THE CLEARING

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

project.

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,

Tirguely.

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

glade's silence.

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

schedule.

Oliv Mircea