Cer-Himmel-Sky 1997

Editor: This installation, "Cer-Himmel-Sky," created by Constantin Flondor in 1997, is an intriguing mix of collage, fibre art, and other mixed media. The geometric wooden structure is layered with meandering lines. The piece strikes me as a commentary on perspective and perhaps a playful interaction with constructed landscapes, especially in an age of virtual reality and increasingly designed environments. What layers do you see when you look at this artwork? Curator: I am particularly drawn to how the structure imposes a human order onto the organic chaos of the garden behind it. Flondor seems to be questioning the perceived boundary between nature and artifice, the 'natural' versus the 'constructed'. Consider the cultural context of post-communist Romania at that time. There was this impulse toward deconstruction of rigid social and political frameworks and also to challenge any strict aesthetic rules, by merging various materials and creating complex installations in unexpected locations. Do you think the choice of what appears to be commonplace backyard has social implication? Editor: It's a deliberate choice to use that setting, almost a subversion. It's bringing art to an everyday space, outside the gallery walls, suggesting art isn't confined but lives within our surroundings. It breaks down institutional barriers by not being framed within a traditional museum or gallery space. Curator: Precisely. By incorporating mixed media into a three-dimensional grid, Flondor's piece fosters viewer engagement beyond a conventional art viewing setting. It also invites reflections on broader political and social access. Did the artist make the "sky" accessible? To whom and at what cost? Editor: This makes me reconsider how spaces inform our understanding of art and how this artist uses everyday spaces to provoke a discussion of control, deconstruction, and perception. Curator: Absolutely. The piece's true impact comes from this interaction and those open questions about societal constructs.