BITS OF LIFE

 

***

Bit of sun

bits of life

naked birches sway.

I AM ASHAMED OF THIS MENDACIOUS NARRATIVE

 

***

I am ashamed of this mendacious narrative

of the Romanians: the rosemary bushes  

blossomed forth at the feet of Jesus all

that serves the crime is moral, holy and religious,

terrifying danger, all the atrocious carnages

do good to the stomach just as do

the stubbornness of the Jews and their larcenies.

They all have the impetigo of the crime

on their cheek and they treat the man like a dog

they being eviler than the vipers and as greedy

as the jackals. They are precocious criminals

and their mothers teach them to loot

and to kill. The callousness and the ferociousness

of this gypsified nation are the effect of the laziness

and of the custom for them to fuck like the dogs

and they expect nothing but humiliation and punishment.

   

VALALAHIA, PĂMÂNT AL NIMĂNUI

 

***

Valalahia, pământ al nimănui

populat cu legume apoase

suferă de-o veșnică pântecărie

și e singură și stă în cruciș

și-n putoare și nu e și piui

hui-ha, hai hui.

N. CEAUȘESCU

 

El nu știa pe ce lume se află

construia un paradis serios

și rușii îl îmbătau turtă, permanent.

ANALYSIS OF THE DRAWING "DON JUAN"

 

Here’s a thoughtful curatorial note on the drawing “Don Juan” by L. Neagoe, grounded in the visual description you provided and written in a museum‑ready tone.

Curatorial Note: Don Juan by L. Neagoe

1. Neagoe’s Don Juan distills a centuries‑old archetype into a strikingly minimal, almost ascetic visual language. Rendered in spare black lines with only the eyes and lips touched by color, the drawing strips away narrative excess and focuses instead on psychological tension. The composition presents two figures—one male, one female—whose relationship is suggested not through action but through posture, gaze, and emotional contrast.

The male figure, presumably Don Juan himself, is depicted with a stern, introspective expression. His sharply defined features and furrowed brow evoke a man caught between seduction and self‑scrutiny, a charismatic persona layered over an unsettled interior. Opposite him, the female figure appears more fluid and ethereal, her elongated form and raised hands suggesting vulnerability, allure, or perhaps resistance. Her body dissolves into abstraction, reinforcing the idea that she represents not a specific individual but the many women who populate the Don Juan myth—figures often idealized, misunderstood, or consumed by his legend.

Neagoe’s selective use of color—blue for the eyes, red for the lips—heightens the emotional charge of the work. These accents draw attention to the points of connection and confrontation: the gaze and the voice, the seen and the spoken, the invitation and the refusal. The simplicity of the linework belies the complexity of the dynamic it captures.

In Don Juan, Neagoe reframes a familiar literary figure through a contemporary, minimalist lens. The result is a portrait not of romantic conquest but of the psychological and emotional asymmetries that define human desire. The drawing invites viewers to reconsider Don Juan not as a triumphant seducer but as a figure suspended in the uneasy space between longing, power, and consequence.

Here are two polished pieces of museum‑ready writing for L. Neagoe’s Don Juan—a concise wall label and a more expansive exhibition catalogue entry. They complement each other without repeating the same language.

Wall Label

L. Neagoe
Don Juan
Ink and selective color on paper

In this minimalist interpretation of the Don Juan myth, Neagoe reduces the drama of seduction to two distilled figures: a stern, self‑contained man and a fluid, emotionally charged woman. With only a few deliberate lines and accents of color, the artist captures the tension between desire, power, and vulnerability. The drawing invites viewers to reconsider the legendary seducer not through narrative action but through psychological presence.

Exhibition Catalogue Entry

1. Neagoe’s Don Juan offers a contemporary reimagining of one of Western culture’s most enduring archetypes. Rather than illustrating a specific episode from the Don Juan narrative, Neagoe focuses on the emotional architecture that underpins it. The male figure—rigid, introspective, and sharply defined—embodies the mythic seducer’s self‑assured façade. His expression suggests both confidence and a hint of inner conflict, as though he is caught between performance and self‑awareness.

Opposite him, the female figure appears more fluid and abstract, her form dissolving into sweeping lines that evoke movement, uncertainty, or even erasure. Her raised hands introduce a note of psychological ambiguity: are they a gesture of allure, hesitation, or resistance? Neagoe’s decision to render her body as an elongated, tapering shape underscores the way women in the Don Juan tradition are often idealized, generalized, or reduced to symbolic roles.

The selective use of color—blue for the eyes, red for the lips—heightens the emotional stakes of the encounter. These accents draw attention to the points where identity is most vividly expressed: the gaze and the voice. In a composition otherwise defined by restraint, these touches of color become sites of intensity and confrontation.

By stripping the scene to its essentials, Don Juan shifts the focus from seduction as spectacle to seduction as psychological interplay. Neagoe’s drawing invites viewers to reflect on the dynamics of desire, the asymmetries of power, and the enduring cultural fascination with the figure of Don Juan. The work stands as both a homage to and a critique of the myth, revealing its emotional complexity through the simplest of means.

SOURCE : COPILOT 

DRAWING "DON JUAN" IS FOR SALE

 

Drawing "Don Juan" is for sale. Who wants to buy it please email me at vladneagoe52@gmail.com

CĂPITANUL

 

Căpitanul era narcisiac:

calul să fie bălan

și iia românească – mereu se gândea.