'83 jul.
The W, the E and the space between [finding my position]
[performance at the seaside (Black Sea), Vama Veche, performer: Bogdan Armanu, camera: Silvia Amancei]
-series of two digital black and white photos - 

My Eastern-European state is a result of the continuous political (discursive) conflict between the West and the East.
I definitely don’t have anything to do with the west except the obsessive desire to emigrate there. On the other hand, even if I consider myself an eastern-european, my relation with the east does not totally define me from a political and geographical point of view.


'83 aug.
The [desired] shipwreck
[performance at the seaside (Black Sea), Vama Veche, performer: Bogdan Armanu, camera: Silvia Amancei]
-series of five digital black and white photos - 

One day I hope that, in a way or another, I will reach the materialization of social utopia which is the Western Europe. There I will definitely find a place for me and my artistic practice, a place of free thought and equality where, in the shadow of the Center, I shall become one. The West and the desire to embrace the West; the desire to emigrate from my peripheral, precarious, Eastern context in order to be exploited within the utopia. Until this desire will fulfill I wait and imagine how it could all happen.  

'83 sep.
One's Odyssey [The Eastern-European artist Odyssey]-sketch
[pen intervention on geography atlas]
-artist book, pages: 100/101, 104/105-

"The excluded one yearns

to be touched by the art-institutions hand;

this excluded one which was excluded by nature and fate,

which from its peripheral position

never stopped looking at the enlightened sunset.

This one, alike the others,

dreams together with the latter ones

to emigrate.

He plans routes, moments, bribes and procedures

through which he could shirk the police-state

and to fully offer himself to the democratic exploitation,

more democratic.

His peripheral position

is characterized by economic precariousness

and more or less cultural;

but this is not aestheticized  

or at least the aesthetic is starting to disappear

through the end of the ’70s.

The only solution to escape is the creation of a new


of a new future, this time his own

the future of the marginal, their future, the many ones.

But neither him nor his comrades of journey, desires and utopias, don’t rush

to claim any victory, any merit;

they know that nothing was ever theirs

and they also know that nothing ever started from them

just from them

no change

no revolution

their dream, the others dream, the dream of democracy

the dream of the democrats, the dream of capitalists,

for him, for they, the peripheral ones,

the marginals, people who live their naked lives

outside of the humanity.

The dream of becoming an Other

the dream to be the Other,

the hope to live and feel,

the privilege to be the Other

other than an ordinary one situated after the edge,

or on the edge; all the same.

Through a miracle the dream can become reality

in that moment everything that follows is

pure euphoria;

the successful attempt

to emigrate!

Self liberation.

the pleasure to be as close to the


the pleasure to be in the Center

the Center which they say that there is no more;

the Center can be found everywhere, this is true,

but the Center is starting from the Center

there, where democracy is the law

there, where the discourse is build

in the Center.

Arriving there, he, the one which succeeded

to emigrate

the emigrant, artist or not,

undresses and offers himself to their


“take me! I want to be touched

by your capitalistic mechanics”

he is offering himself, they offer themselves, arrived in the wild West

for which wildness they longed.

“I am your object!

I want to become your object!

I want to be exploited! me as well!

I have the right, I am human/artist!

I want to be like you, I think that I am like you

but I could be something else if needed,

something different than you!

I could be an Eastern-European, artist or not,

exploit me!”

The Art-Institutions,

abstract mechanisms for he/they,

quickly discern the economic potential

which the emigrant poses through its diversity.

“I have a trauma! I am the result of a trauma!”

This is the motto which the institutions,

through their complex discursive instruments

attach to the emigrant/s keen

for professional affirmation;

but most of all to be exploited.

The emigrant artist:-O! you art world 

                                too much beloved

                                Western art world

                                the true art world

                                object of my obsessions!

                                You art world,

                                capitalist world

                                make me an artist

                                name me and use me.

The hegemonic western discourse sees in this situation

a new opportunity to conserve its position,

and its colonial character is leading it

to desire more, more subjects,

more work power, physical or not, but cheap.

People urging to be exploited democratically!


Reached maturity, after years of proper exploitation

the one, once excluded and emigrant

returns to its incipient peripheral position

across the borders.

Endowed now with economic and political instruments,

owner of symbolic and economic capital,

teaches the path of exploitation to his compatriots comrades.

He starts to build pseudo-art-institutions, and more,

all of these with the money, procured in a way or another,

of his poor comrades

which didn’t have the possibility, yet,

to emigrate in the West.

Through these institutions starts the long process of education,

the transition to democracy,

the democratization of this peripheral position,

the transition to exploitation,

the creation of a favorable context

enabling the productive exploitation

without needing to emigrate for it.

With all of these,

emigration remains the only viable solution

because the Center exists

and the direct exploitation within it

is the most seductive future. "