The intstallation The golden flat- the last carnival is an inventory, more exactly an ethnographic approach to the socialist living space of the 70s and 80s, followed by the reconstitution of a flat having a scale of 1:1, containing all the props and objects. The ambient space was thought as an area of interactions and individual significance, being more functional than structural.
The idea of this project started from the observation that there are the same trivial, old objects in many present-day flats. The owners have found very different uses for these objects. Many pieces of furniture which had once belonged to the assembly of a standard flat can be found stored in other flats or in garden arrangements and on verandas (in 2010). Given the fact that most of the objects were almost identical, representing serial products, they have become emblematic for that period, being also easily recognizable. In other words, these objects are a kind of residues of the famous Golden age official project belonging to the communist era.
My attention was captured by two types of objects which inhabit the universe of these flats: on one hand, the Romanian ones which imply no emotional attachment from the human’s part, though they have a functional value, and on the other hand, the ones coming from the Western world, which arrived to Romania, becoming fetish-objects which had strongly been affectively imprinted. While Western consumerism easily discards objects, quickly replacing them, in Romania, people are collecting objects, nothing is thrown away, everything is kept. Moreover, if the functionality of the object or product coming from the West used to be forgotten given its fetishisation, the functionality of the Romanian serial product seems to be never ending.
I chose to place this reconstitution in the present, that continuous present and angle of view on the social, to be able to closely capture the most intimate details of this living space, as well as the sociability it implies. The ethnographic description does not stop only with the simple inventory of what the eye is able to record. First of all, it is the transcription of the information that has been obtained this way. The old and worn-out objects, devoured by their own functionality, prove to be an unpredictable source of aestheticism and conceptuality. I discovered a different way of relating to the surviving past in the places where there is hardly anything to see or think about. The past is there through hybrid shapes, in the most unexpected formal or emotional configurations.