Setting free the world from a spell is the dominant feature
of Late Modernism.
We situate ourselves at the end of great speeches. A vision
of the future itself can be rendered only by action art,
by the artistic object or by the individualised artistic
In the glade of Sîngeorz-Băi the future becomes en eternal
present, as a simultaneity of the pasi and the present,
expressed by the artistically invested object, set under
the blue sky.
A function - moral authority - brings together, for
a while people, destinies, producing an ironically and doomed
homage from the former capitalism to the former
communism, as it was done one year ago in Moscow,
In the hybris in which we discover from day to day a
world lacking objective sense, the very meaning of this
worl d might derive from the living together and working,
of fourteen one-man projects deeply screwed into the discreet
of everyday's moment in the purpose of secretly
charming it. At Sîngeorz-Bai, a few magicians cast
spells. The witnesses are the phantoms from the glade.
Maxim's descend into the grave was in fact a rising.
The "egg" worked by Bradea, is Iike the nest of the
As patients of their own magical scenario the artists
try to find out freedom's countenance, leaving to a dynamic
potential the task of tidying it~elf into en echanted