Hai-da, hai-da, hai-da! – an editorial by Cornel Nistorescu

Constantin Brâncuși National Day has an agenda that overwhelms you. As the artistic production in Romania decreases and is lost in a minor tone, the number of commemorations and dedicated events increases, especially to Eminescu and Brâncuși. Maybe it’s a sign of some cultural guilt. In the 1930 interview, published in the newspaper Curentul, Constantin Brâncuși told the journalist Apriliana Medianu that he could not return and that he did not want to take anyone’s orders. And about art he formulated some very deep considerations, valid over decades:

Art did not develop until the great religious ages. When the religious feeling decreases, a decadence follows. Everything that is created through philosophy and religion is joy, light, freedom. Everything that is started in another direction is a lost thing ”(…)
“It simply came to our notice then. I found myself sculpting. Art is a secret – a belief, not a formula. When done according to a theory, it is false. We must destroy ourselves, free ourselves from all human impertinence. Only in this way can we discover the beautiful ”.

I can’t help but reproduce another passage from the interview taken in 1930, which we republish, in its entirety, in today’s Cotidianul:

“If you tried to return to the country for good?
If… I can’t go back. Who gives me food here? I can’t fight, put others aside, to get a job.
Paris is a universal fortress
Not. It’s too late now to move to my country. I don’t have time to assert myself! ”

To have sensed Brâncuși the famous meeting of the RPR Academy, with „Gh. Călinescu, Iorgu Iordan, Camil Petrescu, Al. Rosetti, Al. Toma, George Oprescu, Jean Al. Steriadi, V. Eftimiu and comrade. Geo Bogza, Prof. Al. Graur, Prof. I. Jalea, I. Panaitescu-Perpesicius and KH Zambaccian?
And which conclave from the Academy would enter the most embarrassing inventory of nonsense committed at the gates of eternity:

Tov. Acad. Oprescu says that your note. Călinescu clarified a series of important issues. He shows that the data and facts quoted by him regarding Brâncuşi, a lesser-known figure, show his lack of sincerity and illustrate him as a man of talent and high hopes in the first part of his activity, but who, under the influence of fashionable sculptors in Paris, who cultivated the indefinite, and of Cubism, became a formalist, even when he used elements of popular art, speculating by bizarre means on the morbid tastes of bourgeois society.
Tov. Acad. V. Eftimiu states that comrade. Through his communication, Jalea intended to rehabilitate the valid works of Brâncuşi.
Tov. Prof. Graur is against the acceptance in the Art Museum of the RPR of the works of the sculptor Brâncuşi, around which anti-democrats in art are grouped”.

On Thursday at noon, one day before the 145th birthday of Constantin Brâncuși, Mr. Mihai Anghel from the Crown Domain called me.
-How are you, Mr. Nistorescu?
-Okay, I’m collecting items for tomorrow! That it’s Brâncuși’s birthday. But you?
-We did something too! Do you remember Marama, the wine I dedicated to Queen Maria? Now, my wife thought it would be good to pay homage to Brâncuși too! She is from Oltenia from Amaraști and for a while she has been saying that we should do something for Brâncuși as well. And we made a great rose. I called him Kiss, but with this pandemic, we can’t make any launches. Damn days! You can’t drink any more wine with your friends! Only two at a time! And around the “corners”!
Whenever I see a photo of Constantin Brâncuși, I think of his fiery meeting with Maria Tănase and the songs of Django Reinhardt and Bob Galloway. In one of Galloway’s songs, it’s like a “come on, come on, come on, come on!” which he could only hear from Constantin Brâncuși and Maria Tănase!
-Hai-da, hai-da, hai-da!
Both were on the path that led the Romanian spirit to universality.

Source: Cotidianul RO by www.cotidianul.ro.

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