tag:blogger.com,1999:blog-407374363462567592023-10-24T06:21:02.041-07:00art and politicspolitical art, politicized art, propaganda art and protest art, aestheticism etcAnonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.comBlogger42125tag:blogger.com,1999:blog-40737436346256759.post-66039721552172673412017-09-15T04:00:00.001-07:002017-09-26T11:13:31.987-07:00CFP SRS 2018 Politically charged artistic representations of the past in the Romanian public space (deadline extended)<div style="background: white; margin-bottom: 4.5pt; margin-left: 0cm; margin-right: 0cm; margin-top: 0cm; text-align: justify; text-justify: inter-ideograph;">
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<span style="font-size: 12.0pt;">Call for papers for a panel at the </span><span style="font-family: "times new roman"; font-size: 12.0pt; letter-spacing: -0.1pt;">Conference
of the Society for Romanian Studies (SRS) (Bucharest, 26-30 June 2018)<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;">Politically charged artistic
representations of the past in the Romanian public space<o:p></o:p></b></div>
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This
panel seeks to bring together researchers dealing with artistic representations
of the past in Romania. The presentations can deal with the public, or state
sponsored official memory as it is displayed in the public space in the form of
monuments or statues. The missing memory, or the erasure of the Socialist
Realist representations from the public space is one of the topics that could
be tackled. The different memory conflicts of the historical traumatic
experiences and their artistic forms could represent a secondary theme. The
alternative representations of the past, whether in the form of performative
practices, or urban/street art forms, are also taken into account. How and what
do the public squares, public buildings, and the cultural and educational
spaces tell of the national past? How do nationalist and other ideologically
centered representations of the past co-exist in contemporary (re)configurations?
What roles play artistic representations in questioning the status-quo and/or
the officialized memories of the past?<o:p></o:p></div>
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Those
interested should send a short abstract of 250 words until <b>October 10</b> to Caterina Preda, Phd, Lecturer,
Department of Political Science, University of Bucharest, <b style="mso-bidi-font-weight: normal;">caterinapreda@gmail.com<o:p></o:p></b></div>
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<span style="font-size: 13.3333px; text-indent: -180pt;">Alexandra Pirici, </span><i style="font-size: 13.3333px; text-indent: -180pt;">If You Don’t Want Us, We Want You</i><span style="font-size: 13.3333px; text-indent: -180pt;">, 2011. </span></div>
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<span style="font-size: 10pt; text-align: left; text-indent: -180pt;">Bust of Ion Antonescu in Bucharest </span><span style="font-size: 10pt; text-align: left; text-indent: -180pt;"> </span></div>
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-->Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com0tag:blogger.com,1999:blog-40737436346256759.post-14530659392671027082017-08-14T12:55:00.000-07:002017-08-14T12:55:35.424-07:00CFP for LASA 2018 (Barcelona): Panel on Art and the transnational memory of the dictatorships in South America<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
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Artistic
remembrance is an important part of the memorialization of the dictatorial
past. This panel seeks to bring together scholars working on different types of
artistic renderings of the past in South America in the aftermath of
dictatorships. When dictatorships end, artists continue to discuss the past and
question issues that are interesting for the organization of the memory of
suffering. We invite proposals that analyze specific cases of artists, different
types of political art, with a focus on visual arts. We want to investigate the
diversity of approaches of artistic remembrance, from the documentation of the
past beyond the official gaze, to the challenging of the continuity in the
public life of the perpetrators.</div>
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Please
send 250 words abstracts by September the 3<sup>rd</sup> in English or Spanish to
Caterina Preda at <a href="mailto:caterina.preda@fspub.unibuc.ro">caterina.preda@fspub.unibuc.ro</a>.
Caterina Preda holds a PhD in Political Science and is an Assistant Professor at
the Department of Political Science University of Bucharest.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;">Arte y la memoria transnacional de las dictaduras
en América del sur<o:p></o:p></span></b></div>
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<span lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;">La memoria artística es una
parte importante del proceso de memorialización del pasado dictatorial. Este
panel quiere reunir investigadores que trabajan con diferentes tipos de
representaciones del pasado en América del sur después de la dictaduras. Cuando
las dictaduras terminan, los artistas continúan de hablar sobre el pasado y de
cuestionar temas que son interesantes para la gestión de la memoria del
sufrimiento. Invitamos ponencias que analizan casos específicos de artistas, diferentes
tipos de arte político con un enfoque en los artes visuales. Queremos
investigar la diversidad de enfoques de la memoria artística, de la documentación
del pasado más allá de la mirada oficial, a la confrontación de la continuidad
en la vida publica de los torturadores.<o:p></o:p></span></div>
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<span style="font-size: small;">João Pina, <i>Condor</i></span></h2>
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Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com1tag:blogger.com,1999:blog-40737436346256759.post-65119428401477713732016-05-06T03:10:00.000-07:002016-05-06T03:10:06.858-07:00The state artist in Romania and Eastern Europe<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<b style="mso-bidi-font-weight: normal;">Call for Papers for the international
conference: The </b><b style="mso-bidi-font-weight: normal;"><span lang="RO" style="mso-ansi-language: RO;">”</span>state artist” in Romania and Eastern
Europe <o:p></o:p></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
Faculty
of Political Science, University of Bucharest, 5 November 2016<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
The
establishment of communist regimes in Eastern Europe brought for the visual
arts, the establishment of the “state artist” (Haraszti). Artworks were commissioned
by the state, which offered extensive rewards for the artists, obliged to
comply with the political and ideological rigors of the regime. As part of the
research project “From the “state artist” to the artist dependent on the state:
the case of the Union of Visual Artists (1950-2010) – the Bucharest branch”,
this conference seeks to explore the different transformations that the artists
underwent in order to comply with the extensive role assumed by the totalitarian
state in the arts. We invite contributions on the broad topic announced, that
of the state artist in Romania and Eastern Europe with a specific focus on
visual arts, but we are also interested to discuss other instances of
collaboration with the regimes in place (1950s-1990). The conference aims to discuss
the state artist in the context of communist regimes from multiple points of
views. The topics discussed could be, but are not limited to:<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->How was the new artist shaped by the communist
regimes? <o:p></o:p></div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->Were artists able to integrate Socialist Realism
as a mandatory style? If not, which were the limits of this mandatory style or
the national specificities?<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->Which were the types of resistance to the model
of the state artist? <o:p></o:p></div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->How did Socialist Realism translate in different
visual practices? <o:p></o:p></div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->What role did the Union of Visual Artists of
Romania play? How does it compare to other unions in the East? <o:p></o:p></div>
<div class="MsoNormal" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<!--[if !supportLists]--><span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">-<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->What are the transformations of the unions of
artists after 1990?<o:p></o:p></div>
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<br /></div>
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Those
interested in presenting a paper should send an abstract of 500 words as well
as a short CV (including a short list of publications) to <a href="mailto:caterinapreda@gmail.com">caterinapreda@gmail.com</a> until the <b style="mso-bidi-font-weight: normal;">15<sup>th</sup> of May 2016</b>. A
selection of conference presentations will be published in a volume, thus the accepted
participants must send their contributions 1 month in advance (<b style="mso-bidi-font-weight: normal;">1<sup>st</sup> of October 2016</b>). The
contributions must address the topic of the state artist, and must have 8.000
words including footnotes with a separate list of references. Organizing
committee: Caterina Preda, Alina Popescu, Dan Drăghia. Place: The Institute for
Political Research, Faculty of Political Science, University of Bucharest. The
languages of the conferences are Romanian, English, and French.<o:p></o:p></div>
Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com0tag:blogger.com,1999:blog-40737436346256759.post-22671565630969628492015-10-15T02:12:00.005-07:002015-10-15T02:18:20.871-07:00De la artistul de stat la artistul dependent de stat Uniunea Artistilor Plastici din Romania (1950-2010) Filiala Bucuresti//From the “state artist” to the artist dependent on the state: the Union of Visual Artists (of Romania) (1950-2010) – the Bucharest branch<!--[if gte mso 9]><xml>
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<span style="text-align: justify;">The project proposes to write a monographic study of the Union of Visual Artists of Romania (UAP) in the period 1950-2010 in the absence of a landmark study of one of the most important communist and postcommunist organizations that administers, controls and represents visual artists. The period of analysis includes both the communist regime, as well as the first 20 years of the democratic regime (1950-2010) so as to be able to capture in detail the transformation it suffered as a consequence. The project advances an analysis at several levels of this organization: an institutional sociologic approach, an analysis in terms of members and leading teams (elites), a research of the legal statutes that UAP went through and the definition of the artist, the relation with the communist and democratic state through a case study – that of producer of public monuments in Bucharest. The analysis of the relation with the Romanian state will include several types of interactions between the state and the artists through the investigation of archive documents unexploited until now (UAP, CNSAS, ANR, etc.), of interviews with those that governed the UAP and through the use of the methods specific to the analysis of the interdisciplinary field of art and politics. The project will disseminate its results through an international conference, a database with the UAP members, an index of the monuments realized by the UAP in Bucharest, as well as the publication of a monograph of UAP, of a volume including the presentations at the international conference, and a volume with </span><span style="text-align: justify;">archive unpublished documents.</span></div>
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<span lang="CY">Proiectul propune crearea unei monografii
a Uniunii Artiștilor Plastici din România
(în perioada 1950-2010) în absența unui studiu de referință al uneia
dintre cele mai importante instituții comuniste și postcomuniste care
administrează, controlează, și reprezintă artiștii plastici. Perioada aleasă
pentru studiu cuprinde atât regimul comunist, cât și primii 20 de ani ai
regimului democratic (1950-2010) pentru a putea surpinde în detaliu
transformările suferite de aceasta. Proiectul propune o analiză la mai multe
niveluri a acestei organizații: o sociologie instituțională, o analiză în
termeni de membri și echipe de conducere, o cercetare a statutelor legale pe
care le experimentează UAP și a definiției artistului, a relației cu statul
comunist și democratic și prin intermediul unui studiu de caz – cel al
executării de monumente de for public în București. Analiza relației cu statul
român va include diferitele tipuri de interacțiuni dintre stat și artiști prin
intermediul cercetării documentelor de arhive neexploatate până acum (UAP,
CNSAS, ANR, etc.), a unor interviuri cu responsabili UAP și prin utilizrea
metodelor de analiză specifice câmpului interdisciplinar de artă și politică.
Proiectul va disemina rezultatele printr-o conferință internațională, o bază de
date cu membrii UAP, un index al monumentelor realizate de UAP București, precum
și prin publicarea unei monografii a UAP, a unui volum cu prezentările din
cadrul conferinței și a unui volum cu documente inedite de arhiv</span><span lang="RO">ă</span><span lang="CY">.<o:p></o:p></span></div>
<!--EndFragment-->Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com3tag:blogger.com,1999:blog-40737436346256759.post-26781711746709531532014-01-21T03:18:00.003-08:002014-01-21T03:18:20.347-08:00CFP: Arts during communism<div style="background-color: white; color: #141823; font-family: 'Helvetica Neue', Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 18px; margin-bottom: 6px;">
Call For Papers: Arts during communism</div>
<div style="background-color: white; color: #141823; font-family: 'Helvetica Neue', Helvetica, Arial, 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 14px; line-height: 18px; margin-bottom: 6px; margin-top: 6px;">
This panel wants to discuss different examples of how art was regarded by different communist regimes in communist countries. What kind of art do communist regimes promote? Are there any important differences between Yugoslavia and Poland for example? Do political science typologies serve to understand the types of art created or do other typologies appear? T<span class="text_exposed_show" style="display: inline;">he panel welcomes proposals from all artistic endeavors: visual arts, literature, theater, music, cinema and dance. Papers can deal with a national case as well as advance comparative overviews of the topic.</span></div>
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Please send an abstract of 300 words and a short bio/CV highlighting your most important publications and/or conference presentations to: caterinapreda@ gmail.com</div>
<div style="margin-bottom: 6px; margin-top: 6px;">
Deadline: 10 February 2014.</div>
<div style="margin-bottom: 6px; margin-top: 6px;">
The website of the conference: <a href="http://www.scienceofpolitics.eu/scope-2014" rel="nofollow" style="color: #2e57aa; cursor: pointer; text-decoration: none;" target="_blank">http://www.scienceofpolitics.eu/scope-2014</a></div>
<div style="margin-bottom: 6px; margin-top: 6px;">
SCOPE International conference of Political Research, Department of Political Science, University of Bucharest, 27-29 June 2014 (<a href="http://www.scienceofpolitics.eu/" rel="nofollow" style="color: #2e57aa; cursor: pointer; text-decoration: none;" target="_blank">www.scienceofpolitics.eu</a>)</div>
<div style="display: inline; margin-top: 6px;">
Caterina PREDA, Senior University Lecturer, PhD, Department of Political Science, University of Bucharest (<a href="http://artspolitics.blogspot.ro/" rel="nofollow" style="color: #2e57aa; cursor: pointer; text-decoration: none;" target="_blank">http://artspolitics.blogspot.ro/</a>)</div>
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Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com3tag:blogger.com,1999:blog-40737436346256759.post-282819772040551212014-01-09T08:15:00.002-08:002014-01-09T08:17:06.997-08:00Arte de memorializacion 40 anos despues del golpe de estadoI have written an article that<span style="color: #231f20; font-family: 'Times New Roman', serif; line-height: 100%;"> presents the art of memorialization realized by Chilean
artists in the context of the 40 years since the coup d’Etat of 11
of September 1973. Art of </span><i style="color: #231f20; font-family: 'Times New Roman', serif; line-height: 100%;">memorialization
</i><span style="color: #231f20; font-family: 'Times New Roman', serif; line-height: 100%;">questions
the advance of the consolidation of democracy and critiques problems
that still exist as that of the disappeared. Artists </span><span style="color: #231f20; font-family: 'Times New Roman', serif; line-height: 100%;">use
symbols to investigate what remains </span><span style="color: #231f20; font-family: 'Times New Roman', serif; line-height: 100%;">of
the dictatorial past and we will discuss </span><span style="color: #231f20; font-family: 'Times New Roman', serif; line-height: 100%;">the
case of the disappeared opposing it to other perspectives on the
dictatorship. The anniversary of 40 years of the coup of 1973
</span><span style="color: #231f20; font-family: 'Times New Roman', serif; line-height: 100%;">has
provoked an increased interest in the </span><span style="color: #231f20; font-family: 'Times New Roman', serif; line-height: 100%;">past
and multiple artistic interventions were seen (in the streets, in
museums, etc.) This article demonstrates how art contributes to the
construction of a more inclusive memory of the Chilean dictatorship and you can read it at this <a href="https://www.academia.edu/5649113/Arte_de_memorializacion_40_anos_despues_del_golpe_de_estado" target="_blank">here</a>. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibQqoLHxYy42RvFgekKx7qLK9EEc3adHnakLl6Is7PVwwA3E83sO3nUeZZgJPD5lSJ9GYVBEETa_mdTqwwporMX4GFi9PlXj6zOt63jgvkblUtC9sghzfrwGtKKn9afk4ppaWZMpCUseU/s1600/1186008_10201811732674134_1411566075_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibQqoLHxYy42RvFgekKx7qLK9EEc3adHnakLl6Is7PVwwA3E83sO3nUeZZgJPD5lSJ9GYVBEETa_mdTqwwporMX4GFi9PlXj6zOt63jgvkblUtC9sghzfrwGtKKn9afk4ppaWZMpCUseU/s1600/1186008_10201811732674134_1411566075_n.jpg" height="320" width="240" /></a></div>
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<span style="font-family: 'AGaramondPro'; font-size: large;">#quererNOver, 10 September 2013, Santiago</span></div>
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<br />Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com2tag:blogger.com,1999:blog-40737436346256759.post-25755170475984039372013-05-31T03:15:00.000-07:002013-05-31T03:26:38.410-07:00The digital (artistic) memory of Nicolae Ceausescu<div style="text-align: justify;">
<span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px;">This is the title of the chapter I published as part of the volume entitled "Memory, Conflict and New Media" edited by Ellen Rutten, Julie Fedor and Vera Zvereva and which came out at Routledge in May 2013. My chapter presents the varied presence of the former Romanian dictator in online spaces along with artistic interpretations of his portrait that seem to have become the obsession of Romanian contemporary artists. You can see the book </span><ahref books="" details="" http:="" www.routledge.com=""><a href="http://www.routledge.com/books/details/9780415639217/" target="_blank">here </a></ahref><span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px;">and my text scanned on my Academia </span><span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px;">page <a href="http://www.academia.edu/3631074/13._The_Digital_Artistic_Memory_of_Nicolae_Ceausescu_Caterina_Preda/" target="_blank">here</a>.</span><span style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px;"> Below is one of the images included in my text by Adrian Ghenie. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh99g1A44jYM9hkRKzGoAirZOE27b7R44NGn30LjOp7mfYfYwpUCMOtCC6s79DO6IxYPXEoD910nfKggM-w7IUs7CgCr1viN4TI2MYRQp1uVu7w5yQAflV6L1U-lf0OhEQFMSLIzE8r9qg/s1600/Adrian+Ghenie+Study+for+Boogyman+2010.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh99g1A44jYM9hkRKzGoAirZOE27b7R44NGn30LjOp7mfYfYwpUCMOtCC6s79DO6IxYPXEoD910nfKggM-w7IUs7CgCr1viN4TI2MYRQp1uVu7w5yQAflV6L1U-lf0OhEQFMSLIzE8r9qg/s320/Adrian+Ghenie+Study+for+Boogyman+2010.jpg" width="255" /></a></div>
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Adrian Ghenie, Study for Boogyman, 2010</div>
Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com1tag:blogger.com,1999:blog-40737436346256759.post-88256946700458900582013-04-03T03:44:00.000-07:002013-04-03T03:44:02.542-07:00Sub supraveghere (artistica). Relatia artistilor cu SecuritateaAm scris un articol despre dubla supraveghere din perioada comunista: cea arhicunoscuta a politiei secrete, dar si cea interprinsa in paralel de artisti. A aparut in no 1 din 2013 al revistei Studia Politica si il puteti citi <a href="http://www.academia.edu/3174894/Sub_supraveghere_artistica_Relatia_artistilor_cu_Securitatea/">aici</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrVSepf6seXsrBzRGVBIvd8P1AUxU0fImaVt_l_TfU1whQOy5i6Wiibdeir_2JRk_v8gmcclXtgXkf_s-h_AdvJ9J-QglBokaiUdQuAPqBPi-4UtZ00Xzu967Z5NhzRH_lRYgCb-oIkyo/s1600/grigorescu_election-meeting.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrVSepf6seXsrBzRGVBIvd8P1AUxU0fImaVt_l_TfU1whQOy5i6Wiibdeir_2JRk_v8gmcclXtgXkf_s-h_AdvJ9J-QglBokaiUdQuAPqBPi-4UtZ00Xzu967Z5NhzRH_lRYgCb-oIkyo/s320/grigorescu_election-meeting.jpg" width="320" /></a></div>
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Ion Grigorescu, Electoral meeting, 1975</div>
Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com1tag:blogger.com,1999:blog-40737436346256759.post-20425499296259558912012-11-08T14:08:00.000-08:002012-11-08T14:13:51.318-08:00Art and politics in postcommunist Romania: changes and continuities<div style="text-align: justify;">
<span style="font-family: Georgia, Times New Roman, serif;">I wrote an article, <ahref doi="doi" full="full" http:="http:" www.tandifonline.com="www.tandifonline.com"><a href="http://www.tandfonline.com/doi/full/10.1080/10632921.2012.726550">Art and politics in postcommunist Romania: changes and continuities</a> </ahref> for the Journal of Arts Management, Law and Society that discusses how a<span style="line-height: 17px;">rtists are the first ones to react to their environment and to articulate a protest. Recent Romanian contemporary art questions the way communism is remembered or forgotten and the manner in which the postcommunist society was organized. This study uses the approach of politics and the arts to analyze both institutions and artistic discourses in Romania after 1989 in order to show how an artistic space is rebuilt after a dictatorial experience. The conclusions show that artists interrogate the “reconstruction” of democratic institutions and discourses on solid communist bases.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1r6z9r4-dU9SKTW6D0jXltH_JJ9HnJqDNZuPhz7B7_514YhQp0hhoFYdAVgCEcO7REBUoPnmZJMDho6vdtDWI-gMd4R6YoqWNdrFRuJI5dhFFCGTBlR2v68ThiJa1iBJMMl_W1saXc6Q/s1600/8_planbciprianmuresan.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1r6z9r4-dU9SKTW6D0jXltH_JJ9HnJqDNZuPhz7B7_514YhQp0hhoFYdAVgCEcO7REBUoPnmZJMDho6vdtDWI-gMd4R6YoqWNdrFRuJI5dhFFCGTBlR2v68ThiJa1iBJMMl_W1saXc6Q/s320/8_planbciprianmuresan.jpg" width="240" /></a></div>
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Ciprian Murean</div>
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Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com1tag:blogger.com,1999:blog-40737436346256759.post-42583878719519122012-10-16T09:21:00.001-07:002012-10-16T09:21:28.695-07:00Artistic critiques of modern dictatorships<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">I wrote an article called <a href="http://www.tandfonline.com/doi/abs/10.1080/10848770.2012.728799?journalCode=cele20#tabModule">Artistic critiques of modern dictatorships</a> for the latest number of The European Legacy that discusses how u<span style="line-height: 17px;">nder a political dictatorship it is primarily from the margins that an artistic critique can be articulated, as suggested by the examples presented from Romania and Chile during the 1970s and 1980s. By focusing on their threefold marginality—of the artist, the art form, and the subject of art—and by applying to them Jacques Rancière's concept of dissensus, the analysis of artistic variants of marginality sheds light on the relationship of art and politics in totalitarian regimes.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSqPIn0omgAbvkRolIvv3ajSBrXumvHKhwvRnMyYK42duyYwn494qq2F0gd0yAkC4RrN5D4-HkO40haIHH_NOA3JA3yKPy6Vctlo2tzZkisCL6EHsZqK1Aa119VZOlMQ-hL8re6zwSies/s1600/26.IGrigorescuLainchisoare.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSqPIn0omgAbvkRolIvv3ajSBrXumvHKhwvRnMyYK42duyYwn494qq2F0gd0yAkC4RrN5D4-HkO40haIHH_NOA3JA3yKPy6Vctlo2tzZkisCL6EHsZqK1Aa119VZOlMQ-hL8re6zwSies/s320/26.IGrigorescuLainchisoare.jpg" width="101" /></a></div>
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Ion Grigorescu, La Inchisoare (In prison, 1978)</div>
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Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com2tag:blogger.com,1999:blog-40737436346256759.post-53580571256081418102012-09-16T08:17:00.001-07:002012-09-16T09:03:28.666-07:00Civil society activism and authoritarian rule in Romania and Chile. Evidence for the role played by art(ists)<br />
<span style="font-family: inherit;"><span style="background-color: white; line-height: 20px;">I wrote a chapter about "</span><span style="background-color: white; line-height: 20px;">Civil society activism and authoritarian rule in Romania and Chile. Evidence for the role played by art(ists)" in <i>Civil Society Activism under Authoritarian Rule </i>(Routledge 2012) edited by Francesco Cavatorta and that you can order here: <a href="http://www.blogger.com/%3C/span"></a></span></span><a href="http://www.taylorandfrancis.com/books/details/9780415692649/" rel="nofollow" style="background-color: white; border: 0px; color: #0066cc; font-family: 'Helvetica Neue', Arial, sans-serif; font-size: 11px; line-height: 20px; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline; word-wrap: break-word;">http://www.taylorandfrancis.com/books/details/9780415692649</a>/.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYJ38u1a7fErjezl6YCh1sLnkWrYFvSJ_nvm4ZNZ7_MA9chZ_eRhrRGcLYBjBzxfIOOC_LEqRKCMXCXLpxSn3gz-tWaO8S39Wez6AY4nccGdo0j8k4tGF7lVb79bREo94PAk7epe5Scs0/s1600/Chestnut+Self-portrait,+1983,+photography,+dimensions+variable.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYJ38u1a7fErjezl6YCh1sLnkWrYFvSJ_nvm4ZNZ7_MA9chZ_eRhrRGcLYBjBzxfIOOC_LEqRKCMXCXLpxSn3gz-tWaO8S39Wez6AY4nccGdo0j8k4tGF7lVb79bREo94PAk7epe5Scs0/s320/Chestnut+Self-portrait,+1983,+photography,+dimensions+variable.jpg" width="213" /></a></div>
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László Újvárossy, Chestnut Self-portrait, 1983, photography, dimensions variable</div>
Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com2tag:blogger.com,1999:blog-40737436346256759.post-51549053237895073582012-06-01T02:08:00.000-07:002012-06-04T00:22:20.637-07:00Iron Curtain Graphics<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: inherit;">Iron Curtain Graphics is a beautiful volume edited by the Atelierul de Grafica and published by the prestigious publishing house Gestalten. The volume presents communist posters and has four sections: Propaganda, Labour Safety, Culture & Entertainment, Education & Science. I wrote one of the introductory texts called "Invisible daily propaganda. The template for uniform thought" that states how this type of propaganda tool was useless as all the posters and images became invisible for the majority of citizens. The intention of the authors of the project, Ciprian Isac and Carla Duschka, was to safeguard these images from total erasure and oblivion. A series of interesting details came up while writing the text for this book: the details of the communist <i>d</i><span style="background-color: white; line-height: 16px;"><i>écor </i>are still present while being invisible. These details of the bygone epoch still present were accompanied by a "double life" people had - an official one and a private, personal one. The involuntary comicality of some of the labour safety enouncements makes propaganda even more ridiculous than it appeared at the time. The aesthetic value of these signs of the still present past is certain and merits to be saved, documented, showed.</span></span></div>
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<span style="font-family: inherit;"><span style="background-color: white; line-height: 16px;">The volume can be bought on the website of Gestalten or in Bucharest at the Bookstore Carturesti.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG4oaXb7fGHIERm4lM1czCpbwFaUOgdHGhhHQepkWt8GSghWMI7eNpOi6lAJJJ_UQB1C_bZGX0wG5c4nEpAKmkZVKJ6UxZ5XnkzPc6Nhh01aUxDf_DDGMnPWGKpMQYGGotC_DXWM0FfcA/s1600/ironcurtain_side.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG4oaXb7fGHIERm4lM1czCpbwFaUOgdHGhhHQepkWt8GSghWMI7eNpOi6lAJJJ_UQB1C_bZGX0wG5c4nEpAKmkZVKJ6UxZ5XnkzPc6Nhh01aUxDf_DDGMnPWGKpMQYGGotC_DXWM0FfcA/s320/ironcurtain_side.jpg" width="257" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com1tag:blogger.com,1999:blog-40737436346256759.post-56701298360235013332012-05-28T07:24:00.001-07:002012-05-28T07:33:03.438-07:00One too many statues<div class="separator" style="clear: both; text-align: justify;">
This is my third post about an unwanted statue. This time things are even more problematic then before. The latest controversial statue is that of the poet/politician Adrian Paunescu known especially for his praising of Nicolae Ceausescu and the socialist republic; also leader of the Cenaclul Flacara, he was a politician after 1990 as a representative of the socialist party (PSM) and then of the social-democrat party (PDSR/PSD). His most important role after 1990 was as head of the Commission for Culture of the Senate. Thus, his influence in both communist and post-communist culture was quite important.</div>
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As his legacy is quite divisive in post-communist Romania why did one of the mayors of Bucharest decide to inaugurate just before local elections his bust? My question being rhetorical I think Paunescu represents for some nostalgic Romanians one of the greatest poets of the XXc, his verses are known by heart and can be heard in very diverse TV shows when the topic discussed concerns "our nation's great destiny" (this is one of the typical communist phrases of the protochronist period). For others, he represents all the evil the Ceausescu regime created: false values and false idols, accentuated nationalism and arrivisme. Yet, in our city, the first win; every time. Their perspective is officialized by local authorities such as the current mayor Necolai Ontanu.<span style="text-align: center;"> And this is what counts and should concern us all.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7VYmzMRWew87eR1MDZcNVnYR36D9_ooxo_n1BdsCW2YqK1_nHUIh7f7Z4zM_gd8OYU6hCgjGID48IHH8PWm5jX9RMXpCQt9xTm0wjrjXNY4BxmVHfpUjGxGVJFm4ZSrTbW6p4UAJswlg/s1600/Adrian+Paunescu+de+Vlad+Petri.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7VYmzMRWew87eR1MDZcNVnYR36D9_ooxo_n1BdsCW2YqK1_nHUIh7f7Z4zM_gd8OYU6hCgjGID48IHH8PWm5jX9RMXpCQt9xTm0wjrjXNY4BxmVHfpUjGxGVJFm4ZSrTbW6p4UAJswlg/s320/Adrian+Paunescu+de+Vlad+Petri.jpg" width="320" /></a></div>
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The photo belongs to Vlad Petri.</div>Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com1tag:blogger.com,1999:blog-40737436346256759.post-20411317986978472302012-05-06T06:56:00.003-07:002012-05-06T06:59:03.763-07:00Naked Traian or yet another failed monument in Bucharest<div class="separator" style="clear: both; text-align: justify;">
The most recent monument inaugurated in Bucharest belongs to the sculptor Vasile Gorduz and shows the Roman emperor Traian naked and holding the symbol of the Roman and Dacian fusion (the wolf/snake). This depiction, placed on the steps of the Museum of National History has been greeted by all sorts of jokes and derision as authorities themselves fight each other (the current mayor Oprescu and the director of the museum Oberlander Tarnoveanu). I raised this issue before: why not a more interactive form of decision concerning public monuments? This time the cost of the project is not so enormous as for previous recent monuments but still the issue remains. Why inaugurate (as the mayor Oprescu announced) an entire series of monuments dedicated to the fusion of Romans and Dacians (oh so dear to the protochronism of the 1970s-1980s)? Why "tradition" and our "glorious" history are the only things politicians have in mind when public art is concerned? Contemporary art still seems rather an extraterrestrial form of art for Romanian public authorities.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3ChvOCJpRkbqvjM3ggHmsRD8FCtPOoaUaWaFUXH63V_SNV3pzyMHy9nR6WwD6M28ISkD1oRil7s4owJwQQtZAZhxY2yMrjIvFv76i1eaDzj57XzwpSD59u2VOVBs9xHFGfU31jNHvktY/s1600/photo+(5).JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3ChvOCJpRkbqvjM3ggHmsRD8FCtPOoaUaWaFUXH63V_SNV3pzyMHy9nR6WwD6M28ISkD1oRil7s4owJwQQtZAZhxY2yMrjIvFv76i1eaDzj57XzwpSD59u2VOVBs9xHFGfU31jNHvktY/s320/photo+(5).JPG" width="239" /></a></div>
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The statue has already been ridiculed in social media as the picture shown below testifies</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXH73lANpEO6ktz82jJGE-HBezNp5qV9jH4Tg23Ro2FZq2R1ZYMzg4CF_Q1hkJoHT4vH2dAe1NiOGRGjRii1qMsyQX_nOPnlvJiATB0-PB-DI4pwVxjudXi-PqED4fnZz85nu8m4GNcF8/s1600/Julien+Britnic.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXH73lANpEO6ktz82jJGE-HBezNp5qV9jH4Tg23Ro2FZq2R1ZYMzg4CF_Q1hkJoHT4vH2dAe1NiOGRGjRii1qMsyQX_nOPnlvJiATB0-PB-DI4pwVxjudXi-PqED4fnZz85nu8m4GNcF8/s320/Julien+Britnic.jpg" width="226" /></a></div>
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by Julien Britnic (Facebook)</div>Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com2tag:blogger.com,1999:blog-40737436346256759.post-35670602967880904482012-01-28T04:10:00.002-08:002012-01-28T08:43:41.893-08:00From Lenin to Deng Xiaoping: statues in Romania<div style="text-align: justify; "><span>Who decides in Romania where and whom shall be represented in the public space? This is the question. A recent decision taken by the local administration of the city of Bistrita in the northern part of Romania has puzzled me. They decided to build a statue of Deng Xiaoping in the Independence Square motivating that they received an address from the county' prefect...</span></div><div style="text-align: justify; "><span><br /></span></div><div style="text-align: justify; "><span>If we take a look at the case of Bucharest we discover that the Bucharest Mayor has a "Scientific Council of the Administration of Monuments" (?!) that decides what personality should be represented. My puzzlement comes after two controversial decisions to (re)build in Bucharest the statue of King Carol (which cost was of 3 million Euro) on its former pre-communist site (realized by sculptor Florin Codre) and to place in front of the Bucharest National Theater (TNB) a equally costly project (worth 800.000 Euros) called "Caragialiana" by <span>Ioan Bolborea </span>and inspired by Romanian playwright I.L. Caragiale. Both projects were questioned by contemporary artists as part of their public interventions. See more about it on their </span><a href="http://sculptureexpanded.blogspot.com/">website</a>.</div><div style="text-align: -webkit-auto; "><span><br /></span></div><div style="text-align: justify; "><span>Let's not forget Bucharest is already scarred by such monuments as the "Memorial of rebirth - Eternal glory to the heroes and to the Romanian revolution of December 1989" (!) by Alexandru Ghildus also known as "the olive" or "the potato" failing to achieve the status of an obelisk the author intended so as to remember the heroes of the Romanian revolution of 1989 in the Revolution Square.</span></div><div style="text-align: justify; "><span><br /></span></div><div style="text-align: justify; "><span>I ask why isn't a form of public consultation imagined before building such unrepresentative monuments and why isn't there more transparency in what concerns the selection of personalities to be remembered as well as in what concerns the authors of these projects.</span></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCvqDSDJ0xTApVR5_FinCQqJzBaSTfbkIPOUMlRG53XJ9eZ3ZZkpswMmIRwEsogkPvBappQvGCzl36BBtgIQ-0GR2_H-6aI4kZJgm8FLq-FmURsMJD0ivaeMfwSHngARkxdCJXy-o-O3I/s1600/415509_10150513316428195_600278194_8794426_367729231_o.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 239px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCvqDSDJ0xTApVR5_FinCQqJzBaSTfbkIPOUMlRG53XJ9eZ3ZZkpswMmIRwEsogkPvBappQvGCzl36BBtgIQ-0GR2_H-6aI4kZJgm8FLq-FmURsMJD0ivaeMfwSHngARkxdCJXy-o-O3I/s320/415509_10150513316428195_600278194_8794426_367729231_o.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5702724371604226978" /></a><br /><div style="text-align: justify;"><br /></div><div style="text-align: justify;"><br /></div>Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com7tag:blogger.com,1999:blog-40737436346256759.post-88729575328079535632011-12-11T09:51:00.001-08:002011-12-11T10:04:18.201-08:00Art and politics in (post)communism. Special issue of Studia Politica<div style="text-align: justify;">I have edited a special issue of the journal Studia Politica. Romanian Journal of Political Science with the title <a href="http://www.studiapolitica.eu/">Art and politics in (post)communism</a>.</div><div style="text-align: justify;"><span class="Apple-style-span">
<br /></span></div><div style="text-align: left;"><span class="Apple-style-span" style="text-align: justify; ">The selection of articles published in this special issue shows the plurality of foci and approaches the study of art and politics entails. </span><span>The interrogations this special issue addresses </span><span>situate communist art (visual arts, film) and culture in their connections to politics in the post-communist countries of Central and Eastern Europe. Several reviews of essential texts of art and politics accompany this special issue.</span></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl-0hN8kID8CmijSvc1_h_B6HSi5h54jWA7ga6L-LQhIOSXIvaeaCV964pQFFYMKXJKs0MWgqv_H4RbARdHH-bIQRWyFohSfWLru6YoRfiQi8kPPawgwPmvu89VdqTEVRMEF-HQx6zEYA/s1600/339643_203448606404858_145917608824625_477058_188936845_o.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="text-align: justify;display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; cursor: pointer; width: 226px; height: 320px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl-0hN8kID8CmijSvc1_h_B6HSi5h54jWA7ga6L-LQhIOSXIvaeaCV964pQFFYMKXJKs0MWgqv_H4RbARdHH-bIQRWyFohSfWLru6YoRfiQi8kPPawgwPmvu89VdqTEVRMEF-HQx6zEYA/s320/339643_203448606404858_145917608824625_477058_188936845_o.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5684931920497284882" /></a><div><div id="fb-root"></div></div><div><script>(function(d, s, id) {</div><div> var js, fjs = d.getElementsByTagName(s)[0];</div><div> if (d.getElementById(id)) return;</div><div> js = d.createElement(s); js.id = id;</div><div> js.src = "//connect.facebook.net/en_US/all.js#xfbml=1";</div><div> fjs.parentNode.insertBefore(js, fjs);</div><div>}(document, 'script', 'facebook-jssdk'));</script></div><div style="text-align: justify;"><span class="Apple-style-span">
<br /></span></div>Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com3tag:blogger.com,1999:blog-40737436346256759.post-52381564872726615312011-11-28T03:21:00.001-08:002011-12-11T12:50:43.977-08:00Propaganda zilnica invizibila. Sablonul gandirii unice<div style="text-align: justify;"><span class="Apple-style-span" >Am scris un text cu acest titlu "Propaganda zilnica invizibila. Sablonul gandirii unice" pentru cel de-al doilea volum din <i>Grafica fara computer</i> editat de niste oameni entuziasti de la <a href="http.www.graphicfront.ro/">Atelierul de Grafica</a>. Ideea acestui nou volum era documentarea tipurilor de scris prezente inca in spatiul nostru public, majoritatea fiind create in perioada regimului comunist. De la firmele pentru magazinele Nufarul, Paine, Alimentara, Cinematograf si asa mai departe, la tabilitele - facute de mana sau produse in serie - de protectia muncii. Se alatura colectiei afisele de propaganda si enunturile politice. Trecutul vinde inca si el este inca accesibil in spatiul nostru public, este inca frecventabil desi incet dispare. Undeva intre nostalgie si necesara colectionare a semnelor trecutului se afla si acest volum.</span></div><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="background-color: rgba(255, 255, 255, 0.917969); color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 13px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-XYMK0-tAXHZpvONMMmvaBDY8Feh4nixecChGv7jcLi8-0_oDTE95DK6mbIO_YZ_r6PxgdTFodST2eIFoax3s7iKtEY6qN0GfnjBJfrCFcLqUDJavb6JsiY4FG2GUzGTFEqBv3guTEB4/s1600/339125_10150398465438195_600278194_8371940_356681579_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-XYMK0-tAXHZpvONMMmvaBDY8Feh4nixecChGv7jcLi8-0_oDTE95DK6mbIO_YZ_r6PxgdTFodST2eIFoax3s7iKtEY6qN0GfnjBJfrCFcLqUDJavb6JsiY4FG2GUzGTFEqBv3guTEB4/s320/339125_10150398465438195_600278194_8371940_356681579_o.jpg" width="214" /></a></span></div><span class="Apple-style-span" style="background-color: rgba(255, 255, 255, 0.917969); color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 13px;"><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="background-color: rgba(255, 255, 255, 0.917969); color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 13px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibMvIAxibieZn4TPubDW9SYoiEVXBdYGE3fx7_xk_We18ITFeRSS3Ai-1iVNmCDFA5WqTrQw594SZWIDEcYQh6it9g8JhIX449XSQNmdS18RVTpD_GzMWl2xQjr7lzOIxgW8t69NP1zk0/s1600/325996_10150398505063195_600278194_8372203_1661979353_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="237" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibMvIAxibieZn4TPubDW9SYoiEVXBdYGE3fx7_xk_We18ITFeRSS3Ai-1iVNmCDFA5WqTrQw594SZWIDEcYQh6it9g8JhIX449XSQNmdS18RVTpD_GzMWl2xQjr7lzOIxgW8t69NP1zk0/s320/325996_10150398505063195_600278194_8372203_1661979353_o.jpg" width="320" /></a></span></div><span class="Apple-style-span" style="background-color: rgba(255, 255, 255, 0.917969); color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 13px;"><br /></span><br /><div class="separator" style="clear: both; text-align: center;"><span class="Apple-style-span" style="background-color: rgba(255, 255, 255, 0.917969); color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 13px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqu-wL5KHJ6oMAHl6atrczj7vvQSHuZyUOgs86k6nzC-Y0fCOTGp6lHiEr_xQNb79mY4tw15pHUPjSR3qdGZfD61eoZSLRJOlXXg4dYUbsFwflx5GhF4-A2HlUELRLSLYsh_Db59u8mAI/s1600/339904_10150398590408195_600278194_8372757_285591928_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqu-wL5KHJ6oMAHl6atrczj7vvQSHuZyUOgs86k6nzC-Y0fCOTGp6lHiEr_xQNb79mY4tw15pHUPjSR3qdGZfD61eoZSLRJOlXXg4dYUbsFwflx5GhF4-A2HlUELRLSLYsh_Db59u8mAI/s320/339904_10150398590408195_600278194_8372757_285591928_o.jpg" width="239" /></a></span></div>Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com2tag:blogger.com,1999:blog-40737436346256759.post-42717523713471288552011-08-01T04:45:00.001-07:002011-10-28T04:11:22.612-07:002nd CFP: Studia Politica, Special issue on “Art and politics” no 4/2011<div class="MsoNormal" style="text-align: justify;">
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<span class="Apple-style-span"><span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;">We invite contributions </span><span style="background-attachment: initial; background-clip: initial; background-color: #fff2e6; background-image: initial; background-origin: initial; color: #222222; font-family: 'Times New Roman', serif; font-size: 12pt;">for</span><span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;"> a special issue of <i>Studia Politica</i> that explores the relationship between art and politics in postcommunist contexts. We welcome interdisciplinary approaches of these topics in English, French or Romanian.<o:p></o:p></span></span></div>
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<span class="Apple-style-span"><span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;">We are especially interested in submissions that situate communist art and culture in their connections to politics in the post-communist countries of Central and Eastern Europe.<o:p></o:p></span></span></div>
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<span class="Apple-style-span"><span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;">Questions contributors might address include, but are not limited to:<o:p></o:p></span></span></div>
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<span class="Apple-style-span"><span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;">How were artistic institutions transformed by the changes of regime?<o:p></o:p></span></span></div>
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<span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;">How did the double transition (political and economic) affect the artistic domain?<o:p></o:p></span></div>
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<span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;">How are artistic discourses transformed in the aftermath of communism?<o:p></o:p></span></div>
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<span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;">How is the communist past deconstructed by artists?<o:p></o:p></span></div>
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<span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;">Which is, comparatively, the approach of the post-communist states towards the artistic world?<o:p></o:p></span></div>
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<span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;">Approaches of the various artistic contexts during the communist period are also welcomed.<o:p></o:p></span></div>
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<span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;">Submission Guidelines: the articles should have 40.000 characters (including spaces).<o:p></o:p></span></div>
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<span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;">Please consult our <i>Author</i> <i>Guidelines before</i> submitting your article at:<a href="http://www.studiapolitica.eu/Author-guidelines"><span style="color: blue;">http://www.studiapolitica.eu/Author-guidelines</span></a>.<o:p></o:p></span></div>
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<span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;">The <b>deadline</b> to submit your articles is <b>November 5</b>, 2011.<o:p></o:p></span></div>
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<span style="color: black; font-family: 'Times New Roman', serif; font-size: 12pt;">The editor, Caterina Preda may be contacted at: caterina.preda@studiapolitica.eu </span><br />
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</span>Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com4tag:blogger.com,1999:blog-40737436346256759.post-14295445627115507102011-07-23T04:05:00.001-07:002011-07-23T04:24:01.974-07:00Minimal histories (Petite histoire)<div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifPVVcvXrwvuGiJrnNqnzpj4zTzFKRw474JVqRJwOvMpm-LM9nMhZm7syb8loLZRa-ev6eOIWv6m_1r6Epeobo9hQk577tEtf6t7Fh9CTz2iTdY0-unesghV_QulyWNEE4rAwJVZN0ydY/s1600/IMG_0223.JPG" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 320px; height: 239px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifPVVcvXrwvuGiJrnNqnzpj4zTzFKRw474JVqRJwOvMpm-LM9nMhZm7syb8loLZRa-ev6eOIWv6m_1r6Epeobo9hQk577tEtf6t7Fh9CTz2iTdY0-unesghV_QulyWNEE4rAwJVZN0ydY/s320/IMG_0223.JPG" border="0" alt="" id="BLOGGER_PHOTO_ID_5632505925119006642" /></a></div><div style="text-align: justify;">I stumbled upon a beautiful book that evokes what I like to call minimal histories, the lost details, the personal memories. Its name is <i>Petite histoire</i> and the project belongs to the <i>Galeria Posibila </i>in Bucharest. The volume reassembles amateur photos taken by anonymous authors but it evokes so many worlds in its pages and holds a distinct poetic feeling.</div><div style="text-align: justify;">I love this kind of lost, not so important, even marginal topic. The images are all black and white and seem to be taken at the beginning of the 20th century in Romania.</div><div style="text-align: center;"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXfXuOHLRj-2ybL_bnpx56G95ddr0jmxBSRFI3r3_N8c0lLxI5H89ql2Y4_-BQX1g7sZIcPb-I5P8W6p8n0SM6CgFI6Zr8iIEy2guIpb453QmOFz1BQpqacfBZSLUR_iOVSrSqTfnDSM/s320/IMG_0225.JPG" /></div>Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com1tag:blogger.com,1999:blog-40737436346256759.post-30122774506903051512011-04-22T04:26:00.001-07:002011-04-23T01:59:19.954-07:00Art of memorialization in RomaniaI wrote a chapter about this trend of contemporary art in Romania to memorialize communism through different means. You can check it out at this address:<br />http://unibuc.academia.edu/CaterinaPreda/Papers/538711/Looking_at_the_past_through_an_artistic_lens_art_of_memorialization<br /><div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvcAYAJBeg3wQbhHxbKKCafhSM1D-I-WVLX6EzEPD5asLAup4YP8Er0uuCF-vVUpgDlVIpDG_wu632Pu3IMId06zjS9dGaMGBbQQZtHJijJ8cda67aj34p8Y5ZMhqQ6lVT4R_12LRl3Ck/s1600/dialog+cu+c+2007.jpg"><img style="text-align: left;display: block; margin-top: 0px; margin-right: auto; margin-bottom: 10px; margin-left: auto; cursor: pointer; width: 320px; height: 256px; " src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvcAYAJBeg3wQbhHxbKKCafhSM1D-I-WVLX6EzEPD5asLAup4YP8Er0uuCF-vVUpgDlVIpDG_wu632Pu3IMId06zjS9dGaMGBbQQZtHJijJ8cda67aj34p8Y5ZMhqQ6lVT4R_12LRl3Ck/s320/dialog+cu+c+2007.jpg" alt="" id="BLOGGER_PHOTO_ID_5598368425117146002" border="0" /></a>Ion Grigorescu, <span style="font-style:italic;">Posthumous dialogue with Ceausescu</span> (2007)<br /><iframe src="http://www.facebook.com/plugins/like.php?href=http%3A%2F%2Fartspolitics.blogspot.com%2F2011%2F04%2Fart-of-memorialization-in-romania.html&layout=standard&show_faces=true&width=450&action=like&font&colorscheme=light&height=80" style="border:none; overflow:hidden; width:450px; height:80px;" allowtransparency="true" scrolling="no" frameborder="0"></iframe><br /></div>Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com1tag:blogger.com,1999:blog-40737436346256759.post-89930551820046101472010-12-02T11:03:00.000-08:002010-12-03T01:26:35.977-08:00"the romanian dream"= "a country as outside"<div style="text-align: justify;">Two very different types of artistic expressions that I have seen in Romania recently have provoked my reaction to write this post. The first one is part of a broader and very interesting artistic project "Project 1990" curated by the visual artist Ioana Ciocan. The project has started by imagining different types of artistic interventions which are presented on the now empty pedestal of the former Lenin statue in Bucharest as a signal of the communist heritage and/or postcommunist problems. The latest intervention is called "the Romanian dream" (by artists <span jsid="text"> Matei Arnăutu, Andrei Ciubotaru, Florin Bră<span class="text_exposed_hide"></span><span class="text_exposed_show">tescu & Iosif Oprescu</span></span>) and sought to materialize, by creating an object that represents the Romanian dream, the conclusions of a discussion launched on an open forum available at: www.visulromanesc.ro. The result was the creation of a suitcase with all sorts of objects emerging from it. The idea behind this being, as I read it, that Romanians all want to leave their country.<br />The second example comes from popular culture and it is the latest song released by a Romanian band, Vunk. The song is called "I want a country as outside (<a href="http://www.youtube.com/watch?v=jqFHJAeyLv0">http://www.youtube.com/watch?v=jqFHJAeyLv0</a>). One must know that Romanians continue to refer to other countries as "outside" as a direct reminiscence of the communist period when this had a significance, as Romanians were not allowed to travel freely. The title of this song, as well as the conclusion of the artistic project quoted above are symptoms of what seems to have become a Romanian obsession at least as it translates in public discourse and mass-media discourse. There seems to be an omnipresent double question: when are you leaving the country? why aren't you? This seems to me to be an attitude that cannot produce any positive results on the needed reform, not only of the state and its institutions, but of the positioning of citizens in relation to the latter as well as to each other. Always looking to other spaces, political cultures and national experiences not as possible solutions providers but as escape-places is not a plausible solution.<br /><script src="http://connect.facebook.net/en_US/all.js#xfbml=1"></script><fb:like href="http://artspolitics.blogspot.com/2010/12/romanian-dream-country-as-outside.html" show_faces="true" width="450"></fb:like><br /></div>Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com0tag:blogger.com,1999:blog-40737436346256759.post-82807651650491506452010-10-26T07:59:00.000-07:002010-10-31T10:52:33.646-07:00Equipo Cronica - pop art against Franco<div style="text-align: center;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhIatGTVfLI1dWsk19kFIn37FkgKE4qgcU3kWl2HpGKO6r24aa4ZIBOLF0caqYMIhqcb659NYAoS-qlOfxPZsUlxgsM3Hlo8FmrfSKQREOe-9-4wne7vzOTj2szQBit5NXdWum3ABC2qg/s1600/equipo+cronica.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 220px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhIatGTVfLI1dWsk19kFIn37FkgKE4qgcU3kWl2HpGKO6r24aa4ZIBOLF0caqYMIhqcb659NYAoS-qlOfxPZsUlxgsM3Hlo8FmrfSKQREOe-9-4wne7vzOTj2szQBit5NXdWum3ABC2qg/s320/equipo+cronica.jpg" alt="" id="BLOGGER_PHOTO_ID_5532367056992480210" border="0" /></a>Guernica (1971)<br /></div><br />preparing my class about authoritarian art, I stumbled upon this pretty interesting artistic group from the Spain of the 1960s, Equipo Cronica (active between 1964-1981, including Juan Antonio Toledo, Manolo Valdés and Rafael Solbes) which used pop art to criticize the society. Inspired explicitly by Cezanne, Velasquez and Picasso (which they quote and reinterpret extensively) they alluded to the commercialism of the period in which they were creating. Namely, la "cultura de la evasion" as the mass culture phenomenon of the mid-60s in Franco's Spain came to be known; it encompassed everything from bull fights to football, bad literature and bad cinema. I chose to show their reinterpretation of Guernica by Picasso because it strikes me how pop-art inspired this piece is and how the symbolism of the first Guernica is even more striking.Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com4tag:blogger.com,1999:blog-40737436346256759.post-30548180004457831252010-10-25T12:41:00.000-07:002010-10-25T12:55:26.523-07:00Chto DelatChto Delat or What is to be done is an artist group from Saint Petersburg explicitly demanding for a reevaluation of left values. An exhibition of their work is on display at the Institute of Contemporary Art in London. Here can be seen the video which was part of the exhibition: <span style="font-weight: bold;">http://vimeo.com/12130035</span>. The video stems from the documentation of the art collective of the social and political actors intervening in a controversial plan to build in the center of St Petersburg "the Okhta Center with a Gazprom skyscraper". But more than this the video shows Russian society divided by fractures ironically sung about.Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com2tag:blogger.com,1999:blog-40737436346256759.post-18204847677120199862010-10-18T06:46:00.000-07:002010-10-18T06:53:35.583-07:00the database of art plundered by the naziToday was launched a database that collects information about works of art plundered by the Nazi from Jewish owners in France and Belgium . This project is interesting as it offers this search-able database and it continues the judicial fights already under way in Austria and Hungary (some of the most visible scandals/trials of last year). Hitler's project to create the art museum of his dreams also with the help of "loans" from other museums in the countries occupied is known but what seems still surprising to me is the way in which people like Goring would hold a discourse publicly and would thereafter try to do their best to collect some more "degenerate art" (!)<br />The database can be accessed at this address: http://www.errproject.org/jeudepaume/Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com0tag:blogger.com,1999:blog-40737436346256759.post-30140071107288911942010-08-31T13:26:00.000-07:002010-11-08T03:18:48.155-08:00Susane MeiselasA photographer and documentarist, Meiselas is most famous for her work on Central America both through the use of photographs and film. The most important body of work she did, from my point of view, concerns the portrait of a revolution (the Sandinist revolution in <a href="http://www.susanmeiselas.com/nica/nica.html">Nicaragua</a>in the 1980s) by registering history in its making which she characterizes as follows: "what happened in Nicaragua, I wanted to register the voices of the subjects that are embedded, I hope, as objects in my photographs. By knowing and recognizing its limits, the voice of the protagonist within the picture, challenges the image as a fixed moment in time" (see <a href="http://brooklynrail.org/2008/11/art/susan-meiselas-with-phong-bui/">more</a>).<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpszxi_b6gdjRXLZ30XTWo3Uh59RpJpVoRjkuxF9kMxS8L6Q6wGgVpUrfEOmsudVKT4-4lwB-Lm4PpnE7RXjw4hty7NVnXQIRStZzWqXeJ-p8pjXsS9QvzR-cCML-AKrHAQoqTp3rbZ2A/s1600/Nicaragua.SandinistaInAHomeInEsteli-+Susan+Meiselas,1981.jpg"><img style="display: block; margin: 0px auto 10px; text-align: center; cursor: pointer; width: 207px; height: 320px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpszxi_b6gdjRXLZ30XTWo3Uh59RpJpVoRjkuxF9kMxS8L6Q6wGgVpUrfEOmsudVKT4-4lwB-Lm4PpnE7RXjw4hty7NVnXQIRStZzWqXeJ-p8pjXsS9QvzR-cCML-AKrHAQoqTp3rbZ2A/s320/Nicaragua.SandinistaInAHomeInEsteli-+Susan+Meiselas,1981.jpg" alt="" id="BLOGGER_PHOTO_ID_5537131646913900914" border="0" /></a>Anonymoushttp://www.blogger.com/profile/15668193884570038244noreply@blogger.com0