiders' viewpoints.The publication presents a variety of contexts pertaining to Moszkva tér. II successive order, it contains a brief survey of the physical space, presented by many diverse methods of interpretation(Moszkva tér: The Impetus of the Space); an adept description of the square and its history by an architect (The Slope, The Loop, The Fan, The Mushroom, The Stairs, and The Tunnel: Attempts at and Failures in Architectural Problem Solving); an interview with a homeless person (Moszkva Men); then a description of the square as was provided by the google software using numerous key phrases (A Former Space 1941-2026); a short theoretical exposition on the role and nature of public art (Art for All); a subjective interpretation of a graffiti artist's intervention (Make-Up); and in conclusion, an invitation tó a common performance. As a matter of fact, the only common link between the texts is the square around which they revolve, and the publication that they use as their medium. The question arises. How is this publication different from a simple thematic journal? This publication does not serve as a vehicle for the representation of any given "world"; it is simply a meeting point of the "worlds". It was not edited by journalists, but rather by two artists. It is not sold, but distributed for free. It is not about what is in it, but rather about rendering a possible interpretation of contemporary public art. But what is the plus in it? Perhaps it is the very lack of "art" in it. Or at least, the art presented does not gravitate around itself, but rather tries to show the other, while simultaneously trying to "subtract" itself from the function of culture. tordai s. attila
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SIMULATION OF BAD QUALITY
Protokoll Studio -  Cluj, 18-23.06.2002
The end of the 90's in Cluj saw, I beyond new galleries, cultural magazines and cultural centres, the appearance of a new generation. This was a fortunate coincidence from which its participants profited both separately and together. The galleries exhibited more and more works by young artists, the exhibitions were publicised by the magazines, and the artists became active parts of the cultural scene. Csaba Csiki - an artist with the Vizeg Group* and a musical performer with Alergische Platze* * - is one of the most engaged figures of this scene. His works recently exhibited at Protokoll Studio were digital prints of varying sizes. The exhibition's eponymous piece, The Simulation of Bad Quality, is a four-metre by ninety-centimetre canvas printed with three slightly different pictures of the same panorama taken in Chicago by the father of Csiki's girlfriend. The photos are beautiful, but apart from this, there isn't much to say about them. The pictures, taken from three different angles, communicate not by what they represent or depict: through them, we can see the attitude of the photographer, his observation and the way he approaches his subject. Csiki appropriates the glance of somebody else; as a professional artist, he attaches importance to the observation of a tourist-photographer, thus acting against that practice of society according to which only the artist as expert is competent to have a "visual opinion". In the other works as well, it is subjective interaction that directed the logic of his choices. Csiki directs our attention to what is mostly under-represented or not represented at all. On the wall is a small-sized picture with a video camera trained on it. The focus is on the helpless situation arising from a handicap of the camera's program: it is too close to the object for the auto-focus to function, and the image produced is of bad quality and obscure. Another piece comprised two nearly identical pictures of a camera, out of function, inactivated, its lens looking nowhere, the representation of which is at least as important for Csiki as the world shot by them; the pictures differ only in that one is coloic the other black and white, thus incating different levels of narrative representation. Finally, I must mention two small pictures (20 x 6 cm) of pedestrians with cars in the background, the images distorted to emphasise size and proportions chosen at random. The character of these pictures is determined by the "frame" imposed upon them, and they are deformed to assume its parameters. Csaba Csiki's works are characterised by, on the one hand, the personal, and on the other, the indifferent: he is subjective in choice, but unconcerned in valuation. Whatever he selects, shows or represents, betrays no qualitative sign. It simply exists and is under observation. He chooses something not because he considers it good or bad; his choice is governed by a personal freedom that does not take into consideration the prescripts of social norms. Perhaps this is the signal characteristic of this new generation in Cluj: a gentle rebellion against the socially coded norms of market-oriented attention. The indifference dominating these works cannot be interpreted as a sign of apathy, lack of orientation or personal option. It is a criticism of institutionalised attention, a deliberate neglect of the prescriptions of social dogmas. 

Attila Tordai – S. 
PRAESENS/CENTRAL EUROPIAN CONTEMPORARY ART REVIEW 
* members Csaba Csiki, Peter Szabó, Barnabás Vetro Bodoni, with one-day site-specific installations 
** members Csaba Csiki, Tamaka, Cosmin Pop, Peter Szabó, producing post-conceptual noise, directed towards a contemporary art audience
  

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Pentru a percepe importanta acestei lucrari, este nevoie de a accepta textul, modalitate care ne duce cu gandul la arta conceptuala. Duchamp insusi spunea despre arta ca aceasta nu este creatie ci selectie, insemnand acel argument al stoparii, pe care il face artistul, printr-o atitudine, printr-un gest, acela de a finaliza creatia, de a-i pune limite. Acest moment este acela al finalizarii, artistul pune limitele, adica el opreste miscarea, care este una de automiscare, el este cel care pune punct acestuia. Pentru acest motiv atitudinea sa se poate defini ca absurda, nu numai pentru ca pentru ca creatia sa se caracterizeaza prin automiscare, ci si pentru ca directia/ sensul in care porneste este una negativa, fata de pozitivul calitatii bune, adica intr-o directie care defapt nu exista, este neexistenta, una ireala, fara antecedente, care se contureaza aici, capata sens/inteles. Asadar acesta se poate numi nimic altceva decat o utopie, ceva fara antecedente si nerealizabila, purtand cu sine si acel caracter al iluziei, comuna utopiei, prin care se ajunge si la o izolare, o ruptura de natura ontologica, ceva ce nu mai are nimic de a face cu realitatea. Simulatia, care este alcatuita –dupa cum spunea Baudrillard-, din simulacrum, elementele care stau la baza ecestei simulatii, elemente care se caracterizeaza prin asemanarea cu realitatea, in care se pierde, in care imbibeaza, devenind astfel neidentificabila ca simulacrum, confundadndu-se cu realitatea, nemaiputand fi recunoscuta ca simulacrum. Tocmai prin acesta se ajunge la jocul, la miscarea prin care totusi se ajunge la distantierea elementelor simulate de cele reale, pentru ca receptorul unei imaginii cauta intotdeauna acel ceva concret, real existent de dupa imagine, caruia ii corespunde ceva ca realitate, definialbila astfel. Artificialitatea ca modalitate de creatie este un aspect important, prin simulatie se ajunge la o distantiere de realitate, prin artificialitate, iar artistul confortm legii lui Duchamp selectioneaza- momentul implicarii-, pentru a aduce la suprafata acel productum caruia simularea calitatii proaste este cea mai buna definitie. Daca acceptam ca simulatia nu se creaza ca ceva dependent de realitate, ci ca ceva care exista in sine-dupa cum spunea Baudrillard-, simulacrumul fiind acel componenet, element al acestia, care se caracterizeaza prin acea miscare, care duce la confundarea acestuia cu realitatea, se topeste in ea. Artistul se implica in momentul in care ii reuseste acea nestiire de sine, atitudine dorita, care ofera posibilitatea ca aceasta creatie/simulatie sa se realizeze, caruia in sta la baza nimic altceva decat o atitudine deconstructiva, care defineste modul privitorului de al recepta, asta insemnand ca receptorul cauta intotdeauna elementet cunoscute lui, ceva la care se poate raporta, chiar daca acesta se propune a fi dependent de realitate (Baudrillard), ceva ce perceptorului chiar daca se propune ca ceva cunoscut, nu poate actiona ca atare, impiedicandu-l modalitatea -comuna tuturor -, de a presupune existenta unei realitati, care devine cautata, si la care se raporteaza, in ciuda tuturor „cunostintelor”.

Etelka Tamás