We are big funs of the Romanian Peasant Museum in Bucharest and especially the fairs that they organize for Easter, Christmas and other Christian Orthodox celebrations. The last edition was no exception, as usual, we wished we had more money to spend there.
This is the absolute winner picture, they jumped happily and grouped themselves on the bench with their precious copper vases.

This time we bought four of this traditional Hungarian cakes, called “kurtos”.

Wooden spoons and “copaie” - a pot used for preparing the dough and not only. The hanging tubular pots are used for storing the dairy products:

Traditional musical instruments:


Three nice portraits of women in traditional costumes from different parts of Romania.



And this is me, with my latest aquisition, a wonderfully sewn traditional bag called “traista”.

Photo digital collage by John Goto - In the foreground Malevich’s last will written whilst Berlin in 1927 (covering “death or permanent imprisonment”). On a balcony at the Bauhaus: Freidl Dicker-Brandeis (Bauhaus trained artist who died in Auschwitz), Malevich’s daughter Una, Walter Gropius and Aleksandr Gerasimov (Stalin’s “court painter”).

Following the steps of a favorite artist - Kazimir Malevich, I borrowed a book about Bauhaus from the French Institute. It proved to be a very interesting read - the story of a yet another failed European utopian thinking system induced by industrialisation, a subject so dear to me.

Malevich thought that his artistic and social ideas coincided with those of Bauhaus and had a though time getting permission to visit Germany in order to contact them and possibly get a job within the institution. In the end he met Gropius and Bauhaus published his work, “The Non-objective World”, in which he describes his teaching methods. Through this book, Moholy-Nagy at the Bauhaus and the De Stijl artists, his ideas influenced the course of art, design, and architecture throughout Europe. I have read in one of his biographies that he was quite disappointed with the fact that his theory didn’t seem to match the Bauhaus ideal, but I coucldn’t find any explanation and I’m still very curious to find out those important subtleties. At the first glance, his artistic concept, based on fundamental geometric forms, is not far from the Bauhaus school, but the sources of influence are indeed different.

Itten, the idealist mazdeist teacher, wearing the Bauhaus uniform that he designed. I couldn’t help thinking of Malevich’s suprematist paintings:

The Bauhaus type of atelier was to be found in other art education institutions in Germany, but there was a beautiful exception - the theater atelier.
(Costumes by Oskar Schlemmer for the “Triadic Ballet”)

Looking at the costumes designed by the Bauhaus students and teachers, I remembered Malevich’s costumes designed for the modernist drama “Victory over the Sun” (music by Mikhail Matiushin, text by the poet Alexei Kruchenykh). Here are some resemblances between the the Bauhaus style and Malevich’s:

Bauhaus - Xanti Schawinsky - Circus, stage project

Malevich for “Victory over the Sun”

Kurt Schmidt - The man in front of his dashboard

Malevich for “Victory over the Sun”

Kurt Schmidt, Friedrich Wilhelm Bogler and Georg Teltscher - “The Mecanic Balet”.

Malevich for “Victory over the Sun”

Dance of forms (Oskar Schlemmer, Werner Siedhoff, Walter Kaminsky).

Malevich for “Victory over the Sun”

Dance of gestures.

Malevich for “Victory over the Sun”

Theater students wearing Schlemmer’s masques, exercising with simple accessories (equilibrism) on the Bauhaus stage.

A student wearing a masque and accessories of the Bauhaus dances.

Malevich for “Victory over the Sun”

C’est a dire:

“The ultimate aim of all creative activity is a building! The decoration of buildings was once the noblest function of fine arts, and fine arts were indispensable to great architecture. Today they exist in complacent isolation, and can only be rescued by the conscious co-operation and collaboration of all craftsmen. Architects, painters, and sculptors must once again come to know and comprehend the composite character of a building, both as an entity and in terms of its various parts. Then their work will be filled with that true architectonic spirit which, as “salon art”, it has lost.

The old art schools were unable to produce this unity; and how, indeed, should they have done so, since art cannot be taught? Schools must return to the workshop. The world of the pattern-designer and applied artist, consisting only of drawing and painting must become once again a world in which things are built. If the young person who rejoices in creative activity now begins his career as in the older days by learning a craft, then the unproductive “artist” will no longer be condemned to inadequate artistry, for his skills will be preserved for the crafts in which he can achieve great things.

Architects, painters, sculptors, we must all return to crafts! For there is no such thing as “professional art”. There is no essential difference between the artist and the craftsman. The artist is an exalted craftsman. By the grace of Heaven and in rare moments of inspiration which transcend the will, art may unconsciously blossom from the labour of his hand, but a base in handicrafts is essential to every artist. It is there that the original source of creativity lies.

Let us therefore create a new guild of craftsmen without the class-distinctions that raise an arrogant barrier between craftsmen and artists! Let us desire, conceive, and create the new building of the future together. It will combine architecture, sculpture, and painting in a single form, and will one day rise towards the heavens from the hands of a million workers as the crystalline symbol of a new and coming faith.

WALTER GROPIUS”

Following the success that the Romanian Peasant Fair had last year before Christmas, The Romanian Peasant Museum decided to make it into a long term event: 10th of April-26th of October, every Saturday from 10.00 to 17.00, and Sunday, from 8.00 to 14.00. We went this morning, took some pictures and bought smoked cheese and sunflower honey from Sibiu. Fortunately, the fair was very busy, so the idea looks to be a popular one.

The fair snuggles cosily in the perfect location - the picturesque blocks of Piata Amzei:

The cheese seller and his hut:

More cheese…

This is a vast industrial machine for making ‘mici’, or small meat rolls. When the mici makers are finished, the whole thing folds up into the shape of a suitcase. This way they can travel unobserved through customs.

Wooden clocks, boxes, mirrors painted with Transilvanian Saxon motives.

This guy was selling traditional cozonac (a traditional Romanian cake for Easter and not only):

This boy sold home made jams and honey. He smiled all the time, despite suffering from a bad case of overexposure:

Traditional smoked aliens (trout actually):

A very original variation on the Romanian ceramic tradition - we bought some at last Saint Nicholas Fair.

Various dead things:

The honey seller from Sibiu:

The Museum of Romanian Peasant organizes every two weeks meeting with the ethnic communities living in Romania. So far there’s been two: one with the Jewish community and one with the Rroma community. The latest was really touching and we have learned a lot from it about the Rroma people.
On the 8th of April the Rroma community celebrates their International day.
This is their anthem, Djelem Djelem.

Djelem, djelem, lungone dromensa
Maladilem baxtale Romensa
Djelem, djelem, lungone dromensa
Maladilem baxtale Romensa.
Ay, Romale, Ay, Chavale,
Ay, Romale, Ay, Chavale.
Ay Romale, katar tumen aven
Le tserensa baxtale dromensa
Vi-man sas u bari familiya
Tai mudardya la e kali legiya.
Aven mansa sa lumiake Roma
Kai putaile le Romane droma
Ake vryama - ushti Rom akana
Ame xutasa mishto kai kerasa.
Ay, Romale, Ay Chavale,
Ay, Romale, Ay Chavale.

English translation (by Ron Lee)
I have travelled over long roads
I have met fortunate Roma
I have travelled far and wide
I have met lucky Roma
Oh, Romani adults, Oh Romani youth
Oh, Romani adults, Oh Romani youth
Oh, Roma, from wherever you have come
With your tents along lucky roads
I too once had a large family
But the black legion murdered them
Come with me, Roma of the world
To where the Romani roads have been opened
Now is the time - stand up, Roma,
We shall succeed where we make the effort.
Oh, Roma adults, Oh, Roma youth
Oh, Roma adults, Oh, Roma youth.

“Wanda” is generally referred as “a forgotten masterpiece”, the only film made by Barbara Loden, Elia Kazan’s second wife. The main character, played by the director herself, and the way the film was shot (without much lighting added, a lot of improvised situations, amateur actors) can be easily subscribed to Lars von Trier’s conception of cinema. The film has a few autobiographical hints in therms of character’s background. It was shot with a hand-held camera and the grainy image is very much the trendy kind that is used these days by the fashion magazines photographers. Just like Woody Allen likes it, “Wanda” passed unnoticed in the States, but the Europeans loved it and acclaimed it at Venice. It was promoted in France by Isabelle Huppert.

Jeanne Moreau and Milles Davis, who did the splendid soundtrack.

Particulary beautiful is the trumpet piece that accompanies her nocturnal desperate wondering about Paris looking for Julien.

(image: “The Red Cavalry Riding”) Painting wise: Malevitch (and the whole avant garde - modernist - expessionist - futuristic mouvement, discovered in the catalogue of an exhibition that took place many years ago at the Palais Tokyo in Paris, calles “Les annees trente en Europe, le temps menacant 1929-1939″). In fact, it all begun with a painting called “Man in suprematistic landscape” that we saw at an exhibition at Albertina in Vienna at the beginning of January. I followed the artist’s traces on the web and found more suprematistic paintings and the (cubist) costume designs that he made for an uber interesting modernist opera called “Victory over the Sun”.

I re-discovered John Cage through a piece called “Imaginary landscape nr.4″, that includes radio jamming sounds. I found it in this online exhibition (go to “Jamming from country to country” section - example 14). It’s a mini musical collage that Alois Zimmerman’s fans would love.

Coltrane was recommended to us by a very young and cultured guest that stayed with us for a few days last year in November. I tend to be sceptical about jazz with saxophone, but this guy takes it much further then Mr. Bird Parker. Hear “My favorite things” theme on Live in Japan and Man made miles, but I think from now on any of his recording will do for me.

“Ulysses” - One chapter to go, it is the first (and a half) time I’m reading it. To break all the prejudices I will say that yes, the novel does have a very clear plot and the notes will help a lot. Not only they will guide you through the novel, but will also give you insight into the Dublin atmosphere. Although I appreciate the diversity of styles and the wonderful way Joyce masters them, I am a big fun of Bloom’s string of conscience discourse. But I’m only a beginner and I plan to read the book again when Ill get a good audio-book.
“Finnegan’s Wake” seems to be, after a few pages, pure poetry and music of the language. I couldn’t possibly do without notes, through which one can discover the amazing genius and erudition of the writer.
The ideal way of discovering the books would be listening to the audio-book while following the printed text - the musicality of the Irish accent is an essential part of the experience. For the moment I cannot recommend any version of audio-book, but my advise is not to waste your time downloading the amateurish free version on the web.
“Ulysses” and “Finnegan’s wake” are the ultimate challenge for an experienced reader. In addition, reading them requires, in my opinion, a certain degree of interest and knowledge of the Irish/Dublin culture, a very good command of English language, patience and good mood, curiosity, audio-books to go with the text…
About the Romanian translation (of “Ulysses”) - it is an excellent exercise of poetic translation, but it is a pity to miss the insight given by the English edition.

Years after her experience in prison, Leni Riefenstahl found the perfect place of inspiration for her favorite subject. I knew about her African trip and photos but never took my time to investigate. One cannot help thinking of Olympia when looking at these photos. The resemblance is obvious, yet Leni was anything but a mediocre photographer.

See her amazing photos taken in Africa on the official site or on the Fahey Klein Gallery site.