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2015 | 6 | 1 | 207-216
Article title

Temporality and permanence in Romanian public art

Content
Title variants
Languages of publication
EN
Abstracts
EN
This paper analyzes the relationship between permanent monuments and temporary art projects, as temporality is one of the strategies employed by Romanian artists to counterbalance the support that the Romanian state has shown only towards monuments and memorials dedicated to affirming its value. The complex nature of public art requires a careful consideration of the different dimensions this practice employs, and for that the Western debate on this matter can be a reference point in understanding Romanian public art. We will be looking at possible aspects of the functions of these two main directions in Romanian public art, as they stand methodically one in opposition to the other, in connection with the texts of Piotr Piotrowski (Art and Democracy in Post-communist Europe, 2012) and Boris Groys (Art Power, 2008).
Year
Volume
6
Issue
1
Pages
207-216
Physical description
Dates
published
2020-01-05
Contributors
  • Centre of Excellence in Image Studies, University of Bucharest, Bd. Regina Elisabeta 4-12, Bucharest, Romania
References
  • Bercea, M. (2005). O ofensa: Monumentul Revolutiei. Revista 22. Retirieved from http://www.revista22.ro/o-ofensa-monumentul-revolutiei-1970.html.
  • Bishop, C. (2012). Artificial Hell. Participatory Art and the Politics of Spectatorship. London, New York: Verso.
  • Groys, B. (2008). Art Power. Cambridge, London: The MIT Press.
  • Mouffe, C. (2008). “Art and Democracy /Art as an Agnostic Intervention in the Public Space”. In: Art as a Public Issue. Open magazine, no.14. Rotterdam: NAi Publishers. 6-15.
  • Piotrowski, P. (2012). Art and Democracy in Post-communist Europe. London: Reaktion Books.
  • Phillips, P. (1988). Out of Order: the public art machine. in Artforum, December.
Document Type
Publication order reference
Identifiers
YADDA identifier
bwmeta1.element.ojs-doi-10_15503_jecs20151_207_216
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