teen art out no 32

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ParadiseNr.32

InterviewSharon Den Adel

Elias ViljanenHenkka Klingenberg

ArtMania Review

Paradise - Hannah Blaga

The Recreation of Paradise - Andreea Albulescu

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Teen Art Out nr 32 ISSN 2284 – 6549 ISSN–L = 2284 – 6549

Our editorial team

Editor-in-Chief: Simona Mihalca

Editors: Andreea Albulescu Hannah Blaga Nina Moskowitz Ruxandra Sevastin Elisa Maxim Stefania Bodescu Mădălina Panduru

Photo credits: Bianca Birsan Simona Tudor Eszter Kovacs Cover design: Tamara Enache

Design: Tamara Enache

We reserve the right to select the submissions received before publishing.

Contact: www.artout.ro/reviste/teen.html [email protected]

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Summary

Interview: Sharon Den Adel

Sonata Arctica

Interview Pokras Lampas

A letter sent to my mind’s address

Again and again

Is Paradise just a state of mind?

Paradise

Fantastic 4

The Recreation of Paradise

Player Piano by Kurt Vonnegut

ParadiseBy Simona Mihalca

By Simona Mihalca

By Simona Mihalca

By Simona Mihalca

By Mădălina Panduru

By Mădălina Panduru

By Stefania Bodescu

By Nina Moskowitz

By Ruxandra Sevarstin

By Hannah Blaga

By Andreea Albulescu

By Elisa Maxim

By Elisa Maxim

Photo credits: Eszter Kovacs

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Ex Machina Review

Review ARTmania Festival Xth edition 2015, Sibiu

Photo credits: Miluta Flueras

Photo Credits Simona Tudor

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Letterfrom

the

editor

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As you can probably tell from the past content of this mag-azine, I am a big fan of symphon-ic metal and particularly of Tarja (Turunen, ex-Nightwish). With-in Temptation was the first band that got me into the genre and I have seen them live 3 times and they are made of magic. That be-ing said, when they announced that their new album (now not that new), Hydra, would feature a song with Tarja, I went through the roof. If you did not guess it yet, the song was called “Paradise”. This is not an easy theme to choose. We are taught from our first days of paradise, whether you call it heaven or Eden. I identify as an agnostic so you will not be hear-ing anything religious from me now, but there definitely is some-thing spiritual about it. It’s the place of all wonders, where everything is good, where we get peace and qui-et. It can be something virtual or we can reach it on Earth. I have been to places I would call paradis-es and most of them are by the sea-side. So, what is paradise? To me, it’s a place of immense beauty, a

place that transcends your normal life for even a second, a place that gives you peace, maybe some qui-et, a place that will make you forget of all places. Maybe it’s not a just a place, maybe there are more. May-be someone’s paradise is a person. The term is definitely overused. Mostly in naming resorts and travel agencies. But the media picks it up. It’s a name that reso-nates. A rose by any other name. What is it with people that need it? What is it that everyone automat-ically assumes that it is a seaside place? Maybe it’s a garden, maybe it’s somewhere in the mountains.When we break it down, paradise should be a feeling, not a place. It should be something bigger than yourself, something that allows you to be who you are, to learn, to grow, to be happy. It’s a place you feel in your heart, a calling of sorts.Yet, angels have fallen and para-dises got destroyed. This can hap-pen so much easier to a feeling, to a thought. It can get crumbled and crushed, polluted and distorted. Surprising as it may seem after the image of beauty I have

Paradise

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descripted, the song by Within Temptation and Tarja is actual-ly about anything by it. It is about the strange moment when all is doomed and you are furthest away from what you want. It’s when your luck turned and you are drowning and cannot breathe. It’s when there is no point in what is happening, when everything keeps moving the wrong way. Heartache and despair will came to you, regardless of what you do. Empires have fallen and so will you. Fate is a terrible mistress and it has no mercy. Don’t let yourself be carried away into the void. Rise up and fight! Stand up for your-self, for what you believe in! In the pits of darkness, you must always think. Search for wisdom, for only it can lead you out of there. May-be you should have known better. Maybe it is your fault. But you are going somewhere, you are on your road. Step by step you have to pave it, to put little pieces of sen-sibility, of kindness, of thoughts, of friendship. Maybe the graces have failed you but you must not fail yourself. What about us? Sing along and shout from the roof-tops: this is not our paradise! Now go out there and make it yours.

There’s no sense, the fire burnsWhen wisdom fails it changes all

The wheel embodies all that keeps on turning

Blood red skies, I feel so coldNo innocence, we play our role

The wheel embodies all where are we going

All in all you’d expect the wise to be wiser

Fallen from graceAll and all I guess

We should have known better, ’cause…

What about us?Isn’t it enough,

No we’re not in paradiseThis is who we are

This is what we’ve gotNo, it’s not our paradise

But it’s all we want,And it’s all that we’re fighting for

Though it’s not paradise

(Within Temptation feat. Tarja – Paradise)

Simona Mihalca,Editor-in-Chief

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IN T

E RV I

E W

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If you have ever stumbled across symphonic metal, then there is no need to introduce Sha-ron Den Adel. Yet, I will tell you a bit about her. Obviously, she is the founder and lead singer of Within Temptation, being one of the driving creative forces behind

the band. She is the right mix of sugar and spice, being a queen in her own name but turning just as quickly into a loveable dork. Many a people have endorsed my opinion that Within Temptation is simply the best band to watch live, and there are great names out there in their genre. And you just know a lot of that comes from Sharon, who is always giving her all, being packed with energy, up and down the stage. She has a way of con-necting to the public instantly and she makes every stage be her own, no matter how big or how small. The band was formed in 1996, having celebrated in 2012 their 15th anniversary in style with a huge production called “El-ements”, a full show with lights, music, dance, costumes and everything Within Temptation has

Interview: Sharon Den Adel

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to offer. If you want to see it, you can always enjoy their later DVD called Let Us Burn – Elements & Hydra Live in Concert and get a feeling of who they are now. Obviously, in this whole time, they have had many, many, appearanc-es at festivals, whether attending, performing or headlining. How do they feel about it now? “Most of the times, if everything is arranged cor-rectly, it is almost like a holiday. We love playing but especially at festi-vals we can say it is only pleasure. You get to listen to other bands as well, it is fun and fun being on stage.” Their latest album is called “Hydra”, an album so diverse and epic. It is this album that trans-formed once again the image of the band, making Sharon now “the mother of the dragons”. But what is in a name? If you are a Marvel

fan, you might know they have their own Hydra, only a bit more…evil. So, we asked what she thought of that. “Nonononono. Actually, there haven’t been any jokes about that because Hydra is a term used in so many places. I also have a hand cream from Vichy called Hy-

Interview: Sharon Den Adel By Simona MihalcaPhoto credits: Eszter Kovacs

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dra.*laughs* So it really is a name so common that people don’t asso-ciate it with nothing in particular”. We have been speaking about their shows, their albums, their years. They are indeed such a successful band. But what does success mean to Sharon den Adel, how does she personally measure the success of an album or of a tour? “Well, by the reaction of the fans live, if they sing along with the new songs and the old songs instead of only the old ones. Also, we look at the reviews we get from fans and from magazines.” One of the most spectacu-lar things you can see from Within Temptation is their acoustic theatre tour. So far, it’s only been in Holland, so are there any plans for a theatre tour abroad? “We’re still working for it, yes. I am hoping for it and would really want to. I don’t know if it’s going to be happening eventu-ally, but it’s still being worked on.” Does she feel more inspired while on the road or in the peace of your home? “I never write on tour. I always like to compose at home, because I am more relaxed and I have all the stuff that I need to write, all the right programs, mu-sic instruments.”, says Sharon den Adel, whose home features not one

but two recording studios, one for her and one for her partner, Rob-ert Westerholt, the other founding member of Within Temptation. Time has passed and we have to hear more about what they have in store. We have heard chat-ter about a new album that is meant to be maybe more symphonic, so it’s time to find out more. “I have only started for Within Tempta-tion now. I have been working on a new project, about which I can-

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not talk yet, unfortunately, but I have been working very hard. For Within Temptation we are just starting, so it’s getting there.It is now time to find out some more about Sharon den Adel, the person behind the band. What are some of the simplest things in life she enjoys the most? “Lazy Sundays, good cof-fee, spending time with my family”. Whether on her own, whether with the band, she has really seen the world. What is the place that has left the greatest influence on her? “I have to say India. We went there with my family, my parents and brother when I was 18. It was ac-tually our last family trip. We were

backpacking. It was like going back in time 200-300 years. I saw a lot of poverty and especially kids living on the streets and just beg-ging beside cars. It’s a way of life for them, but it was pretty shock-ing for me. I was pretty young at that time. India is such a spiritual place. They have so many tradi-tions, so much spirit. It makes you think about life and death. The im-pact of that trip has never left me.”Finally, we asked what her life motto was and what could be more perfect than “live and let live”.

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Interview: Elias Viljanen, Henkka Klingenberg

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Interview: Elias Viljanen, Henkka KlingenbergBy Simona MihalcaPhoto Credits Simona Tudor

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The metal scene would not be quite the same for me without Sonata Arctica, the Finnish pack of wolves that have descended in Bucharest to shows us how it’s done. Whether you are in it for the sad songs or you *ahem*wrong-ly*ahem* believe them to be hap-py-go-round metal, whether you love their ballads or their speed songs, you have to give them what is theirs. Maybe not as visible as fans would like them, the guys seem to have it all, from talent, looks to success and great person-alities. I will let you find that out for yourselves from the discus-sion I had with Elias and Henkka.

Simona Mihalca: Congratula-tions on the impressive 15 years of the band. It was a treat to hear Ecliptica Revisited. Were there any songs on the album you were getting tired of playing?Henkka: Full Moon *laughs*Elias: It changes from time to time.Henkka: It’s not like playing a song for the one thousandth time in rehearsal. That’s boring. But when you play it live, it doesn’t matter, it will not feel like that.

S.M: There has definitely been a lot of comparing of old and current So-

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nata Arctica with this release. What I want to ask about is the tour life: is it as wild as it was some years ago?Henkka: No, I mean… *laughs*Elias: We are getting older.Henkka: Sometimes. Last night I partied really hard. Elias: Sometimes we go out and usually we go out to eat some-thing or to drink something. The nightlife is not so wild anymore.

S.M: With regard to touring, would you prefer to do more shows in the bigger countries and even more in the same city or to try to enter some not so familiar places?Henkka: I think it’s nice to go to new places.Elias: I agree. You know what to expect when you go to a place you’ve been before. But going to a new place, at the same time is in-teresting and exciting but it’s scary.

S.M: How do you guys feel about up-and-coming music markets, such as Romania? How can ei-ther the market grow to accom-modate big bands or bands ac-commodate the smaller market?Henkka: I don’t know. We don’t really look at it like we have this market or that market or whatev-er. For us it’s just that we go some-where and the people show up

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and have a good time. Of course, it’s really nice to be back and it’s the first time playing in Bucha-rest. It’s gonna be an interesting scene. We hope people have found the tickets and will be at the show.

S.M: "Live in Finland" featured an acoustic set. Would you like to do more shows like that?Elias: Yes, sometimes.Henkka: It would be nice. Every once in a while we do like this acoustic thing and it’s a nice change, but if we only do that it would be a bit boring.

S.M: If you could do a song with any other musician or band, whom would you pick?[The guys take a second to think and then point at each other, breaking into laughter]Elias: I don’t know. Metal-lica would be a good one.Henkka: Maybe with Dream The-atre would be interesting to see.

S.M: Do you believe there is too much drama in the fan-dom? How do you approach it?Henkka: Like this *shrugs shoul-ders*. We are not overly dramatic in our lives anyway and I under-stand when people get excited sometimes even if it’s a bit too

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much. It’s just a part of the job.

S.M: Do you believe that in the albums are going to re-main still relevant? Should the metal scene try to adapt?Henkka: It might be that al-bums are getting less and less rel-evant. Of course, we have to have some way of putting out new mu-sic and at the moment this is the most convenient way for us. But it’s going to be interesting to see what’s gonna happen in the future. The business is changing all the time. These are interesting times.

S.M: If you were granted 3 wishes, what would you ask for, and why?Henkka and Elias: Good health!Elias: I would say money but *laughs* maybe that’s not too good. [to Henkka: ] Help me.Henkka: I’m with him on good health. I would say money as well. Money is nice. You can do shit if you have money. And nice girls. Elias: Love. [points at Henkka] For you.

S.M: Which is the most d a n g e r o u s / a d v e n t u r o u s thing you have ever done?Henkka: I’ve been rock climbing. That’s it.

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Elias: Maybe scuba diving. I ha-ven’t done dangerous things.Henkka: We don’t do dangerous things.

S.M: What are some of the place that you have been to, whether touring or as a holiday, that have left the strongest impression on you?Henkka: Maybe Australia was re-ally special. We would like to go back there. South America is really interesting as well. Everything is so different from what you’re used to. I mean, in Europe things are a lit-

tle bit different, but everything is so close with what you’re used to back home, it is not that big of a difference.Elias: And Japan for me. The first time was really special.Henkka: Yes, Japan is weird.Elias: I am not saying weird. It’s in a good way.

S.M: Can you talk about a fan encounter that com-pletely took you by surprise?[…] Henkka: That’s a hard one. Every once in a while I meet peo-ple in a normal way. I was at my

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bank, discussing a loan to buy my house and in the middle of the discussion, all of the sudden, the bank manager, who was around 50 something, went like: I just have to tell you that you guys are doing a great job when you are playing for Finland. *leans back* WHAT? That was totally surprising. And then she continued: okay, so this the interest, this will be the cost. That just happened, you know.

S.M: What is the best gift you've ever received?

Elias: I have my wolf, my tiny wolf.Henkka: Anything that isn’t too big is great. We know that people have really good intentions, but they don’t realize that, for exam-ple in South America, we fly a lot, so it’s impossible to take with us presents like big posters and stuff. It’s really hard to take them along.

S.M: What do you usually do with the gifts if you can take them with you?Elias: *smiling* I have a small col-lection of things, in one of my rooms.

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Interview with Pokras Lampas

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Interview with Pokras LampasBy Mădălina Panduru

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graffiti. Firstly I was a graffiti artist and I moved to calligraffity; it`s like you have the biggest surfaces to work with the huge tools like a broom.

M.P.: What are you stud-ying right now? Are you going to university? Is something con-nected with the artistic field? P.L.: I have studied Facul-ty of Advertising and Public Re-lations, Advertising Specialist, in Moscow and I dropped it out be-cause is useless and it was a wast-ing of time for me and that is why I didn’t finished my studies, but I don’t have a problem with that.

M.P.: Do you intend to start another univeristy pro-gram, maybe in another field? P.L.: I don’t think this is important for as an artist because when you’re doing something modern you should improve your skills, not learning useless informa-tion. I have been invited by a lot of famous places to be a specialist, to be like a teacher for students but I still haven’t finished my education.

M.P.: Which artists from this field you admire? P.L.: There is Niels “Shoe” Meulman, the head of the calligraf-fiti movement and there is Retna

Mădălina Panduru (M.P.): Tell us something about you and your work to introduce yourself to the romanian public. Pokras Lampas (P.L.): My artist name is Pokras Lampas and I am a modern calligraphy artist from Russia, Saint Petersburg. I am working for seven years different kind of arts: the first was graffiti, then I moved from graffiti to callig-raphy to some kind of experiments with modern callighraphy, cal-ligraffiti and also graphic design. Right now I am working a lot with big clients such Nike, Mercedes, Red Bull, I am also officially Nike’s international creative vendor. I am working a lot as an artist and I had a big mural as a project last month in South of France and my last ex-hibition was a group exhibition in Affenfaust Gallery from Hamburg which showed the world the cal-ligraffiti ambassadors movement.

M.P.: What is the or-igin of your calligraphy and how it turned into calligraffiti? P.L.: My calligraphy is a combination of styles and it was inspired by different kind of clas-sic letters: from russian calligraphy, european, gothic, maybe some ara-bian shapes and influences from ti-pography, graphic design and from

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from U.S. and he is the best modern calligraphy artist because he was the man who pushed some really unreadable calligraphy to a highest commercial level, with very expen-sive exhibitions, with big clients such as Louis Vuitton and Chanel and I really respect their work. M.P.: Do you al-ways draw free handed? P.L.: Yes, of course. I am al-ways trying to do something free-style because that is how you can reach some new forms, some new shapes and I am trying to show my best when I am starting on big can-vases. That is why is like at first you are writing just a simple line but you still try to build the composition close to this line, to some shapes, to some circles. It is really nice and interesting for me to work like that.

M.P.: Have you tried to paint with another artist on the same canvas simultaneously? P.L.: I have tried some per-formances on canvas, maybe two years ago, but is seems that this is not the best performance because people are bored to see just writ-ting on small lines. People want a show and that is why it should be something expressive, maybe dirty but freestyle. You can check my last performance in Sankt Petersburg,

at the Festival of Vkontakte. In Russia we have our facebook and this is the biggest social network from our country and they have runned a very huge festival with around 50.000 people. I was invited to make a performance last Sunday.

M.P.: While neighbor-hood kids were playing com-puter games, you were explor-ing the art of lettering. Where did this impulse come from? P.L.: I think I was the first in Russia and it was like an achieve-ment for me, to do something well and to do it first and is very inter-esting to be first in something. It is like you don’t have knowledge but you have a lot of potential and that is why it is interesting to learn a lot, to teach people. When I was not a well skilled artist many people were interested in my work because I was the first in Russia and is like supporting the guy wihch is doing something first in something. You are a perfectionist by nature. Yes, it is a good thing for an artist be-cause if you are missing something and you don’t care about this it is not a good point to reach you skills. If you have a self education to un-derstand everyday where you fail and how to fix your fail it is a very good thing. I found a nice quote by Salvador Dali: ‘Have no fear of

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perfection, you will never reach it.’

M.P.: You paint letters in a digitalized era and there are ed-ucational systems where children are taught to type letters on the screen first. What do you think about the impact of digital media on handwriting and calligraphy? P.L.: In the past a lot of people worked like masters of cal-ligraphy, of sign painting and it was usually for people and after time it become an art. I don’t know how to describe it but at the beginning there are ordinary people who do something and after hundreds of

years there are specialists which make it an art. If you want to be an artist you should learn and work a lot and also you need to have some skills to practice and to experiment and that is why I don’t think it is a big problem that people are typing let-ters instead of write them by them.

M.P.: Do you join any ar-tistic group from Russia or other country? Are you interested in? P.L.: I am a part of the Cal-ligraffiti Ambassadors which is an international community with more than 650.000 followers on Facebook founded by Niels Meul-

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man. Niels have chosen these art-ists all around the world to create a big community with the same movement to improve the cal-ligraffiti and I am one of them.

M.P.: What it is like to be an artist in Russia? Do you feel supported by the community and the society? P.L.: Is kinda hard to be an artist in Russia right now be-cause people are not ready for this. Young people are interested but they cannot support it financial-ly, they can only share my work or follow my page but this is not

commercial, while the elders don’t understand it. Usually I am trying to find companies to support me or maybe to make commercials with them. Last year I collabo-rated with Nike Russia to create a performance for Moscow Vogue at Fashion Week and I was sup-ported by a big russian company. It is really important for an artist to be supported by a company because you don’t have the time and the money to do it alone.

M.P.: How would you describe your artistic activity in relation to Russian and interna-tional artistic context? What you bring original and innovative? P.L.: I am trying to show a lot of styles, a lot of shapes of letters, compositions and that is why my art is kinda interest-ing for russian people because is modern calligraphy. I was the first russian artist who created it well and maybe right now I am the most popular modern calligraphy artist from Russia so I have a big influence for people and I am like an opinion leader for them; they are asking me about books, tools, ink, for everything. I have got a great popularity in Russia among my followers and clients in my country and right now I started

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to be interested in foreign clients and in foreign galleries because I am doing some kind of original stuff for everyone and there are a lot of people who try to copy me.

M.P.: Do you have a spe-cific sign in your works to pre-vent the plagiarising of you art? P.L.: Right now I am calling my works by Calligrafuturism. It is a style inspired by the vision of letters of modern calligraphy and it is about how will look calligraphy in the future. This concerns my vi-sions, my own ideas about letters, about the alphabet, the shapes, the compositions and after a lot of works on this style people started to copy my style under the same name and they are calling their style Cal-ligrafuturism too and it is funny.

M.P.: In your vi-sion there will be an univer-sal language or alphabet? P.L.: Maybe, I am not sure about this but I think that in fu-ture there will be mixed cultures and we will have international art-ist not artist from one or another culture, international cultures and mixed styles. Maybe what I do now is fresh but not in 100 years. M.P.: Letters describe lan-guage and language is capable of creating new cultures. Do you think your calligraffiti is strong enough to create a new culture? P.L.: I hope so because it is a really good movement and it inspires people to share an ener-gy and a movement through high skilled letters. Maybe because 20 or 30 years ago it was really rare

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among people it is so quite pop-ular nowadays. We are trying to promote it and when it will be very strong and popular I think it will create good artists and this will be helpful for everyone.

M.P.: How do you decide which projects to take and which not? P.L.: Sometimes the pro-jects from important clients are very boring because they don’t want something experimental or to create something new. They have classic opinions about the product, the design and the calligraphy. I choose projects where the clients, for example brands or agencies which are free to create something experimental and modern because this is my style. It takes time to discuss with them, to show them some references because modern calligraphy is not knew by every-one and that is why a lot of clients don’t know what I can do. What is popular in Europe can be popular also in Russia that is why some-times I advise them what artists and performances can work and others companies do as well. It takes time but I don’t care because it is necessary to diffuse mod-ern calligraphy and to improve it.

M.P.: Do you have oth-ers activities aside calligraffiti?

P.L.: I enjoy walking with friends and also to take photographs because I know how to write something well but you should be a good photogra-pher to understand the colors and how to take a good photo.

M.P.: What makes good a calligraffiti? P.L.: Right now we don’t have strong rules. Maybe in clas-sic letters we have strong rules like you should have straight let-ters with the same skill, with the same lines and you should prac-tice to be a succesfull artist. In modern art you should have your own vision and you should be able to bring to people your ide-as, maybe new shapes, new forms. For me a the good thing of cal-ligraphy is that you can make an art based letters and you should feel and understand the letters and how should them be written. M.P.: What you would like to be asked in an interview but the press never ask you? P.L.: This is a nice ques-tion! Maybe there are not a lot of questions about my unpublished projects because no one can know about them. I can talk about my project from the frozen Gulf of Finland which I have done this winter but it takes a lot of time to

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create a good video that is why we did not showed it. It is was a big project in Zago of Ireland, a nice place with a lot of sea that extends between Finland to the north and Estonia to the south. We moved to this place with more than fifty liters of paint to create a really big project and it was extremelly cold and dangerous the ice can be broken when a lot of people are moving in the same place. It was really crazy! Right now we are looking for the roofs in Istan-bul to create some modern calligra-phy on the roofs in this beautiful city and we are going to move next month if we will find the proper place. Also I have an opportunity to make an exhi-bition in Monaco and to write some-thing on a big yacht as a performance. I have a lot of projects coming soon!

M.P.: You have so many op-portunities and I am glad for you. I am following your facebook page and you traveled and developed your style a lot! P.L.: Yeah! It is really impor-tant for an artist to be inspired by many places and to find some oppor-tunities. Of course it is not easy but if you want something you can reach it and I am trying to work hard for this.

M.P.: What do you en-joy most: assignments or au-tonomous work? Why? P.L.: Of course the second one

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because I am trying to bring some independent projects like calligra-phy on the roofs, on the frozen sea. It is like I have a project but after a good concept I can’t find sponsors and investors because they want to be a park of it. I am not interested to do some work sinks. I am trying to mix projects in Russia withs pro-jects abroad to grow as an artist.

M.P.: At what projects are you working now and what are we going to hear about you soon? P.L.: I have just finished two foreign projects: exibition in Hamburg at the Affenfaust Galerie and the Mural and exhibition in Sete, France, two big steps for me and now I enjoy my free time. I am working at two digital projects, maybe not so huge like always be-cause I wanted to take some break and it will be a logo for a popular russian band: a poster design, a T-shirt design and suitcases for mobile phones with the same idea. The other project will be in Istan-bul in august and I have a lot of ideas and probably it will be more because I intend to visit Spain to create two canvases at their muse-um of street art. I discussed three months ago with the director of the museum to create this project to-gether because it it difficult to cre-

ate something in Russia and then to move it abroad because you need to have documents from our Cul-tural Department. That is why it is easier and faster to move abroad and create big canvases there.

M.P.: What master in cal-ligraffiti would you choose in order to be his disciple? Why? P.L.: To be honest, I don’t think this is good for an artist be-cause when you are learning some-thing from a famous artist you have a lot of influence from him into your style. That is why I pre-fer to learn by myself, to improve my vision, my skills to be perfect.

M.P.: You perform in front of a large number of peo-ple. How minutes takes your program to complete the work? P.L.: Last time it was a full day performance because I had the four sides of a high scale cube and it took me between one and two hours to paint one side. I have done it with a lot of tools, even a special tool called fire extinguisher. I have changed the content and I painted with it in my performance. It was really bright because I used blue and people were taking selfies in the front of the cube. How do you choose the colours when you paint?

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My favorite colors are dark blue, white and gold, these are the classic colors for me, and I also use bright colors and the best is bright blue color, like Tiffany and the best com-plementary color for Tiffany is pink and that is why I use it sometimes.

M.P.: Have you felt some barriers artistically speaking be-tween Eastern Europe and Russia? P.L.: In Europe is a big his-tory of modern art, a lot of possi-bilities, a lot of galleries and people interested in modern art, while in Russia it is very young and this is not the good time to be an artist in Russia because people are in-terested in your work but there are not big clients to work with this style. Some projects are mov-ing really fast and if you are doing something big and you do it well a lot of russian people and even big clients are interested in to do the same. My last releast project is milk packaging for Dairy Culture lim-ited edition for homeless people and after showing the photos I was contacted by a huge client proba-bly to do the same thing for him.

M.P.: You don’t use the same text in your works. How do you select the words? Is it original? P.L.: I am inspired most-

ly by music, lyrics, sometime it is a good quote or just my in-spiration about everithing I see.

M.P.: Do you have a team to work with? P.L.: I have a lot of creative friends and there are a lot of creative people. Some of them are really tal-ented photographers, cinematog-raphers. Right now I am working with a very famous guy, action cin-ematographer, with a very popular video on Youtube with more than 60 millions views. I like to collaborate with these crazy and tallented people.

M.P.: Where is the best place for your work: on the street or in the galleries? P.L.: It is really important to have works everywhere: on people, on cars, maybe on the planes, on yachts, on the walls, in the galler-ies, in digital because if you want to be modern you should keep your own style but on different surfaces and in different places.

M.P.: Thank you for a great interview, Pokras Lam-pas! Good luck with all your projects and enjoy the summer! P.L.: Thank you! All the best from me to you!

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A letter sent to my mind’s address

And a secret shall I tell you, brain: it would be good not to start with your air and grac-es! You are the one telling lies and you are also the one believing them. You are tricking yourself. You tell yourself the world doesn’t know and it doesn’t know! You tell yourself the world doesn’t believe you and it doesn’t believe you! Well, not even you should trust yourself. And neither should I . You tell me that I am fif-teen; you tell me that the raindrops are not God’s tears. Right now you tell me what I am telling you. You tell me there is no romance or love, you tell me there is no hope or purpose, you force me to believe what so many cunning mouths dictate you, you corrupt brain! But I am going to tell you now. I’m going to tell you that you are just a shell, that you are just a prison where I am cowardly hiding, for the world not to see who I am. I tell you, and I tell you honestly, that you are not a dark prison, but a prison whose lights haven’t been turned on. You are not a sad prison,

but one that is afraid of sadness. You are not a sensitive prison (well, you were a bit, but don’t think about that! It is in the past.), but one that is afraid of harshness. You are like me. You are a glass ghost. No, I am a glass ghost, and you are the prison-shell that I haunt. You are a labyrinth of Crete, full of ram-ifications and blind alleys that only you create, to hurt me and you. But I will resist. Because whatever you throw at me, I will still remain a child. You have tried so many times to trick me into thinking that I have fifteen years. You then stole so many pleasures of mine. You grow my body heav-ier, so my parents won’t pick me up in their arms. You have thickened my legs, so I can’t jump and fly. You have put books and manuals in my hands, so there wouldn’t be a place for toys and you have sawn my mouth with lies, so there wouldn’t be place for foolish words. You have raised my whole body two times, so I wouldn’t fit into my bed, so I wouldn’t be able to hold a small ted-dy bear into my arms, so I wouldn’t

By Stefania Bodescu

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By Stefania Bodescufit on the slide, so I would hurt my head every time I try sitting on my foot on the swing or trying to hide under a table. I do recognize, those things made me tremble, fall and break into thousands of memories. But I stood still. Why? Because I knew that after the horrors of this body you modeled after your equa-tions, I will be me again, small and compact, in the freedom of all the things you stole from me, brain. All that it is now is infinitely small-er than what’s coming next, the life where both of us will be free. So here I am! I am light, but my steps are heavy, and I am ready to hit the road along with you. You are heavy, but fast, and you pass al the blind alleys with speed, until you find another blind alley, or, maybe, our path to liberty. Yes, you give up quickly, you fall to the ground and pulse nervous. But I will wait for you. Maybe it is the thing that keeps you alive. So sail on your vortex of pillows and sights and tears, contort all of our body and let yourself float on the waves of your own shipwreck. I will be right here,

in the corner, resisting the salty waves you throw over my wounds. It hurts every single time. Every thought creates a new scar that you won’t be able to heal or forget, no matter how much you wish for it. Yes, I suffer! I suffer inexpress-ible, but if I didn’t forgive you for everything you did to me, it would mean that it is too late, that it is use-less, that you corrupted even me. Come on, stand up. I will offer my whispers in change for another path. Let’s go together and maybe you won’t feel the need to lie anymore. Let’s go and maybe I won’t feel the need to hide anymore. So please, brain! Make our journey easier! Don’t get lost! Don’t lie yourself! And most im-portantly, stop pretending you need to grow up! Don’t let words like „size” or „age” overwhelm you! It would have been good not to grow up then and neither now. Please, do it for me, and listen once to my words. Do not try to grow up...it would be good to stay little.

Your loyal guest,

The Soul

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My idea of paradise was al-ways something like Hawaii. Trite as it may sound, I thought a com-mercial resort with a large, clean beach was the nicest place you could go. And when I went there, to be sure, it was beautiful and relaxing. Yet this past week, I have experienced a different sort of par-adise. To be frank, a better one. I have been traveling, to a land far from home: Kuala Lumpur, Ma-laysia, my mother’s homeland. We returned to visit her family and celebrate the Muslim holiday of Eid, a month of festivities tak-ing place after the month of fast-ing known as Ramadan. What I have experienced in the past week has blown my mind, and will be something I never forget. The primary basis of Eid celebrations are open houses, in which everyone has doors opened for those who wish to visit at any time. Houses always have cookies and food on hand, and if someone were to come to your door, wheth-er stranger or family, you are to let them in and feed them. As if that

wasn’t great enough, children (pos-sibly up to 18 years old) receive money from adults, in little pack-ets that can build up to a rather large sum of money. For example, in the past week, I’ve received the equivalent of $150. Not bad, right? Everyone dresses up to cel-ebrate Eid, which is also called Hari Raya here in Malaysia. New clothes are bought or made for the parties, and worn with lots of jewelry and grandeur. The festivities last all day, with people not returning home until the wee hours of the morning. This trip has been my first time experiencing this incred-ible cultural and religious cele-bration. Back home in the States, our way of celebrating Hari Raya is by making favorite dishes, getting perhaps $10, and visit-ing a few other Muslim friends. To see the stark differ-ence in the celebrations, between my home and this amazing place, was eye-opening to say the least. I have spent the past week con-stantly on the move, every day vis-iting someone, going somewhere, ALWAYS eating something. It is

Again and AgainBy Nina Moskowitz

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By Nina Moskowitz

an experience unlike any other. To say that I will never for-get this amazing cultural ritual is an understatement. To say that I won’t come back for more is probably a lie. Malaysia is a beautiful coun-try with beautiful people, inside and out. They are kind and warm, welcoming to a fault. They take you into their homes and hearts as if you have been there all along, and you never feel out of place. Being at home in the States, my definition of paradise was be-ing able to holiday in Hawaii, a place that everyone dreams of go-

ing to for a vacation. And again, it’s beautiful in its own right. But a place like Malaysia is a hidden jewel. Most people overlook it, but if you take the time to look and experience it, it’s the most beauti-ful thing you’ve ever seen. I have been back to this country before, but being able to witness the Hari Raya celebrations, to see Eid in full swing, that has been unlike any other vacation I’ve taken, and it’s a paradise unlike any other. I can only hope that I will be able to come back to this para-dise again, and again, and again.

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How do you think Para-dise looks like? How would you imagine your life there? With who you would like to share Paradise? Close your eyes and try to imagine what it would be like if all the questions above would get real. Transpose yourself in that state of mind, feel that feeling, smile and then....open your eyes and let your soul still be in that mood. If your answers (to this ex-ercise of imagination) are somehow beyond reality and enter a mystical

Is Paradise just a state of mind?


line, we are on the same wavelength and you can be as happy as I am. When you are in that state of happiness there is nobody and nothing in this world that can bring you down, because you know where is your Paradise and where you feel like home. No-body can do anything or say an-ything that can affect your way. Your happiness is visible all over your face, your soul radiates joy and love. Your soul is safe because only you have the key to Paradise. I do have only one question left that will wake you up to reality. Before your mind comes with an answer I urge you to keep your mood calm and relaxed. What you say if you

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were offered the chance to live your whole life as you imagine before? How amazing would it be if reaching this state of heaven would be achieved by closing your eyes for a few seconds and when you would open them, everything would be just like Paradise. Philosophers tried to ex-plain that feeling, tried to compose with numbers an answer to that paradisiac mood, but the only thing they came up with was that being free and happy comes from the in-side. Therefore, we must never give up our dreams even if they seem im-possible to others. Your happiness, your little heaven depends on you and your desire to get there even if sometimes the road has bumps.

Perhaps at the beginning of time people were different and simpler then we are today. Per-haps it did not matter so much what hate or pleasure are, and they lived their lives in a pure illusion we might say but they knew what a glimpse of heaven meant. Now-adays we are tempted to live both ways, we need to know how hell is before we can embrace paradise. To sum up, Paradise it’s just a state of mind when we do noth-ing to change the situation we are in. The only thing we have to know and understand for the rest of our lives is that everything is possible if we want to and no matter how big the mountain is it can only be filled with flowers and bluebirds.

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[par-uh-dahys, -dahyz] noun ~ a state of supreme happiness; bliss.

I hear people talking about paradise as if it could be a state of mind pictured in Michelangelo’s Sistine Chapel, as if it could be put into a melody that would send you into that happy place. The thing is that paradise differs from face to face, mind to mind, soul to soul. Look at all the different lan-guages and how paradise sounds to some: paraíso (spanish), cennet (turkish), rai (romanian). Languag-es are doors to nation’s perceptions. Schopenhauer once said that par-adise isn’t possible for man kind’s happiness. He thought that if men would live in a world of Utopia there would be no state of happi-ness, but rather complete boredom since there wouldn’t exist other emotions like fear or sadness to make you truly comprehend and worship the definition of paradise. Paradise may be losing yourself in the moment when you have your first kiss, paradise may be singing your favorite song on the

beach or getting lost in your own lit-tle world for hours while painting.If you’re a realist paradise may not be bliss but it may be a long living pain, because in reality paradise is just a second of a moment and life comes knocking on your door, asking you to come back. If you are a lucky one and you’ve found your paradise outside of your lit-tle mind, well – never let go and squeeze it till it’s last drop leaves you smothered on the cold floor.

Let’s look at religions and see what they have to say about paradise –Islam - The reality of Paradise is something which people will never be able to understand until they ac-tually enter it, but God has shown us glimpses of it in the Quran. He has described it as a place essential-ly different to the life of this world, both in the very nature and purpose of life, as well as the types of delights

ParadiseBy Hannah Blaga

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By Hannah Blagawhich people will enjoy therein. The Quran tells people about Paradise, which God offers to them, describes its great blessings, and proclaims its beauties to every-one. It informs people that Paradise is one of two ways of life prepared for them in the afterworld, and that every good thing will be theirs in Paradise to a degree that surpass-es our present ability to imagine. It also shows that Par-adise is a place where all bless-ings have been created perfectly and where people will be offered everything their souls and hearts will desire, and that people will be far removed from want and need, anxiety or sadness, sorrow and regret. Every kind of beau-ty and blessing exists in Paradise and will be revealed with a perfec-tion never seen or known before. God has prepared such blessings there as a gift, and these will be offered only to peo-ple with whom He is pleased. Christianity - “Paradeisos” shortly became a technical term. This idea that the future paradise is identical with the original paradise

led to the further notion that para-dise must exist now. Thus paradise was seen not only as a future home for the righteous, but as existing in the present, between creation and the final age, although now in hid-den form . . . . There are three stag-es of the one paradise: the ancient garden, the present paradise which is hidden, and the future paradise (International Standard Bible En-cyclopedia, article “paradise”). The Interpreter’s Dictionary of the Bible makes a most interest-ing point which can shed light on the passage in question. There was a notable lack of agreement as to the geographical location of Paradise during the second and third stages. For some it was on earth, for others in heaven (Interpreter’s Diction-ary of the Bible, article “paradise”). So for some, paradise may be a state of mind, a place or as for religious people a place where they will spend the rest of their afterlife. Who would have thought that a sim-ple word/concept such as paradise would have been such a huge taboo?

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I used to close my eyes and see an endless field of gleaming poppies. There was a flowing riv-er with crystal-clear water, right next to a tree made of dreams. Its leaves were my wishes, its branch-es my achievements and its roots were as strong as my stubborn will. Indeed, a child’s will can be something quite difficult to put up with, especially when they won’t listen to any logical argument. When we are young, we of-ten create imaginary places that we like to think of as escapes. I used to wonder if my paradise would ever change. What would happen with my tree? Will autumn ever come in the world where the sun kissed the petals of my darling pop-pies and the stars caressed them? I was such a daydreaming fool. I noticed some leaves fall-ing on the soft ground when I faced my first failures. I expected them to grow back, but they didn’t. I saw

the raining clouds gathering on my sapphire sky for the first time and I thought that the rain will make my flowers grow. Instead, they bent their heads against the heavy raindrops. When the light-ning stroke, I saw it left a mark on the ground. From that day, not a single flower grew near that place. I believed that my paradise would turn back to what I knew when summer came, but it didn’t. The heat made my river evaporate and, soon enough, it was too hot for the poppies to grow. I saw each one of them going dry and sudden-ly, my endless world seemed too small. Was I growing, or was there no space for me in there anymore? I was sick of seeing everything go-ing so wrong, so I chose to forsake my garden. The path I walked on when I left was paved with fear and insecurity. I locked my golden gates and I swore to never return. Yet, a few years later, I chose to close my eyes and dream of my forsaken paradise. What I saw not

The Recreation of Paradise


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only shocked me, but saddened me. All my flowers were gone, the ground went dry and cracked be-neath my steps. My strong tree be-came noting more than a mere stick, and all its leaves had fallen. My endless field was now smaller than I ever thought it’ll be. Funny that I felt like a stranger in my own world. There was no way I could ever fit in again. That place didn’t resemble me at all. It didn’t even look familiar. I knew I that became much more than this! I knew who I was and what I wanted. And most impor-tantly, I knew how to get what I want. I gazed at me dear tree and wish for it to grow back. It crum-bled like coal between my palms and, from the ashes, I saw a lit-tle leaf, greener than the spirit of spring and stronger than iron ris-ing from the ground. I called for the rainy clouds to come and wash away the dust, so my flowers would grow back. With my bare hands, I removed the thorns of anguish and

I seeded poppies instead. I saw my paradise coming back to what it used to be, expending its borders and blooming wilder and wilder. Now I can’t see its borders anymore…Moral of the story? Never let go to your dreams. Never let anyone crush your will or patronize you. You are just as good as you allow yourself to be, so never stop do-ing the things that make you hap-py, or the things that define you. If you ever find yourself in the position of not recognizing your own self anymore, remember who you are and what you stand for. Chase your dreams, or else they’ll fall like leaves in autumn. Chase them until they turn into re-ality and keep up all the hard work until you’re proud of yourself. You’re the only one strong enough to de-feat your fears, to improve and be-come someone greater than people ever expected. You’re have only one key for the gates of your paradise. Don’t let it turn into a wasteland…

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Player Piano by Kurt Vonnegut

Kurt Vonnegut’s first nov-el (1952), often labeled as a sci-fi novel, so not always taken very seriously, was not remarkably suc-cessful on its apparition and, at the time, it was not taken into con-sideration by critics. As time had passed, it got the attention of critics,

being compared to George Orwell’s 1984 or Aldous Huxley’s Brave New World. The book might be the pinnacle of his writing career. Al-though this is Vonnegut’s first full novel, the seeds of postmodern-ism begin to sprout in the form of skepticism against great narratives (the stories we tell ourselves they are true, though there is actually no real center to them). However, the novel’s form is still modernist. The novel puts the founda-tion of a future world where IQ is the main criteria for constructing the social pyramid. The source of injustice is brainpower itself, not wealth or political options, just brainpower. The poor ones are mo-rons, while the rich are the intelli-gent ones. The morons start a revo-lution under the leadership of some intelligent deserters. Over the short period in which their revolt petri-fies the power, they do, as expect-ed, only stupid things. Guess who wins? That’s right... the bright ones. The novel is a critique of the American capitalist myth, us-

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ing science fiction to depict the flaws of the 1950’s society. Von-negut’s story takes place after a Third World War, in an imaginary city called Ilium, located some-where in eastern New York. In-dividuals choose to replace man-ufacturing with automation, so most people’s work is taken on by machines, leaving them with not much to do, not much to be proud of and the empty feeling of not having a purpose in life. The sense of meaning is taken over by the sense of boredom. But Paul Proteus, a young engineer, tries to beat the system, dreaming of the simple world that was before this process of mechanization. This is the first book by Vonnegut I have read and I was surprised to see that his style is concise. He builds his charac-ters in a classical manner, giving them time to develop. I guess I was expecting something more eccentric, but I found there is beauty and artistry even in the conventional means of writing. The author is also a great satirist, treating managers and

engineers with a dash of black hu-mour. Though I would be tempted to give in to this bias, it would have been best if it were more tempered. However, I do not consider it a po-lemic against progress, as it has more of a prophecy quality, telling us progress is inevitable. There is also a notable dose of irony and subtle humour, qualities so repre-sentative for Vonnegut’s style. His satire draws attention upon our tendency to mechanize everything. I recommend it to everyone who feels stuck in the corporate en-vironment or wants to see a satirical approach to a dehumanized world. I would like to point out that the theme of the novel closely resem-bles Vonnegut’s own experience between 1947 and 1950, when he worked at General Electric, Sche-nectady, New York. In spite of the fact a few decades had passed since it was written, it only got a truer and deeper meaning over time. I think there is a timeless quality to this book that transcends the sim-ple categorizing, so I can hardly limit it to a certain type of novel.

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Ideas

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Ex Machina Review

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Ex Machina ReviewBy Elisa Maxim

(Source: http://www.wired.com/2015/04/ex-machina-turing-bechdel-test/)

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Ex Machina is one of those shockers that will stay with you for a little while. The theme is futuristic and, at the same time, intriguing. It is Alex Garland’s directorial debut and, with up to 2.000 screens only in the US, it might be this summer’s most ingenious film. Definitely, it is not one of those movies destined for box office praise, as it offers a different perspective from what we are used to see in sci-fi thrill-ers. What makes this one spectac-ular is that, instead of using spe-cial effects, the emphasis falls on thoughtful conversation. With an audience rating of 86% on Rotten Tomatoes, Ex Machina can surely become an innovating sci-fi classic. The story revolves around three main characters: Caleb (Domhnall Gleeson), Nathan (Oscar Isaac) and Ava (Alicia Vikander). Caleb, a young pro-grammer for an internet compa-ny, got the opportunity to spend a weekend with the company’s CEO, Nathan and to participate in a Tu-ring Test. He discovers that Nathan has created an intelligent robot, in the form of an alluring woman,

Ava, and wants to use him in or-der to test if she can behave and feel like human beings do. In the end, both men are surprised to find that Ava’s emotional intelli-gence is much more sophisticated than they expected. This and the movie’s erotic undertones make the female robot so different from the regular robots we often see on tel-evision. The film is comparable to Her (2013), an American romantic sci-fi drama, which tells the story of a lonely writer falling in love with Samantha (Scarlett Johansson), an operating system. However, Her ignores the ethical dilemma on which Ex Machina focuses: if Ava is sentient, then it becomes unethi-cal to objectify her. As compared to other 2015 releases, this British tale of artificial intelligence is the 10th on IMDb’s sci-fi movies popularity list, with a 7.8 rating, closely fol-lowed by Avengers: Age of Ultron. Seemingly, heroes and aliens are most popular, as Ant-man and Pix-els occupy the first two positions. As human beings, we are accustomed to develop, at least at some point, feelings for things that

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are not alive. It might seem so silly to get attached to objects, but what happens if that object has the ap-pearance and intelligence of an ac-tual human? How would we react and, more importantly, how would we handle such an unconventional relationship? Nathan sees Ava as an object, no more real than a cooking machine, while Caleb immediate-ly pictures himself as the knight-in-shining-armor whose mission is to rescue his romantic interest. This offers us a glimpse into how we tend to put women into certain (to be read passive) roles. It is a strange thing how we rushed into using more and more technolo-gy, yet, due to its ubiquity, we are constantly afraid that it might take on all aspects of our lives. Howev-er, it is not tech we are afraid of, it is power, which uses it as a tool. Undoubtedly, it is a clever unconventional movie, as it ex-ploits both the science part and the human relationships, coupled with gender roles. I liked the visuals, they are powerful and exciting, but I was at times put off by the slow pace of the action and by the seem-

ingly never-ending conversations. I will not lie, it was a bit boring, per-haps because I am used to seeing much action in sci-fi movies. I was amazed at the robot’s intelligence and skills. It is almost unthinka-ble, at least for me, how a robot can reach that level of refinement. I mean, Ava’s intelligence is hard to distinguish from the real thing. Though I am not a great fan of sci-fi movies, I think it is one of the best I have ever seen. I definitely rec-ommend it, especially to 20-some-things who have a hard time dis-tinguishing facts from fiction or establishing real relationships, but also to everyone who is curious about finding out what it feels to recognize some of our traits of char-acter “inherited” by an almost-hu-man robot. The film poses some pretty tough questions, gives us the tough answers, but leaves us some-how in a state of uncertainty, which can only generate more questions.

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Let me start by saying that I am Marvel trash. And by that I mean that if Marvel puts out a movie, I will watch it. I will go to an actual cinema and watching. Sure, they sold some of their rights away, so beauties like Fantastic 4 and X-Men now belong to Fox, but the universe counts.So here I was, decided to go to Hollywood Multiplex, as usual, to watch Fantastic 4. I could not say I expected much. I knew it would be interesting, but I wasn’t go-ing in expecting my world to be rocked. You probably know there has been a previous one with Chris Evans (playing both the Human Torch and Captain America?!) and Jessica Alba. But this time, we go younger. You definitely know Kate Mara from House of Cards.First off, the movie is better than I’d expect. It was entertaining. But it wasn’t what Marvel Studi-os would have done. The movie was targeted at youth, bringing forth 4 teenage super-heroes, mak-ing the subject a little light. This is not a big league kind of movie. But it’s a superhero movie, so do

we need anything else actually?The movie was far too teenager-y for my taste, a bit predictable that everything will be good in the end and we have friendships and peo-ple. The chemistry was working be-tween the actors, but they were not left to act that much. The director would tell when to blink and when to smile. Do not be surprised by Rotten Tomatoes consensus that “Dull and downbeat, this Fantastic Four proves a woefully misguided attempt to translate a classic com-ic series without the humor, joy, or colorful thrills that made it great."To draw a line, the film is generally nice and you can make an evening out of seeing it. I love going to the movies, if you did not get this by now. It sure helps that my favourite cinema, Hollywood Multiplex is 15 minutes from home. Don’t expect marvel wonder out of it and you will be fine. It is certainly a step-ping stone for the sequel and they will get to capitalize from their cast from now on, so look out. What re-mains is that we have superheroes.

Fantastic 4By Simona Mihalca

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Review ARTmania Festival Xth edition 2015, Sibiu

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Review ARTmania Festival Xth edition 2015, SibiuBy Mădălina Panduru

Photo credits: Miluta Flueras

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About a week ago Sibiu was liter-ally rocked by the 10th edition of ARTmania Festival. It is said that people are still headbanging with the pigeons in the Large Square.ARTmania Festival became a tradition for the Romanian rock public and not only, that is why 20.000 black leather jackets have chosen to spend the last week-end of July (July 31 - August 1) in the Large Square, the main

attraction of the medieval cita-del. ARTmania Festival brings together artists from around the world and promotes the inter-cultural exchange with every new edition, enriching the concept. This year the entrance was free so people could see Apocalypti-ca (FI), Anathema (UK), Clan of Xymox (DE), Saturnus (DK) and many other guests which crowded the Large Square calling for their

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fans with electrifying rhythms. It is a very common feature of rock festivals to hold unique fash-ion and hair styles but I think that the vividness of the blackest crowd I have ever seen made the best edition of ARTmania and the waves of applause and the songs sung in unison created a bona fide rock atmosphere. The best rock character walking around the square was wearing big black

boots, tight leather pants, a long tunic matched with an imposing hat and a pair of fluffy black and white whiskers and…he drank from a horn; how cool is that?! I still regret that I have not asked him for a picture but maybe I would not be here to tell you all this. Despite popular opinion, rockers are friendly and you can find your best rock friend waiting for a beer paid with to-

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kens and have a very nice chat.It is tremendous to feel the public vibe but is does not compare with the marvelous sensation to go with the flow in a foreign city and among such vivacious and effervescent people. Sometimes music strikes the body like a bolt of lightning and for this time the instruments made

the difference: the roaring guitar, the thundering and the reverberat-ing cellos and why not the blonde guys playing at them. It gives you a great feeling seeing children, young full of dreams and experienced rockers together on the stone tiles in the historic center of the town.The organization was great from

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what I have seen, maybe some trouble with changing money for tokens and the fact that the trash cans are never enough, but the of-fer was great: plenty of beer from the official sponsor, stands with handmade and hand painted neck-laces and leather bracelets, hand painted T-shirts and bandanas,

body painting, quality ice cream, popcorn, even a comfortable shady place for smokers and clean eco toilets. You could buy an anni-versary ARTmania T-shirt to be-come one of the place, matching it with a rocking attitude and a pair of heavy leather boots for 700 lei.The organizers are willing to read

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your feedback for improving next year’s edition as well as creating the Festival program for 2016. You have also the chance of winning one of four tickets for ARTmania Festival Sibiu 2016 and one of four tickets for the Nightwish show in December if you answer all of the

questions by September 10, 2015.That being said, “hats off ” to the organizers for doing a mas-terful job of scheduling and making possible this event which makes me hoping even for a bigger festival next year.

Rock on!

teen art out no 32

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