Madli pilt Mooste koolist

During these very grey November days, hoping and waiting for the snow and sunlight, the matchbox camera workshop was held at MoKS. The good reason for this was having someone practiced in the mentioned craftwork – Daniel Allen – here as part of a two-month residency at the end of 2011.
So as planned, on Saturday the 26th, a small group of people gathered to learn the secrets of this strange craft. See the gallery below!

The process itself is not actually very complicated – just fairly. Here are main supplies you need:
- an empty matchbox – to cut different size of holes in different parts;
- a little piece of foil (stronger than cooking foil) and a pin to make a hole;
- a black pen to colour the inner parts of the box to avoid any light being reflected anywhere;
- some card to build the shutter;
- a film, of course, and also one old empty film cassette;
- black tape to make your camera fully lightproof;
- and a bit of sponge and half a clothes peg – for spooling the film from one cassette to another smoothly and successfully.

I would say the most difficult part, requiring most assistance needing, is getting the size of the pinhole (aperture) right – to be able to match it later with the approximate shutter speed in certain light conditions.
One of the most beautiful things about taking the photos with such a camera is the game between predictability and unpredictability. One takes pictures of the chosen subjects usually very consciously and also recognises most of these things later on the photos. And there are some extras as well that appear as certain effects (which can emerge from the “mistakes” made while building the camera). Actually there’s hardly any outcome that wouldn’t have these extras – in most cases, I would say, enriching the results.
It should be said that once the film is full of pictures, the camera has to be destroyed to get out the negatives. The good part of this is, however, that if you became good friends with the relations between aperture, light evaluation and shutter speed, you can re-use the same pinhole – as you remember, it’s the hardest part – to build the next camera.

And some more good news is that if you are interested, then please keep an eye on MoKS’ activities in winter-spring 2012 – we are planning to have more of these workshops!

The Public Office for Architetcure explores the link between private and public interest in the practice of architecture. A temporary architecture office was established at MoKS, open to the public and free of charge. The public was invited to consult any architectural needs or questions they may have. In return every project that was taken on by the Public Office added one component to the program of requirements that was decidedly of public interest, initiating a dialog between private needs and public needs in the dynamics of architectural services. Four distinctly different projects were taken on by the office while in Mooste which will be followed up over the coming months.

The Public Office for Architecture is conceived as a nomadic project that will span over several years. The inaugural project hosted by MoKS was followed by Public Office for Architecture at Galeria HIT in Bratislava, with several projects planned for 2012. The accumulated work will serve as a collection of case studies to argue for a revision in the client-architect relationship within the practice of architecture as a service industry.

Public Office for Architecture is generously supported by MoKS, Galeria HIT, CECArtsLink and the Center for Sustainable Practice in the Arts. Many thanks to Evelyn and Siiri from MoKS and to our fabulous assistant and translator Iris Allese.

One of the deepest traces in my memory are connected with silence that I had the pleasure of listening to when smoking a cigarette outside, staring through the window, taking long walks around the small lake and through the forest, lying in bed early in the morning, when light was still shy and I was concentrated on the outside just to hush up my thoughts … or the silence I listened to when being with/sitting with people and listening to them or to myself … always listening what silence spoke to me. Unconsciously, silence and the mere fact of being by myself most of the time gave me inner beauty and clearness. While contemplating, I realised I almost selfishly protected my “by my self” being there … And again, I emphasise the importance of primary, basic activities like burning a fire, just sitting in front of the flames and enjoying purifying softness of the parching heat and sounds of redness … and there, somewhere in-between, disperse silence emanates, that helps you to really hear yourself. Maybe this is all what there is around the mystery of silence, yearning, exploring and researching of it?

When I told people I would be at Moks the whole November, I noticed a hesitation concerning the persisting greyness of the day. But that was exactly what I wanted – to experience November light in Mooste (and Tartu, Pärnu ….) and all the varieties of hazes and yes, there are thousands of different greys and blues (from purple to the white pearl to dense black).

About curatorial dinners …

The question how to perform a “curatorial research” on a personal level somewhere with very little things known, was challenging for me. But soon I found a satisfying possibility in phenomena of “dinners” – through intimacy of social ritual like eating together. And there I had seven different stories with different people and artists. Also, I have to say it was fun experimenting with local food supplies.

with Riho Kall
apple, orange, almond and raisin cake

with John Grzinich
tagliatelle with tomatoes, mozzarella and cheese, olives and red vine

with Evelyn Müürsepp
red peppers, zucchini, almonds, raisins with soya sauce and cardamom, rice and carrots with garlic and lemon, cake with cherry jam and chocolate from the market

with Toomas Thetloff
we changed roles, Toomas was the cook, we had liver, red beet and cottage cheese

with Patrick McGinley
mixed smoked and very (!!!) salty fish with cream sauce, rice, clementines with dark chocolate

with Erkki Luuk
smoked fish in cream sauce with garlic and butter potatoes with dill, mandarines with dark chocolate

with Anna Hints
I don’t have a photo of our meeting, we met at Werner cafe in Tartu, we had coffee and carrot cake

Here are some photos of my oscillation between fascination, artistic researches, writings, spontaneous acts, researching of words … (I still believe words can correspond with persons on intimate level, on political level – or with other words, words are not what we think they are – sometimes, when someone tells us something, they are just … nothing, empty, and maybe they are empty because of speaker’s emptiness – and here I don’t mean the emptiness in zen perspective).

An elderly lady in the beautiful allotments recieves one of our homemade ice-cream lollies.

Dear all…

A little late but life jumped back into the fast lane once we got back to Germany. Mooste seems a million miles away now. Which is sad.

Between the 15th of July and the 31st of August we spent a six week MOKS residency in Mooste, creating a body of work to address themes that emerged during the first week of our stay. Our work explored Estonian identity in the locality using a variety of participative and interactive techniques, a body of work that looks at the relationships between people, place and history.

Interventions included the creation of a moped procession through the village, sand mapping on the local beach, a photo-shoot in the baron’s clothes, hiding messages on homemade ice cream and infiltrating Google Maps.

Information and documentation relating to these events can be found on our website at http://treacleonline.wordpress.com/archive1/moks-residency/

We can’t describe how much we valued our time in Mooste. For the first few weeks at MOKS we managed to balance work and life for the first time in many years. The question is how to keep hold of this.

Hope all goes well and look forward to seeing you all again some time in the near future,
Kaspar & Susanne

PS. Exciting scenes in the basement! We look forward to seeing how everything develops over the next year.

Irena Biechonska and Jerzy Biechonsky

http://diary.kanakosasaki.com/

——————————————————
During the remaining 2 weeks and 3 days of my precious time at MoKs
I will be wandering around on the blog now and then.
yours truly,
Sandra Sitron

The delay of my report documents quite well how life again has a stranglehold over me with its daily routines and social life. I can’t reflect this without taking in account my time in Mooste where the only compelling structure of the day was to solve the heating problem. In my case it meant how to survive with only a gas oven and two small electronic heaters as the fire place did not work during my stay. It felt as if the bedroom door was the entrance to the arctic. As the electric system in the house was a little fragile sometimes, we had to find things out through try and error like “how many lights do I have to switch off while baking a cake” etc. This simplicity though was nice. It also included the Mooste-shopping-facilities (amazing how exited you can be about an espresso or fancy chocolate that somebody brings from Tartu). It is somehow very relieving not to have such a big variety of things and to realize that this actually is not a disadvantage at all. I found though that the Estonian transport system is something that is in desperate need of improvement. My plan to sit in a pub with some old Estonian guys and just watch a bit of the foreign daily life fell through because of the fact that Mooste is not frequented by any bus after 8 p.m. It would really be a good idea to have a moped or a little car for the residents. Otherwise you feel very dependant on the good will of others. I was really sad and still am to not have had a real chance to get to know Estonian people (also those not involved with art) and some evenings I just felt locked away and imprisoned. This makes time for an extra portion of self- analysis which can be a not so healthy thing if you are stuck in the middle of nowhere.

The second month of my stay I was totally alone as Andrea went back to Portugal and Evelyn and John were away in the U.S. During that time, Mari, who was hired as a temp for the house became a very helpful and thoughtful fellow. I was a little surprised by the fact that not very many things happened outside the walls of MoKS. We were not introduced to other artists (apart from when it was unavoidable) so that in the middle of my stay I had the thought that I could as well be in any other small village in the world. I felt that the residency itself was offered indeed but then not a lot of “extra” was provided or even of interest. Evelyn and Mari helped to find actors to put my videos into practise though. Also I should take account of Moostes insularity again. Without a car, you can never spend an evening anywhere anyway.

What was the point of the residency? I made some experiments on art that I would probably not have made in Hamburg. The experience of being katapulted in such a loneliness was interesting in some aspects. I guess that isolation might convert into something beautiful during summer. My urgent advice is to take a bus to Mustvee by the way. A very beautifull old village right at the Pelpsi-lakeside.

Estonia has the greatest shades of dark in the endless green of the forests. Is necessary to want to see beyond the uniformity of first impressions: nature, in a micro and in a micro scale, is what I found to be the most grandiose thing to see Here. Beyond the surface of appearances are hidden little treasures of shapes, colors – small miracles to the attentive eye and ear.

My idea to be developed as artist in residency at Moks required introspection. Its process of making required sometimes others with whom I could exercise reflection. On the bus, the day of my arrival, from Tallinn to Tartu, influenced by natural landscape around me and the work of Empedocles I was reading, I decided to create a persona which name is Kypris. A persona is not a character but the exploration of a combination of several “what if I was like so”, the exploration of the self in many of its possibilities. It was good to be Kypris during the time of the residency. One who is capable of an absolute inner tranquility. I learned a lot in this process of being another, which is myself. I learned by being in solitude, by talking with John, Evelyn and Jez and I also leaned form growing the garden.

- Ana Carvalho

Drawing a line, without needing it to be the start of something else, but to be itself.

watching.

I listen. I needed to know more about being.

When I was young my Mother bought me a portable cassette player. I played tapes in the garden. Once I pressed ‘record’ instead of ‘play’ and found that I had the sound of the garden on the tape. It was more interesting than the music I had taped over. Since then I have listened like this.

How many people truely appreciate and respect the opportunities that travel affords them ? How many go to locations other than thier usual place and yet try to carry on living in the same way ? How many keep thier ears tuned to the same sounds they hear every day ?

I am in Mooste, Estonia. The sounds are all different from anywhere else. I take photographs and they remind me of the visual differences. I make recordings and they remind me of this place.

I explore sounds through the location and the location through the sounds. I take photographs more in the way I make music – my emotions are at play not just my eye.

I explore my life too. Things that have been stressful. Things where I have not done well or have made mistakes. I work things through.

I eat.

always alive and glad to be so.

I create stories to send to my daughter and this is a wonderful experience. I talk to her as often as I can. I miss her and I miss my home, but they will be there to welcome me when I return.

I will go back with all of the experiences and explorations of this time in Estonia – so something has been added to life. To mine and therefore to those who I share it with.

I won’t write a thesis for my work. I am interested in people knowing something about me – thoughts are only a very small and somewhat clumsy part of who we are. We invent them. If I use the word ‘art’ to describe my creativity then I hope that my work speaks. The theory might well be there but I don’t feel it needs to be stated. I might miss reaching some people that way, but I am happy to reach the people who can respond on an intuitive and emotive level. If this comes first there is the freedom to think more about the work. If we arrive via the theory it is not possible to connect in the same way. – see ? I said thoughts are clumsy.

- Jez riley French, May 2009

http://JezrileyFrench.blogspot.com/

Today a book came by post – “Lisboaleipzig 1, o encontro inesperado do diverso”, Maria Gabriela Llansol.
(Free translation from Portuguese to English)
I organized my working table – the place where I am entirely happy; opened some manuscripts, and I realized that reading them took me, not has the books but has rivers floating in real life. (…) p.35
I remember of having imagined that, when it snows – what is different will became evenly covered with white snow. White for the trees, for the boxes that lie in the yard, for the walls to cover with stucco; then, it is needed to verify, that the volumes and colors where covered, and not to named them by the generic name of white. However, I will not have control over this phenomenon of the snow, and I will call them fulgor scenes (…). p.36
March 19 – Mooste
___________________________________________(sketchbook excerpts)
Today I went with Julia to a small walk in the morning. We went near the frozen lake. (I would like to try to do my circle there. My one hour walking circle as I tried before)
On our walk, we saw something really curious. It looks like cocoons coming out of the snow. The exterior was cover with straw and inside was just earth. I go back again, to take a better picture and perhaps to bring inside the house one of these cocoons.
(…) Continuing my research around the Light and Ground materials…until now I am very fascinated by the Sun (I keep going to Soho/ Nasa website to see the latest real time images. Still don’t know what to do with it).
I’m living and working in Moks house since some weeks…as not excepted I am working mostly inside (in the studio). It’s curious…to travel to here………………and realize that the place I am completely happy is my working table. March 21st – Mooste

Making fire
Instructions by Jonh Grzinich

1. open vent
2. fill oven with wood – try to use same size logs; – put wood face down
3. use paper to start fire – don’t worry it can take 2 or 3 times
4. after some time check to see if all logs are burning
5. when red coals form check with metal stick. Put burning logs on top.
6. At the end “rake” the coals. Make sure there is no flame. Never close the oven if there is flames.
7. When coals are ready close the door and vent.

(Fetch the wood logs at least one day before from the outside storage)
March 3th – house of Mooste

Making life
For trying a Spa “Värska Sanatorium”, at Varska. For local food taste “Kama” (Kama flour mixed with kefir and sugar), “Tatar”(cook like rice, eat with sour cream-Hapukoor in Estonian). Visit the zoological Museum (amazing dust covered stuffed animal) part of the Natural History Museum in Tartu. In need of tools, paint or other construction materials go to “ ” (good grief, i forgot it!); “Vanakau Bamaga” (Chinese shop) for small something, in Tartu. Be aware of the buses timetable (during week they end pretty early).

I am still upon the emotion of the definitive return travel to Portugal, and came to this so small room, to accumulate intensities. I never had I subtle passion, and had several by “physical phenomenon”, including the candlelight and the first snow leaf. (…)p.38
On my stay in the house of Moks in Mooste I found the right context for some of my project intention, which until now only existed as idea. The white charcoal dust over the wood stick is one of theme. Here I continued to research on the materials from the project from my previous residency in Nodar, Portugal. _____ I had time and I didn’t have time. I struggled with the contemplating landscape and soundscape. Not to expect and let things to arise. I am still continuing my research, i would say. The house routines slowly started to establish. I made a friend in my stay in Mooste and this is the most precious thing in the world that could have happen to me. Julia Wandel from Hamburg. It is expected to have a great time as artist in residency. My time was reasonable, with some exceptional days, good ones and bad ones. I would have preferred not to be so depending on Estonian speaking language to communicate. English can be not enough. I would have preferred to eat more meals with Evelyn and John. I would say that if one is searching for remoteness, Mooste in March is perfect. But we might not be up to our expectations to what a retreat means.
______________of Portuguese nature “is difficult do distinguish if the past is our future or if the future is our past”.
May, 2009 – Lisbon studio

“Self-portrait in motion”
Siim; Meeri; Liis; Andeus; Irja; Üno; Ene; Merike; Ülle; Küllike; Mari; John; Evelyn; Julia; Andrea.
March, 2009 – Mooste

- Andrea Brandao

My daily excursions into the disused sections of the decaying ex-collective farm did slow as the temperature dropped, and the snow came in. But I would not have switched the weather for a more mild and stable one. I saw many pictures of Mooste in the summer sun, and it almost looked like another place. The chance to see the weather change over the month, and its effect on the landscape and soundscape was wonderful. When I arrived at the beginning of November everything was wet and soggy. Even in the forest the snapping of twigs under foot did not make their usually brittle snaps and cracks. All was muted somehow. Then everything froze. Sounds became crunchy and crackly underfoot again. The last leaves falling on the frozen road where clearly audible from a distance. And then came the snow again placing a sonic mute on the landscape. And finally, as it came closer to my departure, the snow melted creating a constant dripping and running of water. The metal pipes leading from the guttering at MoKS make a particularly wonderful sound. And finally followed by the wet squelchy sounds of the ground returning to mud.

I could have stayed in Mooste and recorded it’s amazing spaces for months. I’m luck to find one such site at home every few month and suddenly I was surrounded by many of them within 10 minutes walk. However the various excursions that John took me on where equally incredible, and still slightly hard to take in even now. The frozen rubble of one of John’s favourite sites at Podra, a recording trip with Felicity Mangan, Maksims Shentelevs and Kaspars Kalnins to a large disused Soviet military base in north Latvia, sitting on the side of the road in the cold and dark listening to the singing of telegraph wires/poles swaying in the wind, and finally four of us by the side of a small lake (I think??), huddled inside a small metal box in the rain, setting the thing resonating. Felicity accidentally startling a flock of ducking, sending them flying directly over us.

The activities Evelyn and John have instigated, facilitated or encouraged at MoKS are extremely impressive. As is the thinking behind it. Rather than trying to “raise” everyday life to the level of Art, it seemed to me to be a matter of simply using art as a way of living and exploring life and your surrounds. And much much more………………………

Thank you very much to Evelyn, John, Siim and Felicty for making my stay at MoKS such at enjoyable and thought provoking one.

The smoky sauna was an amazing experience. The countless numbers of stars in the black sky, people jumping into a cold pond, drinking beers and going back to sauna to get smoked, mix gender, I felt shy but it seemed very natural thing to do.

This is not all did in Moks, though. I was very isolated in the forest at the beginning. I have never been this isolated. And I nearly had whole one month all for myself, no disturbance. Time there was just for my work and figuring out the direction in my life, which very much reflected onto my work. I sat in front of the computer all day and working on a image with Photoshop. When I got tired, I went for walk in the forest and field for several hours. I felt nature there. Nature in Estonia, I felt it close rather than as a object to over take. I felt with nature, the energy from nature, sky, land, forest and water. It may be to do with how pagans here respect nature, such as positive energy circle in the forest. There was an amazing coincident happened with my work and this circle. The day I made circles in my image, a local artist, Peeter Laurits, took me to the circle in the forest.

I have realized in the forest that we all need very basic energy to live. And we all have that in ourselves and also we need energy from outside to let that inside energy to come out. It is just like a seed has all the energy to grow in oneself and still needs sun to let that happen. John and I talked about this with the energy in quantum theory as well, if I remember it correctly.

Art is to represent this energy whatever the form we like. Every artist can pursue this individually, and that is great thing about art that we can all find our own way.

Living in a city and society, it is easy to forget about facing the limits of what human can make, compared with what nature can do. Nature is bigger than us and same time, we all have it in ourselves as our origin of energy. Art is to transform this energy and exchange with others.

Thanks to Evelyn, John, Mari and many other friends in Moks,

Mamoru Tsukada
http://www.tomiokoyamagallery.com/artists/+TABLE/eng/frame.html

things i’ve done.

- “portrESTs” video
- 10 pieces graphic portraits serie and artist talk at Ygalerii on recent works slideshow.
- doing some music with the local made band “Boooooring Soundcheck” at genialistid club.
- lecture in the school at art class with recent works slideshow.
- dolma :)

Yours, Vahram Muradyan.
www.vahrammuradyan.com

I approached the time here at MoKS as the opportunity to work in an art laboratory of my own choosing, with my own measures of success, and with no schedule expect for the necessities of sleep. There was a lot which was accomplished — two albums worth of material have been completed and soon to be delivered to their rightful publishing houses, numerous excursions into the post-Soviet landscape of agricultural and industrial ruins, a particularly gruelling bike ride out to Lake Peipsi, a huge inventory of field recordings and shortwave recordings to use as fodder for future projects, a performance in an observatory, and the aforementioned lecture in Tartu. This is more than I can typically say would amount to six months of activity in my current residence of San Francisco, simply due to all of the other commitments I have in my life. So to have this experience here at MoKS was something truly special; and I hope that I didn’t take what was afforded me for granted.

That said, I have to offer my sincerest gratitude to John and Evelyn here at MoKS, to Patrick McGinley for lending me his ear, and for Toomas Thetloff for being Toomas with all of his wit, energy, and creativity.

For those of you who might be inclined to see all of the decent photos taken during my stay in Estonia, check the link below. Note, the accompanying travelogue was written as something of a diary with particular acquaintances in mind. If there’s particular references that don’t make any sense, accept my apology in advance. www.helenscarsdale.com/eraldus

Humbly,

Jim Haynes
www.helenscarsdale.com/haynes

Today is the last day of our month as artists in residence here at MoKS.

We picked wild mushrooms and blueberries in the forest. Mmmm. We drew pictures to find out that the fish van comes at 14:00 on Mondays and Thursdays. The fish was good but had lots of bones. Other culinary highlights were the rollmops and the kohuke.

Van
I discovered old magazines from the 1930s that had been left here from a collage workshop. The puppets I made from the pictures became the basis for a new work. Creepy black and white photos of children holding toys. I experimented with watercolour painting and made painted watercolour puppets.

I scoured toy shops and second hand shops and found strange plastic creatures. Growling biting dogs and demented dolls. The toy museum in Tartu is beautiful. I loved the wooden traditional Estonian toys and the doll house furniture carved by a man hidden in a potato bin for 10 years. When we read that, we initially thought he must have been very small, then we realised that in Estonia, potato bins are relatively big.

Camilla
I recorded lots of sounds from around the village. The quiet of the forest was unsettling but beautiful. The children playing in the lake. I picked up some lovely pieces of scrap metal that I incorporated into our live performance.

We spent most of our time working on a new performance work that premiered on the 25th of August at Genialistide Klubi in Tartu. In the doorway was a giant painted onion.

It’s strange how a month can pass so quickly.

www.camillahannan.com
www.vansowerwine.com

English version

I walked quite some time in Mooste looking for a centre, a place where power is concentrated, is organized, whence emanates a certain intensity, a slight call to order… but it’s a diffuse village that appears to flee in all directions, I don’t even know if it is a village. Mooste is like a never quite formulated idea.

Mooste is a few old buildings inherited from the Soviet era, with yellowing net curtains at the windows that must have once looked like bridal veils, perhaps in the days when people were still able to believe in it… a lot of youths who ebb and flow in groups from one end of the village to the other, and cars which whip up a lot of dust —the car, clearly the Estonians’ great concern.
In Mooste, there are also two grocer’s stores, a sauna, a village hall where the women come to learn country and western dancing, a school, an abandoned old distillery, a lake, a few wooden houses, a pharmacy… and yet, in spite of everything, is the impression that things are changing; for example, the battalion of lampposts financed by Europe which light up who knows what but which light up so well that you can no longer see the stars at night in that spot.

So, in Mooste, I walked quite some time looking for something that would have enabled me to anchor my project in the place or to anchor myself in the project,
and I chose Viktor, the former coach driver from Karelia who stands fishing at the lake each day.
And then quite soon Viktor disappeared, I learned later that it had taken him a long time to get over the flu, which is here a coy way of talking about alcohol problems.

So I started walking again… and when you walk in Mooste you always end up losing yourself either in the forest or in the cast-off remains of collectivization, there where people come looking for
what they can salvage and let the rest rot, there where there’s always a scrawny animal lurking around, closely followed by a car full of frowning faces, there where people are becoming acquainted with private property and new economic laws with a disconcerting efficiency.

And while they dream of the next car they will buy, I dream of being able to continue to make my films, my films with their invisible economy, on the margins, without a centre.

Version française

J’ai pas mal marché à Mooste, à la recherche d’un centre, d’un lieu où se concentre, où s’organise le pouvoir, d’où se dégage une certaine intensité, un léger rappel à l’ordre… Mais c’est un village diffus qui semble fuir dans toutes les directions, je ne sais même pas si c’est un village. Mooste c’est comme une idée qui n’arriverait pas à se former totalement.

Mooste, ce sont quelques vieux immeubles hérités de l’époque soviétique avec aux fenêtres des voilages jaunis qui ont dû, un jour, ressembler à des voiles de mariée, peut-être à l’époque où les gens pouvaient encore y croire… beaucoup de jeunes qui se déplacent en bande comme les courants marins d’un bout à l’autre du village et des voitures qui soulèvent beaucoup de poussière — la voiture, la grande affaire semble-t-il des Estoniens.

A Mooste, il y a aussi deux épiceries, un sauna, une salle communale où les femmes viennent apprendre à danser la country music, une école, une ancienne distillerie à l’abandon, un lac, quelques maisons en bois, une pharmacie… Et puis, quand même, il y a cette impression que les choses changent ; par exemple, il y a cette armée de lampadaires financés par l’Europe qui éclairent on ne sait trop quoi mais qui éclairent tellement bien que la nuit on ne peut plus voir les étoiles à cet endroit-là.

Donc à Mooste, j’ai pas mal marché à la recherche de quelque chose qui m’aurait permis d’ancrer mon projet dans le lieu ou de m’ancrer moi dans le projet, et j’ai choisi Viktor, l’ancien chauffeur de car venu de Carélie qui se tient chaque jour au bord du lac pour pêcher. Et puis assez vite Viktor a disparu, j’ai su par la suite qu’il s’était remis difficilement d’une grippe, ce qui, ici, est une manière pudique de parler des problèmes d’alcool.

Alors j‘ai repris ma ballade… et quand on marche à Mooste on finit toujours par se perdre soit dans la forêt soit dans les rebuts de la collectivisation, là où des gens viennent chercher ce qu’ils peuvent récupérer et laissent pourrir le reste, là où il y a toujours un animal efflanqué qui traîne, suivi de peu par une voiture remplie de mines renfrognées, là où les gens font l’apprentissage de la propriété privée et des nouvelles lois de l’économie avec une efficacité désarmante.

Et pendant qu’eux rêvent de la prochaine voiture qu’ils s’achèteront, je rêve de continuer à faire mes films, mes films à l’économie invisible, en marge, sans centre.