Modernism.ro: How do you see the Romanian Art Scene in 2014? Present and future developments.
G.H.: It is quite a volatile terrain. There are interesting progressive projects, but in the same time there still is a sizeable conservative power, so the whole scene is divided. There is a constant power play, but because in some measure everyone’s out for themselves no-one is actually gaining any kind of capital. Also, there is a lot of collateral damage because everyone is at each other’s throats constantly. On the other hand there are some really great artists, institutions and potential. There is room to grow, still.
Modernism.ro: How do you see Bucharest as host city for a Biennale? How would you describe Bucharest as an atypical and mixed social and cultural context?
G.H.: Bucharest and Romania in general really needed a Biennale. It needed something to try and coagulate the local scene; something to promote local and universal values in the same time, so people would see that there are alternatives to all the usual institutional structures that exist in Romania, but are somewhat limited by the conservative powers at play.
Modernism.ro: Can you explain how you develop the Bucharest Biennale 6 topic to “Apprehension. Understanding Through Fear of Understanding”?
G.H.: It is really important to investigate the subject, especially in an era where confusion, chaos, panic and uncertainty seem to be the zeitgeist. The relationship between fear and understanding needs a closer look, since it has and still is playing such a large part in the development of society, politics and even the personal lives of people.
Modernism.ro: What is the role of art theory in present days?
G.H.: Contemporary art is a great educational tool, and as it is based on theoretical research it is essential to help develop de necessary mechanism through which it can function and evolve and to bring some objectivity to this, still very subjective field.
Modernism.ro: What are the conceptual directions, as curator, you have researched recently?
G.H.: I am trying to determine if art is the revolutionary tool some people make it out to be or if it is becoming a field for self-serving bias, pointless propaganda. I am interested in the way certain institutional structures have or can become the basis for social movements and how the artistic discourse is sometime contingent on the very thing it is ‘fighting’.
Modernism.ro: How do you respond to those questioning your expertise due to you being so young?
G.H.: I may have a few shortcomings in terms of experience, but I don’t think it is fair to deny someone certain opportunities due to their age. It is a very conservative way of thinking. This isn’t the first edition of Bucharest Biennale which had a very young curator, and in my opinion, it was a great biennial, and this will be as well.
Modernism.ro: Do you think that professional experience is an indispensable request for a curator?
G.H.: It is important to some extent, but not essential. As I’ve said, this happened before and it worked out great.
Modernism.ro: What were the most prominent projects that you took part in including the present one?
G.H.: Of this magnitude, it is the first one. I have worked on smaller projects before, so it might seem as a giant leap, but working together with the team from BB, it will be a great biennale.
Modernism.ro: What are the criteria in selecting the artists for this edition of the Biennale and how do you work with them?
G.H.: For me there are no clear criteria, I am interested mainly in their conceptual approach and how well it fits the concept of the Biennale. Up until now, I’m working very well with the artists and there are some great ideas flowing.
Modernism.ro: How do you receive the appointment as curator of BB6 in such a delicate moment and under the pressure of the approaching deadline in almost three months? How does the media storm influence your work?
G.H.: There is some pressure, but it can be done. When the founders of the biennial contacted me and I accepted, it was a bit overwhelming at first, but everything is starting to fall into place nicely, so I’m not worried.
Modernism.ro: If you have to put a list of risks for the Bucharest Biennale 6 what will you add on it?
G.H.: The risks are the usual ones. The art world is pretty unstable, especially with the general instability present in Romania added, it is a nest for force majeure situations, but it is always like this, so it’s nothing new.
Thank you.
Photo caption: Gergő Horváth (RO/HU), Photo credit: Manu Nedila
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