Journal of Education Culture and Society No. 1_2015 DOI: 10.15503/jecs20151.207.216 Temporality and permanence in Romanian public art MARIA-JUDIT BALKO Centre of Excellence in Image Studies, University of Bucharest, Bd. Regina Elisabeta 4-12, Bucharest, Romania E-Mail adress:
[email protected] 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 coun- terbalance the support that the Romanian state has shown only towards monuments and memorials dedicated to afÞ rming 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 connec- tion with the texts of Piotr Piotrowski (Art and Democracy in Post-communist Europe, 2012) and Boris Groys (Art Power, 2008). Keywords: public art, post-communism, monument 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, now the Central University Library of Bucharest. Near the equestrian statue of Carol I (which was made by the sculp- tor Florin Codre and only recently unveiled in 2010), a group of performers were kneeling on the pavement, mimicking the position of the horse above, one leg raised42.