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[00:00:00] part of the perfume.
[00:00:30] and gentlemen, I am Camelia Văcaru, welcome to Jornal Cultura Aliată. To begin,
[00:00:34] a few of the topics
[00:00:35] of the edition.
[00:00:42] After five years of filming, the documentary Wild Delta
[00:00:46] is ready for its official meeting with the public in Romania. When
[00:00:50] it arrives in cinemas, we will tell you in the
[00:00:52] journal.
[00:00:59] Two projects of the Hearth association bring back into
[00:01:02] attention the memory of writer Silvia Kerim. What happens this
[00:01:06] month on Parfumului street in Bucharest? Find out in the
[00:01:10] journal.
[00:01:16] An exhibition at the Central Museum in Utrecht offers a new
[00:01:20] perspective on graffiti, exploring how
[00:01:23] this visual language has penetrated modern
[00:01:26] art. More details later in the journal.
[00:01:35] In Europe in 1938, a
[00:01:38] Jewish refugee arrives clandestinely on board a
[00:01:41] commercial ship, placing the crew before a moral
[00:01:45] dilemma. The show The Stowaway, directed
[00:01:48] by Catinca Drăgănescu, thus brings to the stage of the Masca theater a
[00:01:52] story about responsibility, indifference
[00:01:54] and compromises. A team from the cultural journal participated
[00:01:58] in rehearsals to cover the behind-the-scenes of a production that
[00:02:02] explores the limits of human solidarity and
[00:02:04] the consequences of individual choices. The Stowaway
[00:02:09] photography to film or from will be performed on October 31st
[00:02:10] about Silvia Kerim, in the year and November 1st, and is the first premiere of the new season at
[00:02:14] Masca.
[00:02:16] The show The Stowaway, directed by Catinca Drăgănescu, becomes a
[00:02:20] moral thriller about the fragile boundaries of humanity and about
[00:02:24] the silences that give way to evil. In the enclosed space of a ship, every
[00:02:27] gesture gains weight, every justification that hides a fear, and
[00:02:31] neutrality is revealed as a form of complicity. We are rehearsing
[00:02:35] The Stowaway, a text written by
[00:02:37] no longer there or Maria Lazăr, the action takes place on a boat,
[00:02:40] we are in a German port, and at sea, for me
[00:02:43] it's the first collaboration here at Masca Theater and I really like how I was
[00:02:47] received. The director is Catinca Drăgănescu who
[00:02:50] guides us
[00:02:53] somehow on this whole journey, in our course
[00:02:56] to discover what it's like to be a sailor. Wickedness can become
[00:03:00] an epidemic too, I think that's a descriptive line
[00:03:03] for what I do in the show,
[00:03:06] the rehearsals are very fun,
[00:03:10] even though we're working on a thriller,
[00:03:14] meaning a very cool
[00:03:16] team, we are super for each other
[00:03:20] and I think that shows in the show,
[00:03:24] we support each other a lot, meaning a very good chemistry has been created
[00:03:27] in the team and with Catinca... Drăgănescu, some of
[00:03:31] us have more experience over the years, for others it's
[00:03:35] the first collaboration, but it was an environment where this search
[00:03:38] was a common one and where we chose to constantly help
[00:03:42] each other in finding the best and most suitable language
[00:03:45] to convey this story as well as possible,
[00:03:49] as well as possible and as close as possible to a current event, so to speak.
[00:03:52] He's a refugee, he followed him into the water, you were
[00:03:56] suitable instruments for performing there. The story takes us to Europe
[00:03:59] in 1938. A man flees the authorities and finds refuge aboard a commercial
[00:04:03] ship. Without papers and without a country to receive him,
[00:04:07] he becomes the moral burden of the crew. Between law and justice, fear and
[00:04:11] solidarity, each character seeks their own justification, while
[00:04:14] the fate of a man hangs on a decision.
[00:04:28] Written by Maria Lazăr. on the brink of war, the play reminds us that
[00:04:32] evil often settles through indifference and silence.
[00:04:35] My role is the role of a girl who is slightly
[00:04:39] naive, meaning she doesn't have a very clear political
[00:04:43] position, but who matures
[00:04:46] over time and understands a bit about what the world is really
[00:04:50] like and what are the important things for which you have to
[00:04:54] fight. And in my case, I play
[00:04:57] the helmsman on the ship, the
[00:05:00] captain's deputy, and also Nina's
[00:05:03] fiancé, and the action takes
[00:05:06] us into a very complex
[00:05:10] process
[00:05:12] of, how should I say, a very extensive process of
[00:05:15] political and social awareness,
[00:05:19] our family where the action takes place
[00:05:22] on the ship, and somehow
[00:05:25] a very powerful play with a
[00:05:28] thriller in which we
[00:05:31] try as much as possible to convey as well as possible
[00:05:34] all the nuances and all the aspects of these conflicts that
[00:05:38] we have to interpret. The Stowaway is a show
[00:05:42] about the moment when the values we believe in are put to the test and
[00:05:45] about what remains of us when we have to
[00:05:49] choose. This month, on
[00:05:52] International Music Day, pianist Ștefan Doniga and
[00:05:55] violinist Diana Jipa performed Enescu's works on the stage of
[00:05:59] Carnegie Hall, opening the chamber season of
[00:06:02] the famous New York concert hall. Now the two
[00:06:06] artists are in Tokyo with a project dedicated to Lipati, and
[00:06:10] from October 15th, they will begin in Romania a tour of
[00:06:13] multimedia events where they will present a special documentary
[00:06:17] about the making of the violin with which Diana Jipa played at
[00:06:20] Carnegie Hall.
[00:06:36] I have titled this film "Towards Romanian
[00:06:40] Spirituality" and specifically "The Making of the
[00:06:42] Sound". I liked using this long infinitive,
[00:06:46] copied from Noica. It is the making of a world,
[00:06:49] what we documented there, because we
[00:06:53] followed the process of making a musical
[00:06:56] instrument by an authentic master
[00:07:00] luthier. It is about Master
[00:07:03] Nicolae Vădan who has the title of living human
[00:07:07] treasure.
[00:07:11] That's...
[00:07:19] The process is a slow one, and the choice
[00:07:22] of wood, from the choice of wood until the handing over
[00:07:26] of the instrument, everything depends only on the inspiration and
[00:07:29] knowledge of this master. The stages
[00:07:33] were very beautiful, it took a long time, it took several months
[00:07:36] for this documentation, because we wanted to go step by
[00:07:40] step in the making of this. And now I want
[00:07:43] to really try this, look
[00:07:46] here, this part, and this is a bit inclined
[00:07:50] and I say this will also sound. Then
[00:07:53] we followed the wood drying process, the way
[00:07:57] it is made, this process is detailed very
[00:08:01] beautifully in his workshop and what is most
[00:08:04] beautiful is that things happen in a wood
[00:08:07] civilization, it is about the village of Mărișel in
[00:08:10] Cluj County at the
[00:08:12] end of Tarnița lake where he even built a wood museum and
[00:08:16] there slowly this violin was
[00:08:19] made and was
[00:08:22] produced as a result of a deep knowledge not only
[00:08:25] of the process, because it must be mentioned that Master Nicolae
[00:08:29] Vădan is the luthier accredited by the Ministry of Culture
[00:08:32] to service the Guarnerius Cathedral Violin which belonged
[00:08:35] to George Enescu. So it is not
[00:08:38] just about
[00:08:41] of the craft, but also a knowledge of the performer.
[00:08:44] Master Vădan followed Diana Jipa for over a year
[00:08:48] through concerts to see what sound needs
[00:08:52] she had, he produced several violins from which he
[00:08:55] let her choose exactly the one he also intuitively felt
[00:08:59] she would choose, because it was even signed. So a very
[00:09:02] beautiful story and the most
[00:09:05] beautiful fulfillment, the happy ending, is that he gives her this
[00:09:09] violin and that the tour
[00:09:12] will be conducted on the violin
[00:09:15] that I showed in its
[00:09:19] birth. May you use
[00:09:40] This project, the making of sound, represents a national tour of
[00:09:44] seven multimedia events, because there will not
[00:09:47] be recitals, there will be film screenings, and
[00:09:51] the moments, the stages of making the violin in the film will
[00:09:54] alternate with our stage appearances,
[00:09:57] we will play fragments from the third
[00:10:00] sonata in popular style by George Enescu, we will start
[00:10:04] on the 15th right in Cluj, then we will continue in
[00:10:07] Zalău, in a superb building, at the Transilvania Hall, we will go
[00:10:11] on the 17th to Iuliu Maniu, in the house where
[00:10:15] Iuliu Maniu lived in Bădăcin and then we go to a very beautiful
[00:10:18] area where we are very fond of
[00:10:21] presenting elements of Romanian culture. We will go to Sfântul
[00:10:25] Gheorghie in Covasna to
[00:10:28] Odorheiu Secuiesc and to Târgu Secuiesc, this is
[00:10:32] the route of the seven events in which we will present the making of sound.
[00:10:56] The two paintings by the painter Pierre-Auguste Renoir, stolen in
[00:11:00] September from a museum on the French Riviera, have been recovered after
[00:11:04] being hidden behind a false wall in a
[00:11:07] garage. Six people have been detained as part of the investigation into
[00:11:10] the robbery, Media Fax reported. The paintings were found in a garage
[00:11:14] in Clermont-l'Hérault, behind a false wall made of plasterboard,
[00:11:18] Le Figaro wrote on Sunday. The paintings, "Portrait of Madame Colonna Romano"
[00:11:21] and "Young Woman at the...," were
[00:11:25] stolen on September 8 from the Renoir Museum in
[00:11:28] Cagnes-sur-Mer. The thieves allegedly entered the building after cutting
[00:11:32] the fence and breaking a window, managing to leave with two of the four
[00:11:35] targeted works. According to the French press, the main
[00:11:39] suspect has been charged and the investigation
[00:11:42] continues.
[00:11:46] The Danube Delta, with the beauty and fragility of its ecosystems,
[00:11:50] reaches the big screen. The documentary Wild Delta,
[00:11:54] directed by Dan Dinu and produced by Matei Truța, was
[00:11:58] filmed over five years and reveals species and places that
[00:12:01] tourists rarely discover. The story is
[00:12:05] told from the perspective of water through the voice of actress Medeea
[00:12:08] Marinescu, and the soundtrack signed by Alexei Țurcan
[00:12:12] includes a song performed by Irina Rimes. After
[00:12:15] special screenings in the country, the film will be released in cinemas from
[00:12:19] October 23rd. About this documentary, and also about how
[00:12:22] important it is to protect the delta. We are talking to
[00:12:26] director Dan Dinu and producer Matei Truța. Good
[00:12:29] evening to both of you, welcome to Cultural Journal. Good
[00:12:32] evening. Good evening. I think it is one of the most anticipated films
[00:12:36] of the moment, especially for those who have seen Wild Romania
[00:12:39] and are now waiting for Wild
[00:12:43] Delta. I'm interested first of all, and I'm looking at you, Dan,
[00:12:46] now. How is it that water itself tells
[00:12:50] the story of the Delta and why water?
[00:12:54] Well, it is the main character, I could say, the delta could
[00:12:58] not exist without water, that was our very beautiful and generous
[00:13:02] idea when we thought about it, we didn't realize what we were getting into, because
[00:13:05] making a film about water where you can't really say the word water because she
[00:13:09] is your main character, it was
[00:13:12] actually simple, but it was a challenge
[00:13:15] and I think people perceived it very well, a lot of people
[00:13:19] congratulated us for this courage and especially
[00:13:23] we had Medea almost there, who did an absolutely excellent
[00:13:26] job, from the producer's perspective,
[00:13:30] how difficult or easy is it to convince some
[00:13:33] funders that such a film is worth
[00:13:36] it, because it's not just a documentary, it's also perhaps an
[00:13:40] invitation to be more responsible with the
[00:13:42] environment, I would lie if I said it was very
[00:13:46] difficult, we are also in a perhaps more special context, because
[00:13:50] everything we have done started with the film Wild Romania
[00:13:53] after its success. This and the community we gathered
[00:13:57] made us an NGO and somehow all our projects go in this
[00:14:01] direction of trying to bring people closer to nature through
[00:14:04] education and then the film Wild Delta
[00:14:06] supports the same ideas and
[00:14:10] somehow we managed to find partners to help us. There was
[00:14:13] this business card that's why I started the dialogue with
[00:14:17] Wild Romania, now we are talking about Wild
[00:14:20] Delta, how is it behind the scenes, we are talking about five years
[00:14:24] of... of filming, of
[00:14:27] hundreds of hours of
[00:14:30] footage, what remains for
[00:14:33] the big screen, what is kept there in an archive?
[00:14:37] There is always this challenge, how much you film in the field and how much you can
[00:14:41] show in a movie theater, there were
[00:14:44] 162 days effectively in the field, in which we gathered about
[00:14:48] 13,000 shots, I made a calculation,
[00:14:51] the remaining ones, the good ones, meaning 48 hours of film. So if
[00:14:55] anyone is curious, we can do a screening with just those
[00:14:58] shots, it's not at all easy to make a coherent
[00:15:02] story and I think that's the challenge for any
[00:15:05] documentary filmmaker, especially nature documentaries, where you don't have a
[00:15:08] script, you basically go, film, discover
[00:15:12] the stories there and then you start showing exactly the most
[00:15:15] important moments, of course, some beloved sequences were left
[00:15:19] out, which we hope to put in a serial version of the film,
[00:15:23] but what remained, we say, is exactly the essence, exactly those
[00:15:27] animals, those species, those
[00:15:30] moments that make the delta the special place it is, the film
[00:15:34] has already been screened and is still on a national
[00:15:38] caravan, a special screening will also take place here in the
[00:15:41] capital this week, how was it received because it was also shown
[00:15:45] in festivals, even
[00:15:48] at FARA, I think most recently? Fortunately
[00:15:52] for us, the feedback was overwhelmingly positive, we hope that this feedback
[00:15:55] will be reflected by those who see it starting October 23rd
[00:15:59] in cinemas, the festival journey
[00:16:02] was generous to us, we had many screenings.
[00:16:05] "We had the premiere at Linx Festival, which is a festival organized by us in
[00:16:09] Brașov, dedicated exclusively to nature documentary film and nature
[00:16:13] photography, followed by TIFF where fortunately we won
[00:16:16] the audience award for the most popular Romanian film
[00:16:20] and the reactions were very positive, including at FARA, including at
[00:16:23] TIFF in Oradea and Timișoara, which are the most recent
[00:16:27] festivals. Apropos of nature
[00:16:29] photography, the documentary that brings us closer
[00:16:33] to this majestic wilderness
[00:16:36] of our country, I'm curious
[00:16:39] how, how for you, because you are connected to this
[00:16:43] area, I think since adolescence, I remember,
[00:16:46] you said in an interview that there was a photography club in
[00:16:50] Brașov, where you discovered
[00:16:53] the secrets of this profession,
[00:16:57] the club no longer exists unfortunately at
[00:17:00] present, but perhaps that was the moment when
[00:17:04] you understood that nature can come with
[00:17:07] you. It can't just stay there in those moments
[00:17:10] that you experience in its midst? I think that was the moment when
[00:17:14] I realized that photography can become
[00:17:17] beyond a passion and a job,
[00:17:21] a way to earn a living, because indeed
[00:17:24] with the move to Brașov I started to engage more
[00:17:28] carefully and more deeply with photography
[00:17:31] of, not just nature, photography in general, before in adolescence, indeed
[00:17:35] I took pictures, but they were more for. to bring back a few
[00:17:38] memories home.
[00:17:41] Yes, it was, it was, everyone asks me if it was difficult to make this transition from
[00:17:46] being a passion to being a
[00:17:50] job. I didn't even realize when it happened, because it was very
[00:17:53] natural, I didn't force anything, I let things flow
[00:17:57] and I think just as I went from amateur photographer to a
[00:18:01] professional one, I also went from a photographer to a
[00:18:04] film director. As long as
[00:18:08] you love the subject you are focusing on, I think
[00:18:12] it matters less how you do it, I would
[00:18:15] say, did it surprise
[00:18:17] you during these five years that you
[00:18:20] documented the delta and its
[00:18:23] wilderness? Yes, because no matter how much you think you know about
[00:18:27] nature, I had already been going to the delta for over 10 years before I started
[00:18:30] filming and I knew things, I knew about the species
[00:18:34] there and no matter how much you know, something will still happen
[00:18:38] that will surprise you and
[00:18:41] here it was the small details, not necessarily
[00:18:44] the big things, related to I don't know, a pelican colony or a
[00:18:48] behavior I hadn't seen before, but it was small details, creatures that simply came
[00:18:52] and got in front of the camera because they also wanted to appear in the documentary and
[00:18:56] I'm thinking here of some insects called springtails that live on the surface
[00:18:59] of the water and have an adorable sequence in the film, although it was not
[00:19:03] planned, or a river mussel that simply came when I
[00:19:06] was filming some plants and... it managed to do its
[00:19:09] usual water filtration and I realized that this process is very interesting
[00:19:13] and that in fact it tells a story that we might not have thought of putting in the
[00:19:17] script. You talk a lot about story, the story is what
[00:19:21] interests you before technique, before
[00:19:24] exposure and so on. But beyond
[00:19:27] the story, I think it's also about responsibility, perhaps that's how we should
[00:19:31] view this documentary beyond all these spectacular images. It's
[00:19:35] a question for both of you. Matei. "We want
[00:19:38] Wild Delta to be more than a film, so in these five
[00:19:42] years that we filmed there, we feel indebted to the
[00:19:45] Delta, we want to show its beauty, which will surprise both
[00:19:49] those who know it, but especially those who have not yet known
[00:19:53] it, but we would like with this film for people to ask themselves
[00:19:56] some questions about how they can support the Delta, to understand the importance
[00:20:00] of wetlands, to opt perhaps for responsible
[00:20:03] and slow tourism,
[00:20:06] apropos of their impact on the delta and to
[00:20:09] realize the importance of water, which is a much more finite resource than
[00:20:13] we think, it is not unlimited, and they can follow the campaign that
[00:20:16] we launched together with Medea Marinescu with 'Free the
[00:20:20] Water' and find small gestures that they can make that have a
[00:20:23] big impact in the long term, for example turning
[00:20:26] off the tap when we brush our teeth, small
[00:20:29] gestures, yes, apropos, for you, small gestures
[00:20:33] always matter a lot, because we have this tendency to think that what can we
[00:20:36] change. But we are many, there are many of us on this planet and
[00:20:40] if everyone takes this attitude, then in fact we have a greater force
[00:20:43] than we could imagine. I think the main message of the film is
[00:20:47] that we must let nature take its course. And somehow that's
[00:20:51] how the film ends on this note where we should
[00:20:54] arrogate less the idea of protecting nature and let it in fact
[00:20:58] guide us how to do things and
[00:21:02] normally we need support, so it's clear that we must
[00:21:05] also support in turn and we do it even with this film, 10%
[00:21:09] of the proceeds go to a rewilding project in the delta, to give an example
[00:21:12] that look these NGOs that in the delta fight to save
[00:21:16] a piece of delta that was drained in the past or that was transformed into... a fish
[00:21:20] farm deserves to be brought back into the natural
[00:21:23] landscape of the delta, because in fact what happens there
[00:21:26] affects everyone, it's about this important resource which
[00:21:30] is water and which we sometimes take for granted, we turn on the
[00:21:33] tap, water starts to flow, yes, but it comes from an extremely
[00:21:37] complex circuit which if we don't protect it, we will
[00:21:40] suffer. You talk about protecting such
[00:21:43] a place, about responsible
[00:21:46] tourism, there are spectacular images in this
[00:21:49] documentary about the wild, but in the delta also live
[00:21:52] different communities, how is
[00:21:56] the relationship between man
[00:21:59] and nature there and where can things be
[00:22:02] improved? The people there have always known how to live in
[00:22:06] harmony with nature, because nature meant everything to them, there, they
[00:22:10] took their resources from there and
[00:22:13] this still happens, even if in certain areas of the delta the
[00:22:17] villages there have developed quite a lot. There or
[00:22:20] the city of Sulina which is part of the Delta. I
[00:22:24] think they understand these things. Naturally, as everywhere, there may still
[00:22:27] be, I don't know, a source of pollution, poaching,
[00:22:31] things like that. But I think
[00:22:35] what we sometimes get wrong when discussing nature
[00:22:38] protection, is that we try to impose very strict rules without explaining
[00:22:42] them well enough. And I think here we need
[00:22:46] to work more. That is, it's good to have protection rules, but people need to understand
[00:22:50] why, to understand what benefits they receive if we have such
[00:22:54] a protected area and many of them feel
[00:22:57] these things, meaning they see how it was now with this prolonged period of
[00:23:01] drought, it is a real problem for the Delta, even if it's
[00:23:04] interesting, you don't see the water level dropped
[00:23:07] that much, because it's a very interesting phenomenon when the water recedes
[00:23:11] and those banks remain freed from
[00:23:15] water, vegetation takes over very quickly and you get
[00:23:19] the impression that there is no drought when you go to the delta, even if the water level
[00:23:22] is very low, but they feel it because they realize from the fish that are
[00:23:27] from other resources that they can no longer access. A documentary to
[00:23:31] watch, therefore, that should
[00:23:34] make us ask ourselves some questions about how we relate
[00:23:37] to nature and the environment, from
[00:23:41] October 23rd in cinemas across
[00:23:44] the country, Wild Delta will be shown, until then there is a gala screening
[00:23:48] on October 14th here
[00:23:50] in Bucharest. Thank you very much for being on the
[00:23:54] journal and fingers
[00:24:00] music concert in a religious space. Music lovers
[00:24:03] had the opportunity to listen to the works of Johann Sebastian Bach in
[00:24:07] the St. Bartholomew Evangelical Church in Brașov.
[00:24:10] The stars of the concert were harpsichords built after
[00:24:13] historical models that recreated the musical atmosphere
[00:24:16] of the 18th century. The concert opened the tour
[00:24:20] Bach 2.0, a project that aims to bring the public closer to
[00:24:23] the charm of classical music in atypical
[00:24:25] spaces.
[00:24:31] The harpsichord is a historical instrument less present today on concert
[00:24:34] stages, but which played an important role in baroque music,
[00:24:38] due to its crystalline sound and harmonious
[00:24:41] intonations. It is considered by specialists to be one of the most
[00:24:46] the works of Johann Sebastian Bach,
[00:24:50] an interpretation close to the spirit of the era in which they were
[00:24:53] composed. Its sound is
[00:24:55] characterized by the fact that it is produced by plucking
[00:24:59] the string and not by striking, as happens in the case
[00:25:03] of the fortepiano or later the modern
[00:25:06] piano, and we think it has an
[00:25:10] absolutely special sound that is particularly suitable for the concert
[00:25:14] venues chosen by us. For
[00:25:17] spectators, baroque music proved to be an experience.
[00:25:22] I think it's beautiful music with medieval
[00:25:26] accents, I would say that the harpsichord and
[00:25:30] baroque in general are unusually modern.
[00:25:33] it is a style of music that especially nowadays,
[00:25:36] keeps you grounded. Through the Bach
[00:25:40] 2.0 project, the organizers aim to bring ancient music closer
[00:25:43] to the Romanian public, including beyond the major cultural
[00:25:46] centers. After the concert. The last evening of Spotlight
[00:26:04] 2026 and the last edition of this project
[00:26:07] Străzi deschise (Open Streets), brought Bucharest residents out
[00:26:11] of their homes again and brought them to Calea Victoriei. The center
[00:26:15] of the Capital was transformed into an open-air art gallery
[00:26:18] with light installations, spectacular projections
[00:26:22] and light shows on the emblematic buildings
[00:26:25] of the city. Under the theme Playground, this year's Spotlight edition
[00:26:29] offered the public visual and interactive experiences. People
[00:26:33] were not content to... at a distance, but became part of the show.
[00:26:36] They explored the installations, interacted with the works
[00:26:40] and discovered art through their own gestures and movements.
[00:26:43] In parallel, Calea Victoriei remained a meeting point for
[00:26:47] walks, photos and moments spent outdoors. After months
[00:26:50] in which the boulevard was transformed into a promenade
[00:26:54] on weekends, the open streets season ends, leaving behind
[00:26:57] spectacular images and the memory of a city that
[00:27:01] for a few hours became an open
[00:27:03] stage for everyone.
[00:27:07] Casa Kerim in Bucharest transforms personal stories
[00:27:10] into theater, art and public encounters.
[00:27:14] Two projects of the Heart Association bring back into attention
[00:27:18] the memory of the writer and journalist Silvia Cherim.
[00:27:21] The Letters Festival with the autobiographical theme
[00:27:25] "The Self as a Living Archive" and "Silvia Cherim Dreams of You".
[00:27:28] An intimate show hosted right in the house where she lived.
[00:27:32] Signed by... playwright Doru Vatavului and director
[00:27:35] Bobi Pricop, the show features actress Ana Bianca
[00:27:39] Popescu as a guide. The project also includes
[00:27:43] a visual installation, guided tours and workshops
[00:27:46] for young people. Through letters, journals and memories,
[00:27:50] Casa Kerim recovers personal histories and brings them
[00:27:53] closer to today's public. We learn more from my guests
[00:27:57] this evening. Doina Dogăroiu, cultural project manager at the
[00:28:00] Hart Association and Natalia Cebanu, artistic director of the
[00:28:04] association, good evening to both, welcome to the journal, I am glad
[00:28:08] to see you again, yes and again, especially since we are talking
[00:28:13] when she would have turned 95 and
[00:28:16] 10 since she left us, perhaps that's why this
[00:28:20] "Silvia Cherim Dreams of You", I would start our dialogue
[00:28:24] with this project and then we will talk about the letters
[00:28:27] festival, what does Silvia Cherim dream of?
[00:28:30] She dreams of all of us, we don't
[00:28:32] know... we'll see, it's a surprise, the show is still
[00:28:35] being worked on, we don't even know if the show will be called
[00:28:39] exactly that, word for word, "Silvia Cherim Dreams of You"
[00:28:42] is the name of the project, it is a project that
[00:28:46] we are financing with, through the Bucharest City Hall, through
[00:28:49] Arcub, the city hall is financing it, and which includes, as you
[00:28:53] said, several components,
[00:28:55] for now we will start with some interactive routes, so we will
[00:28:59] see there what she dreams of, this
[00:29:01] house, full of stories,
[00:29:04] a house where you feel closer to
[00:29:07] Silvia Kirim's universe,
[00:29:11] as soon as you cross its threshold, I think that
[00:29:14] the show, even if it is still a work in progress,
[00:29:17] is very much based on this fragrant atmosphere,
[00:29:21] if I may play with words, everything we do
[00:29:24] at the Heart association, starts from Silvia Cherim's
[00:29:28] personality and the entire artistic program is more
[00:29:31] or less related to her and what she did
[00:29:35] and what she left behind. From the beginning,
[00:29:38] we started with the Silvia Cherim Letters Festival,
[00:29:42] as she was a journalist and writer and left
[00:29:45] behind several books about memoirs.
[00:29:49] And behold, the sixth edition of the festival
[00:29:53] this year. It's a joy for us to reach this edition.
[00:29:56] And this year we said that the moment, after we
[00:30:00] have gone through so many personalities and so many dedicated shows
[00:30:04] to great personalities, to honor the personality
[00:30:07] who is dearest to us and thanks to whom we
[00:30:11] also got to know each other, to create such a beloved
[00:30:14] space, I would say, without error, by all the artists
[00:30:18] who cross our threshold and, of course, by us.
[00:30:21] And with this project we hope to achieve at
[00:30:25] least a little bit of what we owe her.
[00:30:28] In this project, in these tours especially,
[00:30:31] we also have a surprise. For those who have visited
[00:30:35] us before and know the space, we have an installation
[00:30:38] created by set designer and architect Diana Miroșu,
[00:30:42] an installation dedicated to Silvia Cherim and which
[00:30:45] contains many of her objects, she was also a lover of perfumes, we also have
[00:30:49] her glasses, we also have details that we
[00:30:53] have preserved and a large part of the objects, the house
[00:30:56] itself, anyway, when you visit us, it contains a large