Вы находитесь на странице: 1из 19









After 1990, Marilena's Murariu painting mainly
evolved in two apparently divergent directions
having clear recovering intentions. Her "Wings"
from the 90s targeted, without consistently de-
claring so, the regaining of a spiritual universe
through the affective probing of the self. Conver-
sely, her Balcic paintings made after 2000 were
intended as the expression of an inner journey un-
dertaken in the rediscovering of the exotic lands-
capes of the Silver Coast with which the renowned
interwar artistic colony familiarized the public.
The two perspectives proved to be in part illu-
sory and the results contradicted temporary ex-
pectations to the point of opposing the estimates.
Being developed from the start through exclu-
ding all Byzantine iconographic suggestions, but
without associating expressive elements foreign
to auteurial expression, the "Wings" configured
themselves under the guise of a self-sufficient
geometry in which faint echos of a diamond-
like poetry can be distinguished but which can
hardly be pinpointed subsequent to a possible
introspection. On the other hand the painter
followed the inverted route, from the concrete to-
wards the inner. Considering that the consecrated
isolated and sunny image of the past Balcic has
been irremediably compromised - the small town

DESPRE (MARI) ELENA |N SPECIAL al Coastei de Argint, relevat nou` de renumita

Dup` 1990 pictura Marilenei Murariu a evoluat „colonie” artistic` interbelic`.
grosso–modo \nspre dou` direc]ii aparent diver- Cele dou` perspective s-au dovedit a fi par]ial
gente, ambele \ns` cu v`dite inten]ii recuperatorii. iluzorii iar rezultatele i-au contrazis a[tept`rile
„Aripile” sale din anii 90 vizau, poate nu \ntot- momentane pân` la a deveni opusul celor scon-
Natur` moart` cu omagiu deauna m`rturisit, redobândirea unui univers spi- tate. Astfel, elaborate din pornire prin exluderea
ulei pe pânz`, 140/150 cm ritual prin sondarea mai mult sau mai pu]in afec- oric`rei sugestii iconografice bizantiniste dar [i
tiv` a sinelui. Dimpotriv`, „Balcicurile” de dup` f`r` a-[i asocia continu]istic elemente ale unor
Still Life with Homage 2000 se doreau expresia unui demers exterior, de expresii str`ine exprim`rii de sine auctoriale, „ari-
oil on canvas, 140/150 cm redescoperire avântat` a exotismului peisagistic pile” au sfâr[it prin a se configura \n grani]ele unui



Prin gratii de fier

ulei pe pânz`, 140/150 cm,
detaliu \n drepta

Trought Iron Bars

oil on canvas, 140/150 cm,
detail on the right side page



radically transformed itself under the pressures of

urban development - the compensating resour-
ces of dreaming proved to be more suggestive.
Marilena exploited them with voluptuousness
so as to imagine a "nocturnal and secret Balcic"
populated by mysterious and playful beings - in
extremis she reserved an entire exhibition to the
cats of Balcic.
"About Elena in General" marks a new and
fundamentally different stage in her creation. The
withdrawn, meditating and escapist attitude is
completely abandoned in favor of a engaged and
activist expression.
The reason for this change of direction is quite
concrete: the aberrant development of the Romani-
an society after the end of communism (noticeable
especially in the case of political power) and the
anxiety generated thereby on the background of
powerlessness and alienation. This type of motiva-
tion is not new and has determined many similar
positions in the last two decades, especially amongst
young artists who have promptly recorded such
social "commotions". However, the artist's perspec-
tive on the subject seems innovative - particularly

|n general, jurnalist
ulei pe pânz`, 50/60 cm

In general, a journalist
oil on canvas, 50/60 cm

geometrism suficient sie[i, \n care, desigur, ecouri gestive. Marilena le-a exploatat cu voluptate pen-
difuze ale unei poezii diamantine sunt decelabile tru a \nchipui un „Balcic nocturn [i secret”, populat
dar unde cu greu mai pot fi sesizate urmele unei de misterioase [i ludice fiin]e – in extremis ea a
posibile introspec]ii. De cealalt` parte, pictori]a a dedicat o \ntreag` expozi]ie pisicilor din Balcic.
urmat parcursul invers, dinspre concret spre intro- „Despre Elena \n general” marcheaz` o nou`
vert. Imaginea consacrat` a Balcicului de alt` dat`, etap`, fundamental opus` \n crea]ia sa.Atitudinea Am \nvins!
izolat` [i solar`, fiind iremediabil compromis` – retractil`, meditativ` [i escapist` este tran[ant ulei pe pânz`, 180/150 cm
mica localitate maritim` s-a transformat \ntre timp abandonat` \n favoarea unei exprim`ri angajate,
radical sub imperativele „urbanismului” – resursele a unui activism asumat. We've won!
compensatorii ale oniricului s-au dovedit mai su- Temeiul acestui demers se adevere[te cât se oil on canvas, 180/150 cm



poate de concret: direc]ia aberant` pe care a luat-o incisive, ranging from playful irony to express vul-
societatea româneasc` dup` ie[irea din comunism garity - alongside her view on the inspiring model.
(resim]it` \ndeosebi la nivelul puterii politice), an- The motif of the exhibition is Elena Ceausescu's
xietatea pe care aceasta a generat-o pe fondul de effigy. However, as can be easily deduced, it did
neputin]` [i alienare existen]iale. Acest tip de de- not showcase "the illustrious figure of the globally
terminare nu este nou, el motivând nu pu]ine „lu`ri renowned scientist", nor the "life companion of the
de pozi]ie” \nrudite \n ultimile dou` decenii, mai Carpathians' Genius" - although there are ironic
ales \n arta tinerilor, a c`ror promptitudine \n \n- allusions to such classical stances - but a harro-
registrarea „seismelor” de orice fel este atestat`. wing character inspired by its post-communist
Novatoare ne par pozi]ionarea artistului fa]` de demonization: the debauched Elena which, ac-
subiect – de o incisivitate aparte, mergând de la cording to Ceausescu's brothers, would offer sexual
ironia [`galnic` la vulgaritatea expres` – [i, de ce advances to German soldiers during the war (sic).
nu, perspectiva asupra modelului inspirator. In fact, this episode of Elena's unofficial bio-
Laitmotivul expozi]iei \l reprezint` efigia Elenei graphy inspired the content of the first painting
Ceau[escu \ns`, cum lesne deducem, nu „ilustra fi- which is entitled "Through Iron Bars" and which
gur` a savantei de renume mondial”, nici „tovar`[a becomes relevant, by its defining data, to all the
de via]` a Geniului Carpa]ilor” – de[i aluzii rizibile other works included in the series. It seems to be
ale acestor ipostaze „consacrate” ale ei nu lipsesc a parody of the well-known revolutionary song
pe alocuri – ci un personaj n`ucitor, inspirat de which inspired it but in the end it turn into a
diabolizarea sa postcomunist`: Elena desfrânata, satire of present politics. The work shows Elena
cea despre care, de pild`, fra]ii lui Ceau[escu au and a German officer in a modest interior. Sitting
afirmat c` \n timpul r`zboiului \[i oferea gra]iile on an iron bed, she savors a cigarette, while the
solda]ilor germani (sic). officer recomposes himself. Above the bed there
Dealtfel, acest episod al biografiei informale a is a photograph of Ceausescu as a young man,
Elenei a insuflat con]inutul primului tablou rea- leaving the impression that he has assisted to the
lizat, intitulat „Prin gratii de fier”, relevant \n- scene that has just ended.
trucâtva, prin datele sale definitorii, pentru toate This image would remain a simple visual pun if
celelalte lucr`ri ale seriei. El apare ca o parodie a the face of the German officer would not resemble
celebrului cântecel revolu]ionar care l-a inspirat a contemporary politician who, together with his
dar, de fapt, se dovede[te o satir` a actualit`]ii child, paraded on a catwalk in a Nazi uniform.
politice. |n lucrare sunt \nf`]i[a]i Elena [i un ofi]er Being linked with the present, the narrative gains
german \ntr-un interior modest. Ea, a[ezat` pe un a completely different significance through reve-
pat de fier, savureaz` satisf`cut` o ]igar`, \n timp aling the current political debauchery. Beyond
ce militarul se redreseaz`. Pe perete, deasupra his precise identity, the character in uniform,
patului, atârn` o cunoscut` fotografie din tinere- associated to the phrase "in general" from the
]e a lui Ceau[escu, acesta l`sând impresia c` asist` title, indicates another possible protagonist of the
la scena care tocmai s-a consumat.
Imaginea ar r`mâne un simplu calambur vizual
dac` \n figura ofi]erului neam] nu ar fi recognosci-
bile tr`s`turile unui politician contemporan care Am \nvins!
s-a exhibat pe sine [i progenitura sa pe un podium ulei pe pânz`, detaliu
de mod`, defilând \n uniform` nazist`. Proiectat`
\n prezent nara]iunea cap`t` o cu totul alt` sem- We've Won!
nifica]ie prin demascarea desfrâului politic actual. oil on canvas, detail



Dincolo de individualitatea sa precis`, personajul a juct un rol fundamental \n sfâr[itul Ceau[e[tilor. dezavuate \n scene de grup \n care amuzamentul
\n uniform`, asociat mintal sintagmei „\n general” Fostul stalinist invederat, convertit subit la capita- corifeilor atinge apogeul. |ntr-una dintre acestea,
din titlu, indic` alt posibil „erou” al expozi]iei. lism, este reprezentat ca pictor narcisist, desf`tat proiectat` panoramatic pe o suprafa]` acroma-
Mesajul lucr`rii, prin unele am`nunte, transcende de propria-i „oper`”. Ochiadele complice pe care tic`, o important` tem` politic` este coborât`
percep]ia nemijlocit`.Trimiterea la „voaiorismul” cele dou` personaje le arunc` privitorului divulg` \n derizoriu prin ambientul lumesc al amplas`rii
lui Ceau[escu vizeaz` f`r` doar [i poate perversi- depravarea modelului prognozat. dezbaterii [i persiflarea semanticii originare a ri-
tatea ca atare, \ns`, nu mai pu]in, „perversitatea” Cu toate c` nu se constituie \ntr-o regul`, vom tualului invocat. Un alt savuros „pamflet” i-a fost
imaginii, capacitatea acesteia de a isca conexiunile observa c` \n subiectele cu nuan]` retrospectiv` inspirat pictori]ei de personalitatea provocatoare
cele mai nea[teptate. pictori]a oscileaz` \ntre o manier` geometrizat` a lui Marilyn Monroe. Lucrarea, al c`rui subiect
Mizând pe remanen]a memoriei colective, au- – aici suprafe]ele sunt u[or frac]ionate, \n felul \[i are obâr[ia \n versurile unui cântec din filmul
toarea face trimitere la câteva segmente notorii trat`rii expresioniste a formelor – [i un realism „Gentlemen prefer blondes” \i reune[te admirativ
ale momentului „decembrist” din biografia Elenei, burlesc, vizibil \n construc]ia unor anatomii, cu pe cei trei [efi de stat postdecembri[ti \n jurul
pentru a inversa \n chip grotesc circumstan]e- prec`dere \n corpolen]a dizgra]ioas` a Elenei. Pe str`lucitoarei blonde, metamorfozat` conjunctu-
le. |ntr-una din pânze, pe fundalul atmosferei m`sur` ce \[i focalizeaz` tot mai deslu[it expu- ral \n Elena. Conexiunea cu un alt celebru [lag`r
s`rb`tore[ti, se desf`[oar` un dans \nfocat, \n nerea pe timpul prezent Marilena pare a \nclina dedicat pe calea undelor de Marilyn lui J.F.K. este
vâltoarea c`ruia sunt cuprin[i Elena [i generalul stilistic \n favoarea verismului provacator, cu riscul str`vezie [i indic`, transpus` \n mediul autohton,
r`mas \n istorie pentru iscusita folosin]` a ip- de a-[i reprima pe alocuri efectele râvnite ale o nou` ridiculizare a identific`rii cu un model per-
sosului. Prezen]a amuzatului lider politic care-i picturalit`]ii. Carnalitatea dezagreabil`, goliciunea vers. Show-ul mediatic de prost gust, histrionismul
acompaniaz` are menirea de a sublinia detestabila excesiv` din unele pânze (c`rora le aplic` titluri politic pot fi in egal` m`sur` sugerate, dat fiind
fars` \n derulare [i, prin extensie, nesfâr[ita fars` voit ireveren]ioase) sunt arme ale exasper`rii [i poza „glamoroas`” a actorilor.
politic` \n care ne complacem. |n alt tablou Elena demasc`rii r`spicate. La fel ca \n cultura popular`, Desigur, semnifica]ia ilariantelor scene este
de]ine rolul expansivei dame de companie a celor urâ]enia [i vulgaritatea fizic` denun]` tarele mora- deschis` interpret`rilor iar tratarea lor oximoro-
care-i joac` destinul la c`r]i. Ambiguitatea este le ale personajelor, cum ar fi impostura [i nesim- nic` urm`re[te dep`[irea simplei contradic]ii din
sporit` de intruziunea lui Ceau[escu \n grupul ]irea ca forme ale prostitu]iei politice. antinomia „râsu-plânsu”, cea dintâi care ne vine
„c`l`ilor”, semn al \mp`rt`[irii unui mental comun. F`r` de a fi rupte din contextul stilistic al an- \n minte \n contact direct cu pictura.Titlul expozi-
De la echivocul situa]iilor la echivocul limbajului, samblului, trei scene anume, prin \nsemn`tatea ]iei \nsu[i, datorit` ambiguit`]ii sale, sugerez`
artista folose[te de fapt mijloacele „confuziei” acordat` fundalurilor „ecranate”, inspirate de ima- c` „\n special” \n expozi]ie ar fi vorba despre alt-
pentru a explicita ironia. |ntr-o lucrare \n care ginile de tip cinematografic sau televizat, dezv`luie cineva, poate despre oricare dintre noi – un po-
eroina noastr` r`sfoie[te \ncântat` opera Marchi- corela]ii cu media contemporane – eficace mij- sibil r`spuns s-ar afla \n „anonimele” portrete \n
zului de Sade, discursul auctorial se concentreaz`, loace de manipulare \n mas`. |n „Am \nvins !”, uniform` care completeaz` „modelele criante” de
pare-se, pe depravarea \n sine, \ns` un ochi atent un „remake” insolit al cunoscutului episod din pe suprafe]ele mari.
va dibui printre accesorii referin]ele la actualita- decembrie 89, imaginea este construit` pe dou` Dincolo de posibile alte t`lm`ciri credem c` impor-
te. De obicei, proiectarea \n contemporaneitate registre: de[i \n plan secund („virtual”) ac]iunea tant` r`mâne determinarea artistei de a \nc`lca
este deductibil` din asocierea \n imagine a unor se focalizeaz` \n jurul exaltatelor chipuri ale Poe- tabuuri. Nu \n sensul abaterii de la normele consa-
persoane tangente cu biografia Elenei.Una dintre tului [i Actorului, prim planul („real”) este copios crate ale artei \n sine –cel mult dep`[irea iner]iilor
acestea este Oracolul din D`m`roaia care, se [tie, dominat de silueta protagonistei noastre, a c`rei propriei arte – cât violarea unor conven]ii sociale,
vivacitate exploziv` nu las` nici un dubiu asupra a unor credin]e \nr`d`cinate ale publicului, pe care
veritabililor \nving`tori. Unii dintre ace[tia, poate \l invit` acum la o „dezbatere” neconven]ional`
cei mai cunoscu]i, figureaz` \n ipostaze joviale \n asupra con[tiin]ei individuale. |ntre un explicit al
Dama de pic` „dimensiunea televizat`” a tabloului, subliniind reprezent`rii [i o ambivalen]` a exprim`rii, pictura
ulei pe pânz`, 140/150 cm \nc` o dat` ideea de manevrare ideologic`, subver- de azi a Marilenei Murariu sper` s` contrazic`, fie
siv \ntruchipat` de Elena. [i par]ial, mai vechiul dicton: „Auqun art politique
The Queen of Spades Cumetria ce transcende principiile partinice, sfi- n’est convaincant, sauf l’art totalitaire”. 
oil on canvas, 140/150 cm darea cras` pe care o afi[ez` cei ce ne conduc sunt Marian Constantin



exhibition. According to certain details, the mes- visible in the construction of the bodies, such as the who took office after December 89, around the
sage of the work transcends naked perception. unappealing physicality of Elena. As she increasin- glamorous blonde transformed in Elena. The
Suggesting Ceausescu's voyeurism undoubtedly gly focuses on the present, Marilena tends to sty- connection with another hit song dedicated on
targets perversity as such, but also the perversity listically incline towards provocative realism with radio by Marilyn to J.F.K. is transparent and
of the image, its capacity of bearing the most the risk of occasionally repressing desired pictorial indicates in the Romanian context a new ridicule
unexpected connections. effects. The displeasing corporeality, the excessive of the identification with a perverted model. The
Relying on the persistence of collective memory, nakedness in some canvases (with deliberately shabby media show and the political histrionism
the author makes references to several notorious irreverent titles) are weapons of exasperation and can be equally suggested by the glamorous pose
episodes of the 89 revolution period of Elena's bio- overt exposure. As it is the case with folk culture, of the actors.
graphy, in order to invert the circumstances with physical ugliness and vulgarity disclose the moral Of course, the significance of these hilarious sce-
grotesque effects. In one of the canvases, a passio- faults of the characters, namely imposture and nes is open to interpretation and the paradoxical
nate dance takes place in a festive atmosphere and carelessness as forms of political prostitution. treatment thereof aims at going beyond the simple
includes Elena and the general who is remembered Without being taken out of the general stylistic contradiction of the antinomy between laughter
in history for his crafty use of plaster. The presence context, three particular scenes, through the im- and weeping. The latter comes immediately to
of the political leader who accompanies them has portance granted to the cinematic screen-like back- mind when we look at the painting. The title of
the purpose of outlining the horrendous develo- grounds, reveal connections with the contemporary the exhibit itself, due to its ambiguity, suggests that
ping farce and, by extension, the endless political media as useful mass manipulation means. In the exhibit might allude to someone else, perhaps
farce in which we all indulge. Another painting "We Won!" an unusual remake of the well-known to any of us. A possible answer could be provided
depicts Elena as a cheerful escort for gamblers. episode of December 89, the image is built on two by the anonymous portraits in uniform which
The ambiguity is heightened by the insertion of levels: although in the ("virtual") background the complete the striking models on the large surfaces.
Ceausescu in the "executioners" group, as a sign action centers. around the enthusiastic faces of the Leaving aside other possible interpretations,
of shared mentality. Poet and of the Actor, the ("real") foreground is I believe that the artist's decision to tackle taboo
From ambiguous situations to ambiguous lan- fully dominated by the figure of our protagonist subjects remains important. Such taboos do not
guage, the artist uses the means of "confusion" whose explosive vivacity casts no doubt on the refer to deviating from the usual rules of art -
for making irony clear. In a work showing our actual winners. Perhaps the most well-known overcoming the inertia of one's art at the most -
protagonist browsing with delight through the of these are featured in cheerful stances in the but to infringing on social conventions and deep-
oeuvre of the Marquis de Sade, the author's dis- "broadcast dimension" of the painting, once more rooted beliefs of the public who is thus invited to
course seemingly concentrated on debauchery in representing the idea of ideological manipulation, an unconventional debate on individual aware-
itself, but a more experienced eye will also identify subversively embodied by Elena. ness. Oscillating between explicit representation
references to the present. The connection with the The liaison which transcends party guidelines and ambivalent expression, the current painting
current times is deductible through the presence and the sheer defiance exhibited by our leaders of Marilena Murariu hopes to contradict, if only
of individuals with tangential roles in Elena's are disavowed in group scenes in which the amu- in part, the old saying: "Auqun art politique n'est
life. One of these is the Oracle of Damaroaia who sement of the chorus leaders reaches a climax. convaincant, sauf l'art totalitaire" 
is known to have played a fundamental role in One of these scenes which is projected like a pan- Marian Constantin
the death of the Ceausescu spouses. The former orama on an achromatic surface, features a an
Stalinist hardliner who suddenly converted to important political theme that is downgraded
capitalism, is represented as narcissist painter, by its placement in the worldly atmosphere of
delighted by his own work. The conspiring glances the debate and by the bantering of the original Счастливого Рождества
exchanged with the viewer by the two characters significance of the invoked ritual. Another de- Feerie decembrist`
disclose the debauchery of the forecast model. licious pamphlet was inspired to the painter by ulei pe pânz`, 150/180 cm
Although not as a rule, the works with re- the provocative personality of Marilyn Monroe.
membrance undertones oscillate between a geo- The work the subject of which is traced to the Счастливого Рождества
metric style - slightly fragmented surfaces with lyrics of a song from "Gentlemen Prefer Blondes", December Fairy Tale
expressionist influences - and burlesque realism, reunites with admiration the three presidents oil on canvas, 150/180 cm



ROMÂNIA – FIN DE SIÈCLE vizibil-imediatul rupturilor produse de c`tre tehnici- trecut, prin mar[ul nazist pe un podium de mod`,
SAU DESPRE TENTA}IA |NCEPUTURILOR le artistice c`tre invizibilul incon[tient politic ce-[i printr-un imaginar can-can de emancipare politic-
Proiectul „Elena” aduce cu sine ceva nelini[titor. las` amprenta asupra \ntregului display artistic.  feminist` [i, nu \n cele din urm`, printr-un „Happy
Avem, \ntr-adev`r, de-a face cu expozi]ie politizat`, Birthday Mister President!” al concordiei sociale.
dar artistul pare s` fi uitat s`-[i mai ia m`suri de DESPRE SPECTACOLUL (POST-)POLITIC Ceea ce vrea s` \nsemne c` tr`im \n specta-
precau]ie. Cel pu]in aceasta este impresia pe care “Imaginile, care s-au desprins de fiecare aspect col, prin spectacol [i pentru spectacol [i c` nu
o creeaz` saltul de la „Balcicul nocturn” sau de la al vie]ii, fuzioneaz` \ntr-un curs comun, \n care gre[im dând credit lui Debord atunci când scrie
„Kâtz” la „Elena”, c`ruia nimic nu \i garanteaz` ate- unitatea acestei vie]i nu mai poate fi restabilit`. c` spectacolul este o inversare a vie]ii tr`ite. |n
rizarea pe o pern` de aer. Depist`m un mod radical Realitatea luat` \n considerare \n mod par]ial se lucr`rile Marilena Murariu \ntr-adev`r, nimic nu
de a indica, de a viza, de a expune, ce produce o manifest` \n propria unitate general` ca pseudo- tr`ie[te, de[i exist` iluzia vie]ii mimate. Ea rezult`
pictur` oximoronic`, inspirând fascina]ie [i repulsie lume aparte, obiect destinat doar contempl`rii. din asamblajul decadent al culorilor [i gesturilor,
\n acela[i timp. Nu [tim ce s` facem cu personajele Specializarea imaginilor despre lume se reg`se[te, configura]ie care ne-ar aminti de expresionismul
centrale ale acestei puneri \n scen`, atâta vreme cât des`vâr[it`, \n lumea imaginii autonomizate, \n german dac` nu am fi siguri c` aici nimic nu res-
ele ne apar drept extrem de familiare dar [i inco- care mincinosul s-a min]it pe el \nsu[i. Specta- pir`, c` aici nici o emo]ie nu este exprimat`. Iar
mensurabil str`ine. Exist`, apoi, o tenta]ie – aceea colul \n general, ca inversiune concret` a vie]ii, aceast` senza]ie de stranietate este completat`
de a c`uta motivele care au determinat-o pe artist` este mi[carea autonom` a neviului.” (Guy Debord, de poza personajelor, ca [i cum un teleobiectiv
s` execute acest salt. Vom rezista acestei tenta]ii Societatea spactacolui, Teza 2, trad. Ciprian Mihali invizibil le-ar urm`ri, ca [i cum suprafa]a bidi-
dintr-un singur motiv: oricare ar fi ra]iunile acestei [i Radu Stoenescu, EST, 2001) mensional` a pânzei s-ar constitui \ntr-un ecran
expozi]ii-manifest, devine cople[itoare semnifica- Ne hazard`m oare dac` invoc`m, pentru \nce- TV. Pentru c` spectacolul ca rela]ie este abstract,
]ia unui \ntreg fundal social, politic [i ideologic, put, aceste rânduri din Guy Debord? Ceea ce pentru reprezentarea sa nu poate fi decât \nghe]at`: dar
care concur` al`turi de alegerile con[tiente ale Marx constituia misterul feti[ismului m`rfurilor, \n cazul lucr`rilor artistei avem de-a face cu o
artistei la producerea efectului final al lucr`rilor. \ntr-o teorie care ar`ta c` \n capitalism rela]iile dubl` abstrac]ie, o combinatoric` ma[inal` al c`rei
Astfel arta Marilenei Murariu reu[e[te s` fie cu dintre oameni sunt asemeni celor dintre obiecte, efect este o eliberare fa]` de (crono)logica istoric-
adev`rat politic-critic` tocmai pentru c` opereaz` \n Societatea spectacolului ia forma unei critici a concret` a spectacolului post-decembrist. Dac`
disruptiv asupra acestui fundal al nara]iunilor feti[ismului imaginii, a reprezent`rii, [i a spectaco- artele spectacolului \ncearc` s` p`streze iluzia
ideologice \n care tr`im cu to]ii. Efectul fascina- lului sus]inut de industriile mass-media, definitorii viului (coloratului, eclatantului, senza]ionalului,
]ie-repulsie are de-a face cu aceast` ruptur` [i, pentru capitalismul avansat. Personajele ce popu- urgentului), dubla abstrac]ie a Marilenei Murariu
mai ales, are de-a face cu o confruntare a noastr` leaz` gr`dina zoologic` a Marilenei Murariu exist` nu numai c` este moart`, dar \[i asum` [i opereaz`
cu noi \n[ine, cu lucrurile \n care credem. Din acest \n primul rând pentru c` rezult` dintr-un spectacol ma[inal aceast` moarte. Iat` de ce pictura este
punct de vedere, putem spune c` lucr`rile Marilenei media al c`rui punct zero poate fi localizat undeva artificial` adic` bricolat`, compus`, montat` [i
Murariu amintesc, mai mult decât de orice altceva, pe drumul \ntre ultimul Telejurnal din socialism iat`, ce sub\n]elege coinciden]a fascina]iei [i a re-
de avangarda istoric`, de tehnicile rupturilor de [i suspect de conving`torul „Am \nvins!” (Mircea pulsiei! Acolo unde ma[inalul \nlocuie[te umanul,
sens, de strategiile expunerii rela]iilor invizibile din f`-te c` lucrezi!). Andrei Ujic` [i Harun Farocky exist` semnele unei pieiri iminente al c`rei mister
lumea cultural-politic`. |n rândurile urm`toare \mi ar`taser` \nc` din 1992, \n binecunoscuta lucrare ne \mpiedic` inexplicabil fuga.
propun s` discut manierele de articulare ale acestei video “Videograme ale unei Revolu]ii”, efectul Dar mai exist` un sens \n care putem spune c`
suite de rupturi de sens, procedând \n cercuri, de la devastator al acelui emo]ionant “Am \nvins!” pen- ceea ce privim constituie „o societate a spectacolu-
tru publicul din fa]a terminalului TV. |n pictura lui”. Vom observa c`, de[i sunt doar dou`sprezece
Marilenei Murariu revolu]ia televizat`, spectacolul tablouri mimat-vivante, impresia l`sat` este c`
revolu]iei este spectacolul prin excelen]`, pentru nimic nu r`mâne pe dinafar`, c` actul artistic
Profetul [i modelul Helene c` ceva din aceast` compunere ciudat` de \n[elare este totalizator, c` ceea ce este vizibil spune ceva
ulei pe pânz`, 150/140 cm [i auto-\n[elare, optimism studiat, dispre] [i rânjet [i despre ceea ce r`mâne invizibil. Acest efect
sardonic se vor reg`si \n toate celelalte scene. Pu- care, asemeni g`urilor negre atrage orice c`tre
The Prophet and the Model Helene tem observa c` ceva din spectacolul revolu]iei trece sine, rezult` din operarea subtil` a unei omologi
oil on canvas, 150/140 cm \n mod necesar prin profe]iile brucaniene despre imaginare, \n urma c`reia dispar diferen]ele dintre



|n general, vecin |n general, om de afaceri

ulei pe pânz`, 50/60 cm ulei pe pânz`, 50/60 cm

In general, a neighbour In general, a business man

oil on canvas, 50/60 cm oil on canvas, 50/60 cm

|n general, artist |n general, prea cuvios

ulei pe pânz`, 50/60 cm ulei pe pânz`, 50/60 cm

In general, an artist In general, a devout person

oil on canvas, 50/60 cm oil on canvas, 50/60 cm



ROMANIA – FIN DE SIÈCLE ABOUT THE (POST-)POLITIC SPECTACLE py Birthday Mister President!” of social concord.
OR THE TEMPTATION OF A NEW BEGINNIG “The images detached from every aspect of life fuse But then, all these mean that we are living in
There is something uncomfortable about the “Ele- in a common stream in which the unity of this life the spectacle, through the spectacle and for the
na” project. We are, indeed, dealing with a poli- can no longer be reestablished. Reality considered spectacle, and that we are not mistaken by giving
ticized exhibition, though one in which the artist partially unfolds, in its own general unity, as a credit to Debord when he writes that the spectacle
seems to have forgotten to take precautionary pseudo-world apart, an object of mere contempla- is an inversion of lived life. In Marilena Murariu's
measures. At least this is the impression that the tion. The specialization of images of the world is works, indeed, nothing lives, though there is the
leap from the “Nocturnal Balcic” or “Kaatz” to completed in the world of the autonomous image, illusion of living in the mimicry of life. It results
“Elena” creates, and nothing guarantees a landing where the liar has lied to himself. The spectacle in from the decadent assemblage of colors and gestures,
on an air pillow. One spots here a radical man- general, as the concrete inversion of life, is the auto- a configuration which would remind us of German
ner of indicating, of showing, of exposing, which nomous movement of the non-living. (Guy Debord, expressionism if we weren't sure that here nothing
produces an oxymoron, inspiring fascination and Society of the Spectacle(1967),Second Thesis, www. breathes, that here there is no trace of emotional
repulsion at the same time. marxists.org/reference/archive/debord/society.htm, expressions. And this sensation of the strange is
We don't know what we are supposed to do trans. Black&Redd, 1977) completed by the manner in which the characters
with the characters of this mise-en-scène, as long Are we misplacing our stakes if we start by conjure pose, as if the invisible lens of a video-camera is
as they appear both as extremely familiar and up this paragraph from Guy Debord? What Marx always following them, as if the bi-dimensional
incommensurately unusual. There is, then, a critically described as the mystery of commodity surface of the canvas would become a TV screen.
temptation – that of looking for the motives that fetishism, in a theory which showed that in capita- Because spectacle as a relation is abstract, its re-
determined the artist to execute this leap. We will lism relations between human beings emulate those presentation cannot be but frozen: but in the case
resist this temptation for one reason: whatever between objects, in Society of the Spectacle becomes a of the artist's works we are dealing with a double
the reasons determining the artist to produce this critique of the fetishism of the image, representation, abstraction, a machinic aggregation whose effect
exhibition-manifest, the significance of a whole so- and the spectacle which are supported by the media is an act of liberation from the chrono-logic of the
cial, political and ideological background becomes industries in advanced capitalism. The characters post-December history. If the arts of the spectacle
crucial, and it is this background which concurs which fill Marilena Murariu's Zoo exist, first and are trying to keep the illusion of life (in the color,
to the production of the works' final effects. Thus foremost, because they are the results of a media in the sparkle, in the sensational, in what becomes
Marilena Murariu's art manages to be truly po- spectacle whose zero point could be located some- urgent), Marilena Murariu's double abstraction
litical and critical because it operates disruptively where on the path between the last socialist “News is not only dead, but it machinically assumes this
upon this background of ideological narrations in Journal” and the incredibly convincing “We Won!” death. Hence the painting becomes artificial, bri-
which we all live. The fascination-repulsion effect (Mircea pretend you're working!). Andrei Ujic` colage: it is composed and mounted, underpinning
has something to do with this rupture and, mo- and Harun Farocky had already shown in 1992, the coincidence of fascination and repulsion. Where
reover, it points to a confrontation with ourselves in their famous “Videogramme einer Revolution”, the machine replaces the human, one sees the signs
and with the things in which we believe. the devastating effect of that emotional “We won!” of a forthcoming death whose mystery impedes
In this context we can say that Marilena for the public in front of the TV screen. In Marilena one's escape.
Murariu's works remind us, more than anything Murariu's paintings, the televised revolution, the But there is another sense in which we can say
else, of the historical avant-garde, of the tech- spectacle of the revolution is the spectacle per se, that what we see constitutes “a society of the spec-
niques of rupture, of the strategies of exposing because something out of this strange composition tacle”. We will observe that, although there are
invisible relations from the cultural and political of delusion, self-delusion, studied optimism, con- only 12 pieces miming life, the impression they
world. In the following lines I will discuss the tempt and sardonic grin are to be found in the
manners in which this array of breaks in meaning rest of the depicted scenes. We observe, therefore,
are articulated, developing the argument in circles, that something from the spectacle of the revolution La barre de la justice
from the visible and concrete rupture produced passes necessarily through Brucan's prophecies about ulei pe pânz`, 150/140 cm
by artistic techniques, to the invisible political the past, through a Nazi March upon a cat-walk,
unconscious which imprints the whole artistic through an imaginary can-can of political-feminist La barre de la justice
display.  emancipation and, not in the least, through a “Hap- oil on canvas, 150/140 cm



toate aceste personaje expuse. Ele se vor deta[a este \n sine alienant, pentru c` ne \ndep`rteaz` sine s-ar feri de iminen]a unei contagiuni. Asociem
de acum \nainte \ntr-un grup, o familie, o specie, de modul de fiin]are politic, pictura Marilenei Mu- aceast` descoperire cu o poveste care emerge din
o „societate” din care conven]iile picturii exclud \n rariu este dublu de-familiarizant`, introducând curentul romantic (Adalbert von Chamisso, Peter
mod obligatoriu privitorul. Un fel de „ei cu ei, noi o alienare pozitiv`, care d` [ansa privitorului s` Schlemihl), [i \n al c`rei personaj central comite o
cu noi” care \n cazul de fa]` devine un comentariu chestioneze critic formele sale de via]`.  eroare capital`: \[i vinde umbra diavolului pentru
vizavi de societatea post-politic`, un spectacol care un portofel fermecat din care pot fi extrase cantit`]i
vrea s` \ntre]in` iluzia unui presupus rol politic pe INTERMEZZO DESPRE ALIENARE infinite de bani. Peter Schlemihl va constata curând
care fiecare dintre noi l-ar mai avea. „Ceea ce e implicat aici (\n efectul de alienare) este, c` percep]ia social` a lipsei umbrei activeaz` auto-
Prin post-politic \n]eleg \ngustarea sferei con- pe scurt, o tehnic` de a \nf`]i[a [i eticheta incidentele mat un fundal incon[tient de credin]e, care deter-
ceptului de politic`, prevalarea concep]iei c` singu- sociale umane \ntr-o manier` nea[teptat`, care ce- min` pe cei ce interac]ioneaz` cu el s` \l ocoleasc`.
ra manier` de a tr`i politic este cea de a participa la re o explica]ie, [i al c`rei mesaj este c` acele eveni- Schlemihl se va auto-izola, verificând proverbul c`
vot. Post-politicul este criza modurilor de articulare mente nu trebuie acceptate ca atare, ca fapte natu- „banii nu aduc fericirea”. |[i mai poate \ntâlni se-
a reprezent`rii politice, eviden]a minciunii aces- rale. Obiectivul acestui „efect” este acela de a da spec- menii numai dup` ce construie[te un imens aparat
tei reprezent`ri. Suntem descuraja]i [i deprima]i tatorului posibilitatea de a critica constructiv a- generator de iluzii optice, func]ionând sub pav`za
percepând pr`p`stia care se casc` din ce \n ce mai doptând un punct de vedere social. (Bertolt Brecht, nop]ii, [i care s` \i poate ascunde deficien]a. Ceva
adânc \ntre corpul guvern`rii [i aparatul guvern`rii. Brecht on Theatre, ed. John Willet, Hill and Want, din povestea omului care \[i vinde umbra (sufletul)
Dar chiar recunoa[terea acestui fapt – tradus` New York, 1992, p. 125) (...) O reprezentare care pentru bani transpare [i \n pictura Marilenei Mura-
\n absenteismul din preajma urnelor de vot – [i alieneaz` este o reprezentare care ne permite s` \i riu, de[i conexiunea poate r`mâne necunoscut`
con[tientizarea urgen]ei regândirii modurilor de recunoa[tem subiectul, dar care \n acela[i timp \l artistei. Aceast` panoplie a oamenilor care, de[i
a participa la via]a politic` este sortit` s` intre face s` par` lipsit de familiaritate” (ibidem, p. 192) sunt pu[i \n lumina reflectoarelor, nu au umbr`,
\ntr-un joc al ascunderilor [i al deturn`rilor, \n Plecând de la rândurile de mai sus putem arti- \nstr`ineaz` privitorul. Absen]a umbrei, despre
care industriile mass-media au, f`r` \ndoial`, un cula mai temeinic teza prefigurat` \n paragrafele care intuim c` apare printr-o alian]` ilegitim` cu
rol covâr[itor. Un pre[edinte plânge al`turi de anterioare, [i anume c` expunerea Marilenei Mura- capitalul (banii, ochiul dracului), func]ioneaz` \n
o societate care nu mai crede \n lacrimi: [i chiar riu indic` moartea noastr` social` \n spectacolul acela[i ordin al disruptivului, al rupturii empatice.
posibilitatea acestei conjunc]ii introduce dispera- muribund al post-politicii. Ne afl`m \n eroare dac` Lucr`rile Marilenei Murariu reu[esc s` ne fac` aten]i
rea gândului c` politica nu ne mai apar]ine. Dac` vom \ncerca s` identific`m vreo presupus` formul` asupra acestui fapt, caz \n care privirea survolatoare
privirea st`ruie[te pe suprafa]a pânzelor Marilenei magic` prin care artista ar \ncerca s`-[i \nchid` asupra zâmbetul \nghe]at, plin de sub\n]elesuri, ale
Murariu, aceasta se \ntâmpl` tocmai pentru c` spectatorul \ntr-o iluzie emo]ional-empatic`. Dim- personajelor ce compun aceast` veritabil` poz` de
realitatea acestei sfâ[ieri este expus` f`r` mena- potriv`, artistul lucreaz` clinic, rece, ma[inic, iar familie, e \nc`rcat` cu semnifica]ii noi. |n povestea
jamente. Marilena Murariu expune post-politicul. posibilit`]ile sale tehnice sunt puse \n slujba unui lui Chamisso, Peter Schlemihl p`c`tuie[te doar pe
[i o face ma[inal, \ntr-un bric-à-brac ce scoate din proiect de alienare pozitiv` a spectatorului. Un jum`tate, pentru c` refuz` ultima tenta]ie, aceea de
starea de ascundere rela]ii pe care le-am fi intuit, aspect, aparent minor, vine s` confirme aceast` a-[i târgui sufletul \n schimbul retroced`rii umbrei
dar niciodat` perceput. Iat` ce o apropie pe artist` tez`. Obi[nui]i cu paleta coloristic` a Marilenei sale. Umbra este, a[adar, doar vehicului sufletului.
de mo[tenirea avangardei [i nu ne hazard`m dac` Murariu, tindem s` trecem cu vederea un fapt Dar privind cu [i de la distan]` pictura Marilenei
sus]inem c` maniera \n care acest spectacol este care, \n contextul de fa]`, devine semnificativ: Murariu, ne \ntreb`m, poate pe bun` dreptate,
montat, bricolat, ne aminte[te de tehnicile de lipsesc umbrele umane. S` preciz`m gândul acesta dac` nu cumva am trecut de poarta umbrei, [i dac`
alienare ale lui Bertolt Brecht. Dac` post-politicul [i mai bine. |n spa]iul u[or geometrizat al tablou- nu cumva scenele cu care avem de-a face fac deja
lui, exist` \n mod evident un dialog al luminilor [i parte din scenariul dr`cesc al unui Ivan Turbinc`
umbrelor. Sânii fac umbr`, articula]iile membrelor post-modern-post-socialist. 
|n general, politician fac umbr`, faldurile hainelor fac umbr`. |ns` \n
ulei pe pânz`, 50/60 cm bestiarul spectacular pe care \l avem \n fa]a ochilor, DESPRE ELENA CA OBIECT EROTIC
corpurile pline nu mai arunc` umbr`. Corpul plin R`mâne, totu[i, o \ntrebare: de ce este Elena prile-
In general, a politician este delimitat de spa]iul pe care \l ocup`, separat jul erotic-voluptuos al \ntreg acestui scenariu? S`
oil on canvas, 50/60 cm de tot ceea ce \l \nconjoar`, ca [i cum corpurile \n ne amintim c`, aproape f`r` excep]ie, \n imaginarul



leave is that nothing is left behind, that the artistic the political modes of being, Marilena Murariu's Peter Schlemihl), in which its central character
gesture is total, that what is visible says a lot about paining is doubly alienating, introducing a posi- makes the error of selling his shadow to the de-
an invisible, underground world as well. This effect tive alienation, which gives the viewer the chance vil in exchange of a magic purse which produces
which, like black stars, attracts everything unto itself, of critically questioning the forms of his living.  infinite quantities of money. Peter Schlemihl will
results from the subtle operation of an imaginary soon realize that the social perception of the loss of
homology, in which the presupposed differences INTERMEZZO ABOUT ALIENATION shadow automatically activates an unconscious
between all these characters disappear. They will “What is involved here (in the alienation effect) is, background of beliefs, which determine the people
detach themselves, from now on, in a group, a fa- briefly, a technique of taking the human social in- interacting with him to run away. Schlemihl will
mily, a species, a “society” from which pictorial cidents to be portrayed and labeling them as some- isolate himself, proving that the saying “money
conventions will necessarily exclude the viewer. This thing striking, something that calls for explanation, don't bring happiness” is true. The only way in
radical separation becomes a commentary on the is not to be taken for granted, not just natural. The which he could be accompanied by a human so-
post-politic society, whose spectacle's purpose is that object of this “effect” is to allow the spectator to ciety is given by the construction of an impressive
of keeping the illusion of a presupposed political role criticize constructively from a social point of view”. device which produces optical illusions, functioning
that we would still have. (Bertolt Brecht, Brecht on Theatre, ed. John Willet, under the spell of the moon, and which manages
Through post-politics I understand the shrinking Hill and Wang, New York, 1992, p. 125) (...) A to hide his deficiency. Something of the tale of the
of the concept of politics, the domination of the view representation that alienates is one which allows us man who sells his shadow (soul) for money is to be
that the only manner in which we live politically is to recognize its subject, but at the same time makes found in Marilena Murariu's painting, although
by participating in the electoral process. The post- it seem unfamiliar” (ibidem, p. 192) the connection could very well remain unknown
politics is the crisis of the modes in which one articu- Leaving from the fragment above we can better to the artist. This series of people who, although
lates political representation, the evidence that it has articulate the thesis which has already been envi- appearing in light, cast no shadow, estranges the
become false. We are discouraged and depressed by saged in the preceding paragraphs, that Marilena spectator. The absence of shadow, about which
perceiving the increasing gap between the govern- Murariu's exposing indicates our social death in we can surmise that it appears as the result of
mental corpus and the governmental apparatus. the dying spectacle of post-politics. We will be an illegitimate alliance with capital (money are
But even the recognition of this fact – translated in in error if we attempt to identify a presupposed the devil's eyes) functions in the same order of
the perceived absence at the voting poles – which magical formula through which the artist should the disruptive, of the empathic rupture. Marilena
introduces the urgency of rethinking the manners enclose her spectator in an emotional-empathic Murariu's works make us pay attention to this fact,
of participation in the political life is doomed to illusion. On the contrary, the artist works clinically, in which case the gaze upon the frozen grin of the
collude in a play of hide and seek, a play of detours coldly, and her technical possibilities are servicing characters which compose this veritable family pic-
and masks, in which media industries play a mo- a project of positive alienation of the spectator. ture receives new meanings. In Chamisso's story,
mentous role. A president cries alongside a society An apparently minor aspect confirms this thesis. Peter Schlemihl commits only a half-sin, since he
that no longer believes in tears: the very possibility of Familiar with the color range of the artist, we tend refuses to be subjected by the last temptation, that
this conjunction introduces the depressing thought to miss a fact that in the present context becomes of bargaining his soul in return of his lost shadow.
that politics no longer belongs to us. If the gaze important: human shadows are missing. Let's state The shadow is, we understand, only the gate of
insists on Marilena Murariu's works, this happens this thought even better. In the slightly geometrical the soul. But looking from - and with - a distance
because the reality of this break is frontally exposed. space of the painting, there is a clear dialogue of at these paintings, we are asking ourselves whe-
The artist exhibits the post-political. The choice of shadow and light. Breasts are making shadows, ther we have already passed the gates of the soul,
a pictorial bric-à-brac pulls out of its hiding state articulations of limbs make shadows, garments
relations that we would have guessed, but never make shadows. But in the spectacular bestiary we
perceived as such. This is what brings the artist perceive, full bodies cast shadows no more. The
closer to the heritage of the avant-garde, and we are full body is delimited by the space they occupy, Frech Can-Can
not mistaken if we argue that the manner in which and is separated by everything surrounding it, as ulei pe pânz`, 150/180 cm
this spectacle is mounted sends us to the alienation if bodies in themselves are struck by a sudden fear
techniques of Bertolt Brecht. If post-politics is in of contagion. We associate this with a tale emer- Frech Can-Can
itself alienating, because it keeps us far away from ging from Romanticism (Adalbert von Chamisso's oil on canvas, 150/180 cm



Originea Lumii Noi

ulei pe pânz`, 200/150 cm,
detaliu \n drepta

Origin of the New World

oil on canvas, 200/150 cm,
detail on the right side page



gagurilor politice inventate dup` 1990, cuplul dic- pl`smuit de „somnul na]iunii (ra]iunii)”. pozi]ie de inferioritate. Cu anumite precau]ii, pu-
tatorial ia cina cu Hitler [i Stalin \n infern. Dar cred |n sala unit`]ii militare unde are loc „tribunalul tem spune c` imaginea Elenei Ceau[escu are poate
c` ne-am situa \ntr-o eroare dac` am interpreta poporului” reunit s` judece cuplul dictatorial, \n mai mult de-a face cu cea a Anei Pauker decât
lucr`rile Marilenei Murariu \ntr-o gril` \n care Elena zilele lui decembrie 1989, camera de luat vederi cu cea a Raisei Gorbaciova. Pare s` func]ioneze
devine semnul purt`tor al vreunei „tenta]ii demo- ne face cuno[tint` cu o singur` femeie: Elena aici un aparat represiv a tot ceea ce face parte
nice”. Dac` lucrurile ar sta astfel, atunci artista Ceau[escu. Procesul Ceau[e[tilor apare ca lupt` din trucurile cochet`riei, a tot ceea ce ar putea-o
nu ar face decât s` \nt`reasc` [i s` confirme vizi- nud` pentru putere, o lupt` \ntre dou` for]e aflate transforma \n obiectul fascina]iei sexuale a unei
unea tragic-fatalist` [i defetist`, ce bântuie spa]iul \n evident dezechilibru, [i a c`rui expresie concret` \ntregi na]iuni (ceea ce ast`zi am numi o div`).
imaginar-simbolic al societ`]ii române[ti, [i \n care este controversa asupra legitimit`]ii completului de M-a[ hazarda s` pun existen]a acestuia pe seama
rezonan]ele numelui Elena sunt amplificate pân` la judecat`. Prin urmare, ceea ce apare \n prin plan unui corp ideologic specific, mai bine spus, pe
inaudibil. Elena devine apelativul care mascheaz` este mai pu]in o confruntare \ntre oameni, \ntre seama unei etici a muncii [i a modestiei cu origini
o fals` auto-percep]ie – c` neputin]a noastr` are acuzatori [i acuza]i, cât mai ales o confruntare \n- \n ariile rurale române[ti, de unde cuplul dictatorial
cauze exterioare, \ntr-un blestem cu care românii tre reprezentan]ii unor institu]ii diferite, [i implicit provenea. Dimpotriv`, imaginea pe care Elena o
iau cuno[tin]` la intervale repetate \n istorie. |n a institu]iilor \ntre ele. Trecerea de la structurile promoveaz` este, \ndeosebi c`tre sfâr[itul anilor
aceast` imagine inversat`, lucrurile s-ar a[eza altfel „vechiului regim” la cele ale „noii democra]ii” se '70 [i de-a lungul anilor '80, a[a cum spuneam,
pentru noi dac` societatea, economia [i politica face obligatoriu prin Târgovi[te. La momentul ace- cea al tehnocratului, a omului muncii \n taiorul de
ar fi l`sat` pe mâinile „b`rba]ilor politici”, dac` stui spectacol televizat \ns`, delimit`rile sunt \n- lucru. Exist` f`r` doar [i poate un mesaj public,
anumite Elene, „femmes fatales” nu s-ar amesteca s` vagi, neclare, lucru care, a[a cum vom vedea, specific coordonatelor social-istorice ale societ`]ii
[i deturna „destinul acestui popor” de la calea sa va deturna sensul acestui proces. Deocamdat` \n- române[ti: mesajul este acela c` prima doamn` a
cea dreapt`. Nu ne putem pronun]a \ndeajuns de s`, s` spunem c` ceea ce se \ntâmpl` \n aceast` ]`rii \[i dep`[e[te condi]ia de so]ie [i mam`, condi-
categoric dezacordul cu aceast` concep]ie pe care camer` vrea s` p`streze aparen]ele unui proces real ]ia de femeie aflat` mereu \n umbra b`rba]ilor fa-
o socotim \ntrutotul mincinoas`, fie doar [i pentru [i legitim, iar Elena \ns`[i intr` \n aceast` \nscenare miliei, cadrul conceptual \n care societatea tradi]io-
c` ne plaseaz` \n pozi]ia celui ce-[i plânge singur cu un rol bine definit. Ea \ncorporeaz` statutul, nal` româneasc` gânde[te femeia. Imaginea Elenei
de mil`. Prefer`m s` invoc`m „complexul Elena” rolul [i imaginea pe care ideologia ultimilor ani Ceau[escu poart` cu sine mesajul feminist al unei
de fiecare dat` când rat`m obiective, amânând, de socialism românesc i-o consacr`, aceea a unui emancip`ri a genului. Revenind la proces, despre
deplasând sau ascunzând confruntarea direct` cu tehnocrat, patron al [tiin]elor [i al cercet`rii, „sa- care spuneam c` \ncepe prin a fi o confruntare \ntre
r`d`cinile sl`biciunilor noastre. Atunci, \n ce rela]ie vant de renume mondial”*1 [i, f`r` doar [i poate, institu]ii [i reprezentan]ii acestora, Elena r`mâne
se g`se[te pictura pe care o propune Marilena Mura- p`rta[ al deciziilor politice ale lui Nicolae. Ar fi in- consecvent` imaginii sale de tehnocrat, invocând
riu cu „problema Elena”? A[ dori s` \ncerc o inter- structiv, \n acest moment, s` ne amintim filmul lui chiar, la un moment dat, distinc]iile primite din
pretare care, poate surprinz`tor, ne va scoate din Andrei Ujic` (Autobiografia lui Nicolae Ceau[escu), partea academiilor din str`in`tate (moment \n care
spa]iul imaginar al artistului, a[a cum este reprodus pentru c` pe urmele sale \n]elegem cum are loc este amarnic ironizat`). Nicolae Ceau[escu r`mâne
el pe pânz`: vreau s` abat aten]ia cititorului spre evolu]ia imaginii Elenei Ceau[escu, ascensiunea sa actorul principal al acestui spectacol televizat: cele
un episod care, \n economia problemelor pe care fulminant`: de la un personaj obscur, mam` [i so]i- mai multe \ntreb`ri \i sunt adresate lui, el este cel
le abord`m aici (erotismul inexplicabil al Elenei dar e aflat` \n umbra Secretarului General al Partidului care formuleaz` argumentele ilegitimit`]ii comple-
[i influen]a sa malign`), s-ar putea dovedi esen]i- Comunist Român, la unul care c`tre sfâr[itul anilor tului de judecat` [i adesea sa mâna sa o opre[te
al. Pasul urm`tor abordeaz`, a[adar, „complexul '80 articuleaz` contraponderea for]ei gravita]ionale discret pe Elena atunci când aceasta \ncearc` s`
Elena” din perspectiva impenetrabilit`]ii lui, despre pe care Nicolae Ceau[escu \nsu[i o reprezint`. Dar
care credem c` are de-a face cu maniera de organi- ce putem spune despre „look-ul” Elena Ceau[escu?
zarea a unei \ntregi ma[in`rii incon[tiente, politice Ce putem spune despre toate acele detalii care
[i sociale. A[ dori s` investighez, prin urmare, cum transform` imaginea ar`tat` celorla]i \n vehiculul Presidents are Girl's Best Friend
a fost mutat` Elena \n orizontul incon[tientului energiilor libidinale? Vizita, de exemplu, a cuplului ulei pe pânz`, 200/150 cm
nostru, acolo unde organizeaz` un aparat defensiv dictatorial f`cut` reginei Marii Britanii ne aminte[te
impenetrabil vizavi de mijloacele noastre analitice: de o Elen` modest` care, vizavi de personalitatea Presidents are Girl's Best Friend
Elena plute[te fantomatic, asemeni unui monstru radiant` a Elisabetei a II-a, se plaseaz` \ntr-o clar` oil on canvas, 200/150 cm


intervin` \n discu]ie. |ns` rolurile treptat se in- whether the scenes we are dealing with here are
verseaz`. Sunt ultimile momente de tensiune ale already a part of a post-modern-post-socialist Ivan
acestei puneri \n scen`, unde presim]irea sentin]ei Turbinc` *2 devilish plot. 
irevocabile transpare cel mai bine pe chipul Elenei
Ceau[escu. |ntreg acest complex masculinizat [i ELENA AS EROTIC OBJECT
militarizat - toate uniformele din sal` nu semnific` There remains, though, a question: why does Elena
decât un singur lucru, c` armata [i revolu]ia sunt de become the erotic centrifugal point of this whole
gen masculin – se repliaz` dup` toate regulile artei script? Let us remember that in the imaginary
unei societ`]i patriarhale. Firul narativ dezvolt` o space of the political jokes invented after 1990, the
intrig`, un moment culminant [i un deznod`mânt dictatorial couple has dinner with Hitler and Stalin
a[teptat de \ntreg poporul aflat \n fa]a televizorului, in Inferno. But I think we would commit an error if
\n spa]iul privat al propriilor case. Dar lovit de refu- we interpreted Marilena Murariu's works through
zul lui Ceau[escu de a r`spunde - „r`spund conform a recipe in which Elena becomes the carrier of a
Constitu]iei doar \n fa]a Marii Adun`ri Na]ionale” “demonic temptation”. If things were so, then
- natura completului de judecat` este expus`, dez- the artist would only strengthen and confirm the
v`luit`, desconspirat`. Acest proces apare drept un tragic-fatalist and defeatist vision which haunts
dispozitiv de subiectivare, \mpachetat \ntr-un spec- the imaginary-symbolic realm of the Romanian
tacol televizat, \n care publicului i se ofer` nu doar society, in which the name “Elena” acquire inau-
violen]a fizic` a unui deznod`mânt pe care cu to]ii dible resonances. Elena becomes the name which
\l intuiesc [i a[teapt` – moartea cuplului (de unde masks a false self-perception – that our impotence
ambiguitatea scenei execu]iei unde, doar pentru is caused by exterior forces, by some curse with
camer`, s-au \mpu[cat cadavre [i nu oamenii vii); which Romanians have to deal at repeated in-
publicului i se ofer` mai ales promisiunea specta- tervals in history. In this reverted image, things
colului unei violen]e simbolice. Este spectacolul do- would be better if society, economy and politics
rin]ei incon[tiente de r`zbunare a unui \ntreg popor would be left alone in the hands of true “political
care, neputând s` participe \n mod concret-fizic la men”, if some Elenas, “femmes fatales” wouldn't
lapidarea cuplului dictatorial, trebuie s` se mul]u- mingle in and detour the “destiny of the people”
measc` cu pl`cerea spectacolului patimilor sim- from its right way. We can't stress enough our
bolice. Aceast` „impunere a unei recunoa[teri” (a disapproval with this conception that we consider
genocidului, \nfomet`rii, represiunii, etc), func]io- entirely mendacious, if only because it is only a
neaz` cel mai bine \n cazul Elenei. Dar aici acest consolatory device which only postpones a resolu-
Hai s` ne lustr`m proces ia turnuri nea[teptate: pentru c` \n cazul ei, tion. We prefer to bring into discussion the “Elena
sâmb`t` sear`, iar` violen]a simbolic` produs` echivaleaz` cu decon- complex” every time we miss objectives, deferring,
ulei pe pânz`, 150/180 cm struc]ia tehnocratului Elena Ceau[escu [i cu re\n- shifting or hiding the direct confrontation with the
chiderea \n limitele propriului sex. Aceast` punere roots of our weaknesses. But then, in what relation
Let's Lustrate Ourselves a Elenei „la locul ei”, care \n familia satului româ- is Marilena Murariu's painting with the “Elena
on Saturday Night, again nesc ar fi putut avea loc mult mai devreme, ia forma Problem”? I would like to try an interpretation
oil on canvas, 150/180 cm unei regresii psihologice: sfâr[e[te prin a accepta which, maybe surprisingly, will pull us out of the
nu ceea ce tribunalul \i cere la nivelul propozi]iilor artist's pictorial performances: I would like to de-
rostite - crimele regimului, pe care le va contesta tour the reader's attention upon an episode which,
pân` la moarte – ci ceea ce tribunalul \i cere s` in the economy of the problems we are dealing
accepte la nivelul discursului nerostit, acceptarea with here (Elena's unexpected eroticism but also
cli[eului feminin, re-plasarea sa pe pozi]iile „sexu- her malign influence), could prove to be essential.
lui slab”. Mai \ntâi, Elena redevine so]ie, cerând The next step approaches, therefore, the “Elena


complex” from the perspective of its impenetrabi- character who, towards the end of the 80s, articu- Hai s` ne lustr`m sâmb`t` sear`, iar` neaz`. Dac` \mi ve]i \mp`rt`[i punctul de vedere c`
lity, about which we believe that it has something lates the counter-weight of the gravitational force ulei pe pânz`, detaliu ideologia nu este pur [i simplu „fals` con[tiin]`”
to do with the structures of a whole political and that Nicolae Ceau[escu represents. But what can ci, mai degrab`, „rela]ia imaginar` a subiec]ilor cu
social machinery which remains in the background we say about Elena's „look”? What can we say Let's Lustrate Ourselves on Saturday Night, again condi]iile lor de existen]`”, a[a cum spune Althus-
of our consciousness. I would like to investigate, about all those details which transform the image oil on canvas, detail ser (ceea ce implic` o rela]ie profund` \ntre condi]i-
therefore, how Elena was moved in the horizon of shown to the others in the vehicle of libidinal ener- ile de existen]` [i dorin]`, [i un \ntreg corpus
our unconscious, which organizes an impenetrable gies? The visit, for example, that the couple makes structural-conceptual care opereaz` direct asupra
defensive apparatus, against our analytic means: to the Queen of United Kingdom reminds us of a incon[tientului nostru), atunci ve]i recunoa[te \m-
Elena floats like a phantom, a monster created by modest Elena which, against the radiant persona- to him, he is the one who formulates the arguments preun` cu mine c` avem de-a face cu o situa]ie
the “sleep of the nation (reason)”. lity of Elisabeth the IInd, is placed in a clear inferi- of the illegitimacy of the accusing committee. His curioas` \n care se recompune triada mami-tati-eu,
In the chamber of the military unit where the or position. With some precautions, we can say that hand discretely tries to stop Elena when she is at- Oedipul psihanalitic, cu rezerva c` „eu”, \n spe]`
“people's tribunal” met to accuse and to decide Elena Ceau[escu's image has more to do with Ana tempting to intervene in the discussion. But pro- noi, e[u`m s` ne dorim posesia sexual` a mamei,
upon the fate of the presidential couple, in the days Pauker's image,*4 than with that of Raisa Gorba- gressively the roles reverse. These are the last mo- ucigând-o \mpreun` cu tat`l.
of December 1989, the video camera shows us only chova. A conscious repression seems to function ments of tension, in which the anticipation of the |n psihanaliza freudo-lacanian`, cauza dorin]ei
one woman: Elena Ceau[escu. The Ceau[escu trial here, a repression of all that which makes a part of inevitability of the sentence clearly becomes visible (libidinale) rezid` \n diferen]a introdus` de Cel`lalt,
appears as a bare struggle for power, a struggle the coquetry tricks, of everything which could trans- on Elena's face. This whole masculine-military un „petit objet a”, obiectul intangibil al dorin]ei.
between two unbalanced forces: its expression is the form her in the object of sexual phantasies of the complex – all the uniforms in the room signify only Pentru c` Cel`lalt nu este Eu, dorin]a de Cel`lalt se
controversy over the legitimacy of the tribunal itself. whole nation (what today we would call a diva). one thing, that the army and the revolution are, in articuleaz` ca lips`, ca absen]`. |n Oedip, copilul
What appears in the foreground is less a confron- I would hypothesize that this repressive mechanism this case, of male genus – functions according to the dore[te s`-[i ucid` tat`l pentru c` dore[te posesia
tation between people, between those who accuse is based on an ideological corpus, better said, on a principles and rules of a patriarchal society. The total` a mamei (de care este desp`r]it). De unde
and those being accused, but rather a confrontation specific ethics of work and modesty which origina- specific narrative here develops an intrigue, a cli- anxietatea castr`rii [i represia acestor dorin]e in-
between representatives of different institutions, tes from the rural areas of Romania, from where max and a denouement, which the whole people is cestuoase, trimiterea lor \n zona incon[tientului.
and implicitly between institutions themselves. The the presidential couple was coming. On the contra- waiting in front of the TV screen, in the privacy of Elena a evitat transformarea sa \n obiectul fantezi-
passage between the structures of “the old regime” ry, the image that Elena promotes is, especially their homes. But struck with Ceau[escu's refusal to ilor libidinale ale \ntregii na]iuni: atunci, de unde
towards those of “the new democracy” intersects towards the end of the 70s and along the 80s, as respond - “I answer, accordingly to the Constituti- aceast` resexualizare a Elenei produs` \n prea-
Târgovi[te. At the time of this televised spectacle, already said, that of the technocrat, that of the on, only to the Questions that the Great National labilul mor]ii sale violente? Devine clar c` nu mai
the demarcations are vague, unclear, a thing which, working woman in her coat-and-skirt. There exists, Assembly will address to me!” - the nature of the avem de-a face cu scenariul oedipaliz`rii clasice, ci
as we shall see, will detour the sense of this whole we are sure, a public message, which becomes judging committee is exposed, unveiled, and re- mai degrab` cu spectacolul [tirilor de la ora 5 \n
trial. For the moment, let us say that what happens specific to the social and historical coordinates of vealed. This trial appears as an apparatus of sub- care urma[ul p`storului mioritic \[i violeaz` mama
in this room tries to keep the appearances of a real the Romanian society: the message is that the first jection, packed in the shape of a TV spectacle, in dup` care o love[te cu toporul \n moalele capului.
and legitimate trial, Elena herself entering into this lady exceeds her “natural condition” of being a wife which the public is offered not only the physical R`mâne s` ne \ntreb`m, ce semnifica]ie are acest
mise-en-scène with a well defined role. She exhibits and a mother, the condition of the women oversha- violence of a denouement that everybody anticipa- scenariu pentru pictura Marilenei Murariu?
the status, role and image consecrated in the ideo- dowed by their husbands, the conceptual setting in tes and waits – the death of the couple (from here S` observ`m c` picturile Marilenei Murariu au
logy of the last years of socialism, that of a techno- which a traditional Romanian society thinks of stems the ambiguity of the execution scene, where, un efect ciudat asupra privitorului: este prima dat`
crat, patron of sciences and research, “a world- women. In other words, Elena's image carries the only for the video-camera, the soldiers shot the hot`rât s` moar` \mpreun` cu so]ul s`u. Apoi, spre confirm`, \n cele din urm`, stereotipul „caracterului când imagina]ia cuiva (artistul \nsu[i sau, mai de-
wide renowned scholar” *3 and, undoubtedly, re- feminist message of an emancipation of the sex. corpses, not the living couple); the public is offered deosebire de Nicolae, sufer` un atac de panic` cu slab, emotiv” [i recurge la ultimul s`u colac de grab`, artistul ca purt`tor de cuvânt [i imagine?)
sponsible alongside her husband for political deci- Coming back to the process, about which I said that above all the promise of the spectacle of a symbolic tonalit`]i isterice, \n momentul \n care solda]ii se salvare. Aproape blestemând, exclam` “E ru[ine, pl`smuie[te o erotic` Elen`. Iconografia socialist`
sions. It would be instructive, now, to remember it starts by being a confrontation between institu- violence. This is the spectacle of the unconscious apropie [i vor s` \i lege mâinile. Coinciden]` sau v-am crescut ca o mam`!” Nu am nici o rezerv` \n a construit o singur` realitate a Elenei Ceau[escu,
Andrei Ujic`'s film (The Autobiography of Nicolae tions and their representatives, Elena stays true to desire for revenge of an entire people that, having nu, solda]ii o trag c`tre prim-planul camerei de luat a crede c` Elena Ceau[escu spera c` aceste cuvinte o singur` imagine, aceea a tehnocratului. Ima-
Ceau[escu's) because it makes us understand the her technocrat image, reminding the tribunal, at no possibility of concretely participating at the la- vederi, [i telespectatorii \i pot consuma zbaterile vor avea un anumit efect asupra solda]ilor. Sunt ginarea sa ca obiect al dorin]ei libidinale a c`zut
evolution of Elena Ceau[escu's image, her rapid times, about the academic distinctions she had pidation of the couple, it has to satisfy with the inutile, pr`bu[irea omului de stat Elena Ceau[escu cuvinte care ne trimit, pe de o parte, la ideologia mereu \n afara normei. Elena Ceau[escu a devenit
ascension to power: from a petty character, a mo- received abroad (she is severely patronized). Nico- pleasures of symbolic passions. This “imposition of pe ruinele femeii Elena Ceau[escu, pe care solda]ii cuplului dictatorial ca p`rin]i ai poporului; pe de tabu, mutat \n subsolurile subcon[tientului nostru
ther and a wife overshadowed by the General Se- lae Ceau[escu remains the main actor of this tele- an admittance” (of the genocide, of the conscious o trateaz` brutal, lipsi]i de delicate]e, violent. |n alt` parte aceste cuvinte ridic` [i un semn de \n- unde, ne spune Freud, avea o semnifica]ie ambiva-
cretary of the Romanian Communist Party, to that vised spectacle: most of the questions are addressed starvation of the people, of the repression, etc.) timp ce Nicolae dispare \n spatele solda]ilor, Elena trebare vizavi de modul \n care ideologia func]io- lent`: Elena a fost sacr` [i impur` \n acela[i timp,


functions especially in Elena's case. But here this triad is recomposed, the psychoanalytic Oedip, with further on the paths of this interpretation, at least
process takes unexpected routes: because here the the only reserve that “me”, us, fail to desire the for one reason: such an interpretation only trans-
symbolic violence is equivalent with the deconstruc- sexual possession of the mother, and kill her lates in different terms the thesis of the implacable
tion of the technocrat and with the closure in the alongside with the father. curse that Elena allegedly brings. In Marilena
limits of her own sex. This casting of Elena back in In the Freudo-Lacanian psychoanalysis, the Murariu's painting, the exposing of a taboo is only
“her proper place”, a process which in the family of cause of the libidinal desire stems from the diffe- the first moment of a transgression, which means,
the Romanian village would have taken place long rence residing in the Other, a “petit objet a”, the also the stressing of failure. Blood will not rush
before, occurs as a psychological regression: she fi- intangible object of desire. Because the Other is not into our veins because our sensorial apparatus will
nishes by accepting not what the tribunal asks her an Ego, the desire for the Other is articulated as a detect nothing “hot” in Elena, even if the venereal
at the level of uttered sentences – the crimes of the lack, as an absence. In Oedip, the child wants to Elena Udrea and Elena B`sescu are brave compa-
regime which she still contests – but what the tri- kill the father because he desires the total possession nions. The supposedly erotic meeting between the
bunal asks her at the level of the unspoken sen- of his mother (from which he is kept apart). Hence viewer and the character of the painting remains
tences, the acceptance of the feminine stereotype, the anxiety of castration and the repression of these frozen, cold, extremely ugly, alienating. In other
her re-placing on the positions of the “weak sex”. incestuous desires towards zones of the uncons- words, it is our looks which, again, are raping
She first becomes a wife, as she asks to die together cious. Elena tried to stay away from her becoming Elena: because one could not love Elena like one
with her husband. Then, unlike Nicolae, she suffers the drive of a nation's libidinal energies: but then, would love other women, because with Elena one
from a panic attack with tones of hysteria, when from where emerges this re-sexualization closely cannot make love, because she is impenetrable, one
the soldiers approach her in order to tie her hands preceding her violent death? It is clear that we are rapes her before killing her. How well is this explai-
up. Coincidentally, the soldiers are dragging her dealing no more with a classic oedipalization, but ned by that terrifying image of the privileged noble
towards the foreground, so that the filming camera rather with the spectacle of the 5 o'clock news in woman being raped by the peasants, that Rebrea-
captures her whole futile struggle. The spectators which the nephews of the patriarchal shepherd nu constructs so well in R`scoala (The Mutiny):
are thus consuming the fall of the state-woman rapes the mother, after which he smashes her head it shows that class struggle and power struggle al-
Elena on the ruins of the woman Elena, which the with an ax. It remains to ask ourselves, what is the ways pass through the remnants of a shredded va-
soldiers are treating with lack of delicacy, violently. significance of all these considerations for Marilena gina. Marilena Murariu reveals, then, something
As Nicolae disappears behind the soldiers, Elena Murariu's painting? else: not the fact that we suffer from a presupposed
finally confirms the truism of the “emotional and Let us not forget that Marilena Murariu's pain- implacable and fatal “Elena complex”, but the fact
weak”; she uses her last escape. Almost cursing she ting has a strange effect upon the viewer: this is the that in the Romanian post-politics the characters
cries “Shame on you, I raised you as a mother!”. I first time when somebody's imagination (the artist spinning around Elena including us, those who
have no reserves in believing that Elena hoped that herself or, rather, the artist as carrier of message?) look, repeat infinitely her violent tearing apart.
this words will have a certain effect upon the sol- creates an erotic Elena. The socialist iconography Elena's grin is her revenge: and from the Inferno
diers. These are words which send us, on the one has constructed a single reality for Elena, a single where she dines with Hitler and Stalin, an erotic
hand, to the ideology of the presidential couple as image, that of the technocrat, her imagining as Elena points to our paranoia, towards the walls
parents of the people; on the other hand, these an object of libidinal desire falling outside norm. that we erect so that we could better self-enclose us.
words raise a question about the manners in which Then, we can say that Elena became taboo, moved Elena must not be hated, or (as woman) loved, but
ideology functions. If you will acquiesce to the in the basement of our unconscious, where, says simply left to rest in peace. 
opinion that ideology is not sim-ply “false cons- Freud, she achieves a two-fold significance: she Vlad Morariu
ciousness” but, on the contrary, “the imaginary was sacred and impure at the same time, equally
relation of the subjects with their conditions of determining fascination and repulsion. Should
existence” as Althusser says (which implies a pro- we suppose, then, that what the artist does is a
found relationship between existential conditions sort of therapy mediated by the artistic exercise Dar aste decora]ii, cum, cine ]i le-a dat?
and desire, a whole structural and conceptual of exposing a taboo? Is the artist highlighting an ulei pe pânz`, detaliu
corpus which operates directly on our unconscious) unknown truth, that we, children of the revolution,
then you will admit that we have to deal with a desire the sexual possession of our unique mother? What about these medals? Who gave them to you?
strange situation in which the mummy-daddy-me I would advise to precaution if we want to go oil on canvas, detail



a determinat concomitent fascina]ie [i repulsie.

Dar aste decora]ii, cum, cine ]i le-a dat?
S` presupunem, atunci, c` ceea ce Marilena Mu-
ulei pe pânz`, 180/150 cm
rariu face \n expozi]ia sa este un fel de terapie
mijlocit` de exerci]iul artistic prin care expune
What about these medals? Who gave them to you?
un tabu? Scoate artistul la iveal` din subsolurile
oil on canvas, 180/150 cm
incon[tientului nostru propozi]ia c` noi, copiii revo-
lu]iei, dorim posesia sexual` a mamei? A[ \ndemna
la precau]ie dac` vrem s` continu`m pe c`ile aces-
tei interpret`ri, cel pu]in dintr-un motiv: o astfel
de interpretare traduce doar \n termeni diferi]i
teza fatidicului blestem elenic. |n pictura Marilenei
Murariu, expunerea tabuului nu este decât primul
moment al unei transgresii, care \nseamn`, la fel de
bine, [i poten]area unui e[ec. Sângele nu va \nfier-
bânta arterele pentru c` aparatul nostru senzorial
nu detecteaz` nimic „fierbinte” \n Elena, chiar dac`
genitalele Elena Udrea [i Elena B`sescu o \nso]esc.
|ntâlnirea presupus erotic` dintre privitor [i perso-
najul tabloului râmâne rece, hidoas` [i alienant`.
Cu alte cuvinte, e vorba de chiar privirile noastre
care, din nou [i din nou, o violeaz` pe Elena: pentru
c` pe Elena, asemeni altor femei, nu putem s` o
iubim, pentru c`, \mpreun` cu Elena nu putem face
dragoste, pentru c` r`mâne a[a cum a fost mereu,
inaccesibil`, pe Elena r`mâne doar s` o viol`m \-
nainte de a o ucide. Cât de bine este explicat lucrul
aceste de teribila imagine a privilegiatei boieroaice
violat` de ]`ranii r`scula]i, pe care Rebreanu o
construie[te \n R`scoala: ea ne arat` c` lupta de
clas` [i lupta pentru putere mar[eaz` mereu prin
r`m`[i]ele vaginurilor sfârtecate. Pictura Marilenei
Murariu relev`, atunci, altceva: nu faptul c` suferim
de un presupus, implacabil, fatidic „complex al
Elenei”, ci c` \n post-politica româneasc`, atât
personajele care graviteaz` \n jurul Elenei, cât [i
noi cei ce le privim, nu facem decât sa repet`m la
infinit sfâ[ierea Elenei. Rânjetul Elenei e r`zbunarea
ei: [i din infernul unde ia cina cu Hitler [i Stalin, o
Elena erotizat` ne arat` paranoia noastr`, pere]ii
pe care singuri \i ridic`m pentru a ne \nchide mai
bine. Pe Elena nu trebuie, a[adar, s` o urâm, sau
(ca femeie) s` o iubim, ci pur si simplu s` o l`s`m
s` se odihneasc` \n pace. 
Vlad Morariu