Abstract
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).
Highlights
On the 10th of October 2011, any passer-by walking along the Victory Avenue (Calea Victoriei) in Bucharest would come across an unusual manifestation in front of the building of the Royal Foundation, the Central University Library of Bucharest
43 Lenin’s sleep, temporary artwork made by artist Mihai Zgondoiu in the framework of public art project Proiect 1990
One of the texts which marked this shift and which opens up new ways of thinking about public art was Patricia Philips’ essay “Out of Order: The Public Art Machine” from the 1988 Artforum
Summary
On the 10th of October 2011, any passer-by walking along the Victory Avenue (Calea Victoriei) in Bucharest would come across an unusual manifestation in front of the building of the Royal Foundation, the Central University Library of Bucharest.
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