Despre dadaismul politic


Ce inteleg prin dadaism politic, cu ironie si indulgenta. De pilda, convingerea ca tacand, vorbesti. Ori, aceea ca ideile nu fac doi bani, ca totul este aleatoriu, haotic, intersanjabil. Intronarea absurdului ca virtute patriotica. Capacitatea de a fi simultan liberal si anti-liberal, in functie exclusiv de interese pecuniare. Toleranta maxima pentru plagiat si plagiatori si minima pentru cei care cer transparenta si onoare. Credinta ca viata este un fel de cantina, nici.macar un birt ori o taverna, in care chiar nu conteaza cu cine te asezi la masa. Propun deci un concept, ma voi mai gandi la notele sale definitorii in weekend…

Pentru iubitorii dadaismului artistic, acest giuvaer urmuzian: “Cât despre eroul nostru, Stamate, pentru ultima oară cătând prin tubul de comunicaţie, mai privi o dată Kosmosul cu ironie şi indulgenţă. Suindu-se apoi pentru totdeauna în căruciorul cu manivelă, luă direcţia spre capătul misterios al canalului şi, mişcând manivela cu o stăruinţă crescândă, aleargă şi astăzi, nebun, micşorându-şi mereu volumul, cu scopul de a putea odată pătrunde şi dispărea în infinitul mic”.

Un pacat si o rusine: Klaus Iohannis si consiglierii sai


Consigliat de traseistul cinic Dan Mihalache si de micul autocrat Andrei Muraru, presedintele Klaus Iohannis ia apararea celui mai abject focar de ura, calomnie si infamie din Romania zilelor noastre, pestilentiul numit “antene”. Nu e vorba aici de libertatea de expresie, domnule Iohannis, ci de aplicarea legii, in cazul slugilor securistului Felix, ca si, daca-mi permiteti, in cazul Dvs.

Nu vad nimic grav in ceea ce, condescendent si fara o proprietate reala a termenului, numiti “heirupism” atunci cand miza este respectul pentru lege. Sunteti in compania cui trebuie, domnule Iohannis, a lui Tariceanu, Ion Iliescu si a altor “faruri democratice”. Deci legea, pentru Dvs, este “un banal motiv administrativ”! Vorba lui Nichita Stanescu, este un pacat si o rusine…

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Neither Marx, nor Jesus


In memory of Irving Howe, co-founder of “Dissent” magazine, author of “A Margin of Hope”: I don’t think that Bernie Sanders has changed the rules of the game. But he definitely did change the hackneyed rhetoric of the the game. I am in touch with many young people, they were bored to death, now they hope. I don’t discuss here ideologies, just emotions, expectations, ideals. This territory is not to be discarded, dismissed, or disregarded. The milllenial generation enters politics now and it should be welcomed! They should know the difference between totalitarian and democratic socialism, between Bolsheviks and Mensheviks. I have no idea who will win the Democratic nomination, but I know America is looking for a genuine renewal. I remember a great book by Jean-Francois Revel, “Neither Marx, nor Jesus.” Maybe we should re-read it…

Recunosc, sunt un defăimător!


Mai ales că e vorba de un “grup social”, adică de mafia pesedistă, veroasă, venală, cinică si parazitară. Ar trebui doar să actualizez titlul in “Partidul fărădelegii, de la Iliescu la Dragnea”…

Cand l-am numit pe Victor Ponta mega-plagiator şi mitoman galactic, m-am făcut oare vinovat de “defăimare”? Cand il numesc pe Ion Iliescu, preşedintele de “onoare” al PSD, un ideolog de tip bolşevic sub a cărui prea lunga domnie au prosperat escrocii, pezevenghii, şarlatanii si mafiotii, sunt pasibil de o amendă de 100,000 de lei? Cand indrăznesc să-l numesc pe Dan Mihalache traseist politic format in aparatele de manipulare ale PSD-ului, sunt un “calomniator”?


Tina Modotti, geniul fotografiei si seductia stalinista


Tina Modotti was a great photographer and, after 1930, a Comintern secret agent, one of the most enigmatic figures in the Kremlin’s worldwide revolutionary cobweb. Born on August 16, 1896 in Udine, Italy, Tina died unfder strange circumstances on January 6, 1942 in Mexico City. I almost finished reading “Tinisima,” a fictionalized biography, or rather a real life novel, by the Mexican writer. Elena Poniatowska. Thanks to William Stearns for having recommended this truly absorbing book! I had no idea that Tina’s missions included clandestine trips to Czechoslovakia and Romania. She was Vittorio Vidali’s great love. Vidali was a communist fanatic, one of the most ruthless organizers and perpetrators of “special operations.” He had many nicknames, but is remembered especially as “Carlos Contreras.” To document her book, Poniatowska spent a whole week in Trieste interviewing Vidali. Born in 1900, he died in 1983,  arryhing with him into the grave countless tenebrous stories.

Tina’s Comintern instructor (handler) was the Old Bolshevik Elena Stasova, la vieille, who trusted and protected her during the years spent in Moscow. There is a famous photo with Stasova and Lenin. Tina had become an undercover operative. The marvelous photographer of the 1920s almost abandoned her real calling in favor of Stalin’s planetary revolution. But then came the Spanish Civil War and Tina rediscovered the appeals of fraternity. The salvation of the Republic meant her own salvation. She was active with the Red Aid (MOPR), worked for the Madrid Hospital, had brief encounters with Vidali, renounced practically to her private life. She was active in organizing the Valencia Congress of Anti-Fascist writers, socialized with Rafael Alberti, Maria Teresa Leon, Mikhail Koltsov, Alexei Tolstoy, Ilya Ehrenburg, Andre Malraux, Louis Aragon, Pablo Neruda, Ludwig Renn. Tina met La Pasionaria and other communist luminaries. They were unawares of her artistic pedigree. Her Mexican pictures were among the most innovative in the history of photograhy…

She was friends with photographer Greta Taro and was shocked when she heard of Greta’s death on the front. What followed were the French camps (Argeles, Gurs etc), those places described by Koestler in “Scum of the Earth” where the refugees from Spain lived under destitute, desolating conditions, starved and anxious, reaching the point of eating sand. My mom was in one of them (Gurs). Over one hundred thousand were given Mexican citizenship. Tina and Vittorio were in charge of the transports. She also tried to help the great poet Antonio Machado who had found refuge in the French village Collioure where he died soon thereafter. Tina was close to Constancia de la Mora, the propaganda chief for the Republican government and to her husband, Ignacio Hidalgo de Cisneros, the head of the loyalists’ air force. Cisneros died and was buried in Romania in the 1970s…

When she arrived in Mexico City, Tina was gaunt and derelict. Old friends failed to recognize the once flamboyant woman. The Nazi-Soviet Pact shattered her. This was the limit, one would think, of her blind devotion. Vidali asked her to suppress the doubts, yet she was not the same anymore. The defetat of the Spanisj Republic was her personal defeat. She died in the bak seat of a cab, apparently of a heart attack. Up to this day, many think that it may have been a murder. Madonna supported financially, in the 1990s, the Philadelphia Museum of Art exhibition with Tina’s Mexican photos. The mega-star even thought to play Tina in a biopic. A post-modern denouement to a fascinatingly turbulent life in the century of modern revolutionary passions…

15 ianuarie…


In amintirea marelui, neasemuitului eminescolog care a fost Petru CREŢIA (1927-1997)

One of the most beautiful paintings of all times comes back to Washington


Twenty tears ago, in full blizzard, we went to visit the Vermeer exhibition at the National Gallery, Christina Zarifopol Illias, Mircea Mihaies, and myself. Mary stayed home with Adam who was a few months old. My sister Vicky and her husband Nicu stayed with them. The weather was terrible. Flights were cancelled. Fights over budget had shut down the federal government., Mircea and I spent ten days putting together the volume “Balul mascat.” At the Vermeer exhibition, I watched very carefully an elder gentleman who seemed enthralled with the paintings. He was Robert McNamara. For years thereafter I have been wondering what was in his mind contemplating the immensely peaceful images, the perfect tranquillity of Vermeer’s masterpieces. Was he thinking about Vietnam? Or about the frailty of human economic and social arrangements? About the inescapable passing of time? I can’t wait to see again “The Woman in Blue”…


Vermeer's 1663 work, Woman in Blue Reading a Letter, is back on display at the National Gallery after its first visit 20 years ago.


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