FID Propaganda: Et Si Personne Ne Voit / And If No One Sees

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Vue de l’intérieur du bureau FID dans la Forêt d’Ecouves en Normandie

Et Si Personne Ne Voit

Quelle est la valeur
quel est le prix
quel est le sens
d’un dessin
d’une peinture
d’une sculpture
plongée dans le noir dans une cave
et que personne ne voit.

And If No One Sees

What is the value
what is the price
what is the meaning
of a drawing
of a painting
of a sculpture
submerged in the dark of a cellar
and that nobody sees.

Photo and text: Serghei Litvin Manoliu

FID Propaganda Summer Post 3: Does The True Artist Reveals Mystic Truths?


Vue du bureau FID dans la Forêt d’Ecouves en Normandie

Fragment d’une interview avec Gerhard Richter de Robert Storr (2002) dans “Gerhard Richter Forty Years Of Painting” édité par le MoMa :

Bruce Nauman a fait une fois un néon avec le texte “Le véritable artiste aide le monde en révélant des vérités mystiques”, qu’il a mis dans la fenêtre de son atelier comme une réclame. Cette pièce était adressée autant à lui-même qu’au public. (…) Et ce qui semblait être une déclaration était vraiment une question: “Croyez-vous cela? Croyez-vous cela?”

Fragment from an interview with Gerhard Richter by Robert Storr (2002) in “Gerhard Richter Forty Years Of Painting” edited by The Museum Of Modern Art:

Bruce Nauman once made a neon with the text, “The true artist helps the world by revealing mystic truths” which he put in the window of his studio like a beer sign. That piece was addressed both to himself and to the public. (…) And what appeared to be a declaration was really a question: “Do you believe this? Do you believe this?”

FID Propaganda Summer Post 2: The Questions of Alexander the Great

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Vue du bureau FID dans la Forêt d’Ecouves en Normandie

Janvier 325 Alexandre le Grand arrive à l’Indus. Début 324 il réprime une révolte de tribus locales initiée par des philosophes brahmanes et fait prisonniers ces sages. Je vais vous poser des questions dit Alexandre. Si vos réponses me plaisent vous aurez la vie sauve.

Possédez-vous des biens.
Avez-vous un maître.
Lequel a existé le premier le jour ou la nuit.
Comment un homme peut-il devenir un dieu.

Pourquoi ces questions et pas d’autres. Les brahmanes prisonniers ont ils eu la vie sauve. Dans la forêt il fait frais. FID se repose.

 

In January 325 Alexander the Great reaches the Indus River. At the beginning of In January 325 Alexander the Great reaches the Indus River. At the beginning of 324 he suppresses a revolt by local tribes initiated by Brahman sages. He takes these sages prisoner. I am going to ask you some questions says Alexander. If I like your answers, you will live.

Do you own property.
Do you have a master.
Which came into being first day or night.
How can a man become a god.

Why these specific questions. Did the Brahman prisoners live. In the forest it is cool. FID is at rest.

Texte : Serghei Litvin Manoliu
Translation: Petrus Viljoen
Many thanks to Alex Albu

Summer Post 1: Emily Dickinson

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“Emilie Dickinson Poésies Complètes”
Traduction Françoise Delphy, Flammarion 2009.
Poésie 137 (fragment), 1860.

Les voisins ne se doutent encore de rien !
Les bois échangent un sourire !
Verger, Bouton d’or et Oiseaux –
Dans un instant !

The neighbors do not yet suspect !
The woods exchange a smile !
Orchard, and Buttercup, and Bird –
In such a little while !

The FID gathers some amazing minds…

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In 2012, Andreea Ciobica was an art student in Romania, when she became the FID Prize laureate. Today, she is our Guest Juror, invited to participate to the FID Prize Jury 2016.

Serghei Litvin: You won the FID Prize in 2012: what changed in your professional life since then?

Andreea Ciobica: It’s hard to narrow it down to just one thing. I believe it has been an intense surge ever since. I realized then that being in the art world is as much about the relationships you nurture as it is about the work.
(Since FID Prize 2012, Andreea Ciobica participated in art fairs like Viennafair and Arco Madrid, solo and group shows with museums and galleries like MAK Vienna, Ivan Gallery, (Bucharest, Romania), Plan B Gallery (Cluj-Napoca, Romania), Catherine Putman Gallery (Paris), Salonul de Proiecte (Bucharest, Romania), Twilight-Zone Gallery (Tournai, Belgium),…)

Serghei Litvin: What would you say to motivate artists to participate to the competition?

Andreea Ciobica: This competition in particular gathers some amazing minds surrounding drawing so entering it means communicating in a constructive environment. It’s the beginning of what could be a profoundly rewarding conversation.

Serghei Litvin: All applicants will not make it until the final phase – they will not be all Finalists. What would you say to motivate these artists to participate again, to come back next year?

Andreea Ciobica: Results happen in a set of circumstances that are each time unique. Applicants should be aware that their presence in a future edition might make an entirely different statement than the previous one did. One answer doesn’t have to be the end of the conversation.

Serghei Litvin: In his interview for FID Newsletter, Brett Littman said: « My hope is that the artists who apply for the 2016 FID Prize deeply respect what drawing can be and can achieve. » Could you make a comment on this as an artist and a Juror?

Andreea Ciobica: Since drawing is so basic to art, it has the potential to slip through our perception and reach impossible ends without being noticed. I too am hopeful that the artists who apply this year use this superpower to its full extent.

Serghei Litvin: What would you advise the candidates not to do?

Andreea Ciobica: I would ask them to avoid editing their work in order to fit any expectations.

The applications for the FID PRIZE 2016 opens Tuesday 1 December at 09:00 UTC
http://thefid.org/#regulations
The registration time is limited.
The number of applications is limited.