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Moving Images in Romanian Critical Art Practice and Recent History

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Moving Images in Romanian Critical Art Practice and Recent History MOVING IMAGES IN ROMANIAN CRITICAL ART PRACTICE AND RECENT HISTORY Mihaela Brebenel Goldsmiths, University of London PhD Media and Communications, 2016 .1 I hereby declare that the work presented in this thesis is my own. .2 Acknowledgements It is perhaps commonplace to say that a doctoral research is a journey. Nevertheless, I have only come to understand that this research project has been both a personal journey and an academic one in the final stages of writing, when paradoxically, there was little time for reflection. The time that unfolded between the moment when I was writing a tentative research proposal and the moment I am now in has been intense, incredible, invaluable and rewarding. I am convinced that I would have not experienced either of these without the support, attentive consideration and incredibly fruitful conversations with my supervisor, Dr. Pasi Väliaho. I started this journey under the auspices of his encouragements and could not have carried through without his relentless belief in my academic abilities. I would also like to acknowledge the support and inspiring encounters with Dr. Rachel Moore, always surprising and always refreshing. In different stages of this research, she has acted as a mentor and reader of my work, at the same time showing an empowering collegial attentiveness to my ideas. An extended thank you goes to Prof. Sean Cubitt and Prof. Julian Henriques, for their general support within the Media and Communications department, their suggestions made for various versions of the text and their encouragement to experiment across-disciplines and with methods. This research would not have been possible without the funding received from the Arts and Humanities Research Council and the research exhibition in New Delhi, India would not have happened without the AHRC International Placement Scheme and Fellowship at Sarai CSDS. Furthermore, I would like to thank the artists: Mona Vătămanu and Florin Tudor, Joanne Richardson, Irina Botea, Ciprian Mureșan, Matei Bejenaru, Sebastian Moldovan, Marina Albu, Ciprian Homorodean, Ștefan Constantinescu, and Alexandru Solomon for making their work available and for allowing me to display their works in the research exhibitions. My gratitude also goes to curator Raluca Voinea for offering me the chance to publish in IDEA Arts + Society magazine and to artist Dan Perjovschi for being an incredible conversation partner. .3 To researcher and curator Vlad Morariu, who has read various versions of the text and has travelled most of this journey with me, I have to thank for his extraordinary ability to listen and empathize, and for the “madness of a decision” which I hope he never will regret. Chris Collier, our work together and our exchanges have been, in the past six years, ever-expanding sources of inspiration and joy. Thank you for being an ally and part of my ventures, coming to my events and research shows and partnering up in long rants on class war, the future of art or the gentrification of Deptford and New Cross. In the last stage of this research, I particularly want to thank Chris Collier and Stephanie Moran for proofreading this document in very short time, an absolutely invaluable help. I would also like to thank my family for their trust and care, and my friends Florina Tudose and Andreea Găzdaru for always sharing their endless energy resources with me when they were most needed. .4 Abstract This thesis approaches contemporary moving image artworks from Romania in order to critically revisit key events, moments and situations in the country’s recent history. Responding to a gap in the literature on Romanian art, it addresses the relations between moving image practices and the socio-political transformations that have taken place in the country over the last three decades. This is achieved by considering the role of moving images in two major events – the Romanian 1989 revolution and the June 1990 anti-government protests – and by mapping critical moving image art practice from the communist period to the “postcommunist condition” and the context of post-2008 economic crisis. In addition, this thesis investigates how moving image art can be used to assess the contemporary Romanian situation. The main argument is that responding to these recent transformations is an urgent political task, one which few artists have addressed themselves to date. A constellation of moments from the recent Romanian past is thus assembled in order to explore the possibilities of thinking and writing about history that are evoked through moving images. The analysis focuses on a selection of works by artists Ion Grigorescu, Harun Farocki and Andrei Ujică, Mona Vătămanu and Florin Tudor, and, Joanne Richardson, each of whom have responded to this political task in a particular way. .5 Table of Contents ACKNOWLEDGEMENTS ..................................................................................................... 3 ABSTRACT .......................................................................................................................... 5 TABLE OF CONTENTS ......................................................................................................... 6 TABLE OF IMAGES ........................................................................................................... 10 INTRODUCTION ............................................................................................................... 16 PRODUCING ARTICULATIONS WITH MOVING IMAGES .................................................................... 16 RESEARCH QUESTIONS EXPANDED. THEORETICAL GROUNDS AND METHOD ....................................... 22 ARGUMENT AND CHAPTER OUTLINES ........................................................................................ 26 CONTRIBUTION TO KNOWLEDGE AND LIMITATIONS ...................................................................... 31 PROBLEMS RESTATED AND POSSIBLE RESPONSES ......................................................................... 33 CHAPTER 1 : WORKING WITH ROMANIAN MOVING IMAGES ........................................ 34 1.1 INTRODUCTION .............................................................................................................. 34 1.2 METHODOLOGICAL APPROACH .......................................................................................... 38 1.2.1 Groundwork: Defining Terms and Collecting Materials ................................. 38 1.2.2 Documents, Collections, and Archives ............................................................ 40 1.2.3 Researching with Moving Images ................................................................... 41 1.3 MOVING IMAGES IN RELATION TO ART AND POLITICS ............................................................ 43 1.3.1 Moving Images and the Politics of Gallery Spaces.......................................... 43 1.3.2 Nightmares of Participation ............................................................................ 48 1.4 WRITING WITH AND ABOUT MOVING IMAGES ...................................................................... 55 1.4.1 Approaches to Moving Image Histories .......................................................... 55 1.4.2 The Concept of Event and Moving Images ..................................................... 58 .6 1.5 CONCLUSION ................................................................................................................. 62 CHAPTER 2 : HISTORIES OF MAKING MOVING IMAGES IN ROMANIAN ART .................. 64 2.1 INTRODUCTION .............................................................................................................. 64 2.2 POLITICIZING MOVING IMAGE PRACTICES ............................................................................ 66 2.2.1 Local Context and Histories ............................................................................ 66 2.2.2 Traditions, Exceptions and Recuperations ...................................................... 68 2.3 MOVING IMAGE PRACTICES IN COMMUNISM: HISTORIES OF SOFT RESISTANCE ........................... 72 2.3.1 Studio Space and Private Experience: Ion Grigorescu .................................... 74 2.3.2 Collective Moving Image Experiments: Kinema Ikon ..................................... 83 2.4 MOVING IMAGE PRACTICES IN POSTCOMMUNISM: HISTORIES OF ALIGNMENT ........................... 90 2.4.1 Communism as Rupture .................................................................................. 90 2.4.2 Locally Aligned ................................................................................................ 93 2.4.3 Technology and Transition .............................................................................. 96 2.5 CONCLUSION ............................................................................................................... 103 CHAPTER 3 : MOVING IMAGE AND EVENT: 1989 ......................................................... 105 3.1 INTRODUCTION ............................................................................................................ 105 3.2 REVOLUTION-AS-EVENT AND ITS MOVING IMAGES ............................................................. 107 3.2.1 Fade In: Images and Political Subjects .......................................................... 110 3.2.2 Fade Out: A Global Event .............................................................................. 117 3.3 VIDEOGRAMS OF A TELEVISED REVOLUTION ......................................................................
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