Gasiti si pierduti Found and lost
authors: Nicu Ilfoveanu, Octav Avramescu
prepress: SquareMedia
book design: Nicu Ilfoveanu
editor: self published
publication date: November 2011
place of publication: Bucharest, Romania
format: demi-soft cover with dust jacket
size: 19 x 25 cm
number of pages: 240
number of pictures: 152
type of paper: Meridian 150gmp
printed at: Arta Grafica SA, Bucharest
language: romanian & english
print run: 700
weight: 900g
distribution: Anthony Frost, Jumatatea Plina, Carturesti, Humanitas bookstores, or :
Oh, %@#*! Asta am uitat sa pun în carte. Despre Baudelaire si chiffoniers, culegatorii de lucruri aruncate. Nadar, fotograful, l-a întâlnit pe poet înainte ca inventia primarului Poubelle (da, recunosti numele) sa schimbe strazile oraselor. El spune ca poetul se misca la fel ca acei oameni. Gesturi bruste. Walter Benjamin nota ca la Baudelaire asta indica o dorinta secreta de a scoate ceva în evidenta. Fondul suprapus al unui model eroic. Abia apoi apare piata de vechituri, împinsa în afara orasului si trântita pe jos ca un asediu respins de modernitate.
Aceasta carte mareste la scara de 1:1 planul de salvare al acelui asediu. Fotografului Nicu Ilfoveanu, ce a studiat oamenii la piata de vechituri din ianuarie si pâna în decembrie, i se alatura intuitia si critica suprarealismului care a schimbat prin raportul la cuvinte ca la obiecte gasite o viziune istorica pentru una politica a trecutului, i se alatura semnatura involuntara din „epoletul nerostit” al lui Sasa Pana, reporter avantgardist dar si medic în armata romana, Gheorghe D’Unu, tot reporter la Mosi, noi, o misterioasa fotografie din ultimul stoc pe film ce poate fi gasit, alti straini si obiecte intime &c. (Octav Avramescu)
Oh, %*$%! There is something I forgot to put in the book. About Baudelaire and the rag pickers (chiffoniers). Nadar, the photographer, met the poet before the thrash can, that invention of Poubelle, lord mayor of Paris, changed the streets of the cities. He says Baudelaire had the “jerky gait” of those who intermittently stopped to rummage through the refuse of society. Walter Benjamin notes that there is much to indicate Baudelaire secretly wished to bring out this relationship with them. Both sides of an heroic model. Only later does the flea market appear, rolled outside of the city by the poubelle and thrown on the ground like a siege refused by modernity.
This book shows that siege’s escape plan, blown up to a 1:1 scale. Nicu Ilfoveanu, the photographer that has studied the people at the flea market from January to December, is joined here by the intuition and critique of the surrealists, which approached words as found objects, changing a historical vision of the past for a political one, by the involuntary “untold epolet” signature of Sasha Pana, avantguardist reporter and doctor in the army, Gheorghe D’Unu, also reporting from the Moshi fair, us, a mysterious photo from the last supply on film that can be found, other strangers and intimate objects, &c.
