Turning the Tables: Émigré Artists and the West During the Cold War Magda Radu*

Studies in Visual Arts and Communication - an international journal Vol. 7, No 1 (2020) on-line ISSN 2393-1221 Turning the tables: émigré artists and the West during the Cold War Magda Radu* Abstract This text considers the phenomenon of artists who left Romania during the Cold War, especially in the 1960s and 1970s. It focuses on a few examples through which various issues pertaining to cultural transfers and diasporic subjectivities are brought to the fore. Reactivating the memory of displacement becomes all the more necessary given that we find ourselves at a point in which we are urged to reflect on the change of the political regime in 1989. In regard to the intersection of East-West viewpoints that such a project reveals, an important line bringing together multiple positions is the articulation of a critical, lucid perception of the West, also throwing into relief the issue of the failure to adapt— sometimes compounded by a conscious refusal to do so—to the artistic mechanisms of the “free” world. Keywords: migration, Romanian artists, Cold War, art institutions, Eastern European/Western European art worlds. In this text I intend to discuss the sprung up, sharing a utopian belief in universal experiences of a number of Romanian artists communication and the proliferation of a who made the leap into the unknown and collective creative spirit. And yet, more often crossed to the other side of the Iron Curtain in than not, such examples tend to over-emphasise the late-1960s and the 1970s. Rather than the connectedness inherent to these idealistic highlighting meeting points and encounters, the exchanges: dematerialised artworks traveling as existence of pan-European or wider artistic and written formulations or instructions, mail art institutional networks during the Cold War, my networks overcoming censorship and linking interest lies in uncovering the fractures, cultural Eastern and Western Europe, at times reaching differences and difficulties faced by eastern as far as Latin America. The outlook changes European artists when adjusting to the living and drastically, however, when it no longer concerns working conditions of various Western contexts. the circulation of texts or works on paper, but In revealing the intersections between Eastern refers instead to the actual mobility of people— and Western viewpoints, this text brings together of artists in this instance—crossing borders and positions that articulate a critical but lucid leaving everything behind (family, friends, jobs perception of the West, and touches upon the and material security, artworks), in many cases issue of the failure to adapt—sometimes under inauspicious conditions, in the hope of compounded by a conscious refusal to do so—to living more fulfilling lives within democratic the artistic mechanisms of the “free” world. societies and being able to continue their The foregrounding of transnational professional careers. Quite frequently, though, perspectives seeking to converge within the their high expectations would be shattered by project of an ever-expanding global art history their landing in a harsh reality and the painful underscores connections and the circulation of experience of exile. artists, artworks, and ideas, in an attempt to It might also be valuable to analyse this contradict essentialist viewpoints, rightfully type of displacement from today’s perspective, dispelling the vision of two opposing power when displacement itself is globalised. Romania blocs that did not engage in processes of is confronted with its own reality in this regard. cultural transfer with each other for decades. On Since entering the European Union in 2007, the closer inspection, the boundaries did indeed flow of people fleeing from Romania “to the seem to have been permeable, particularly in West” in search of a better life has increased on the 1960s and 70s when, via unofficial or state- an unprecedented scale—millions of people sanctioned channels, remarkable initiatives have left Romania in the last ten years. This * Independent researcher 37 Magda Radu voluntary migration does not mean that its hence the lack of mutual attention and empathy, effects are less devastating in the long term, even on the part of leftist artist and critics causing depression, family dramas, committed to challenging the superiority depopulation of small towns and rural areas, complex of Western cultural establishments. and traumatic identity shifts. This fleeing There is also the argument of the “close Other” workforce is made up of individuals who in their in regard to the identity of Eastern Europe— host countries are often confronted with already a misperception since it implies that the ruthless media manipulation that paints a region possesses the coherence of a monolithic portrait of the “barbaric” East-European migrant, construct—deemed “too European,” and thus fuelling the xenophobic thrust of the right-wing less likely, then and now, to find a place for itself rhetoric that is engulfing ever-larger segments of in revisionist trans-regional academic or artistic the political spectrum in many Western networks and actually to “disrupt the Western countries. Invoking past divisions and exclusions universalising perspective.”3 Moreover, even might contribute to a future construction of when the process of decolonisation was Europe as a “nomadic project,” which, as theorist underway, enacted through social and political Rosi Braidotti has observed, “is about turning movements or within the academic discourse, our collective memory to the service of a new the art world was rather slow to catch up with political and ethical project.”1 postcolonial perspectives seeking to de- The extent to which Eastern Europe has westernise existing epistemologies and been “removed” from Europe’s perception of its contribute to the project of the critique of the own identity during the Cold War is too complex Western colonial modernity. a question to be addressed here other than As far as the artistic system was concerned, tangentially. But it is obvious that whereas the most potent factor responsible for intellectuals in the East have traditionally perpetuating the divisions between insiders and considered themselves to be part of European outsiders was not simply the art market, but an culture, the reverse perspective has not entire model of production, promotion and necessarily been embraced by those living in the support for contemporary art, based as much on West. The drive to share experiences and to financial power as on accumulated prestige, absorb different types of knowledge residing which grew in complexity throughout the 1970s outside of familiar contexts has not been and 80s, in parallel with a process of art’s reciprocal—it has been felt unilaterally by increasing commodification. The international newcomers who wish to be part of the cultural system of contemporary art, spreading across conversation in their adopted countries, but who the Western metropolises, perpetuated the idea realise all too soon that they can immediately be that the most significant aesthetic achievements shut out. Indifference to the plight of those who took place in the West, with its different nuclei suffered great ordeals in order to escape stifling pre-eminently equipped to write the history of and repressive environments in Eastern Europe art from their own perspective and to dismiss was the most widespread reaction. Historian the peripheral manifestations as backward, Tony Judt describes, for example, the following marginal and derivative. It was a vision openly paradox when trying to explain this oblivious shared by artists living in Western Europe, such attitude: “[…] despite the fact that the challenge as Christian Boltanski, who upon meeting Ion of Communism lay at the heart of Western Grigorescu in Paris in 1977 encouraged him to European debates and disputes, the practical move to the French capital in order have a experience of ‘real existing Communism’ a few chance of being registered in the only history of score miles to the east was paid very little art that mattered, the one “written in the West.”4 attention: and by Communism’s most ardent Any other alternative would relegate an artist’s admirers, none at all.”2 work to the realm of meaninglessness and It may also be inferred that the “othering” invisibility. of Eastern Europe during the Cold War Once arriving in the West, artists were proceeded from long-exercised colonial reflexes, confronted with a number of structural 1 3 Rosi Braidotti, Nomadic Theory: The Portable Rosi Braidotti (New York: For this discussion see Beata Hock, “Introduction”, in Globalizing East Columbia University Press, 2012), 250. European Art Histories: Past and Present, ed. Beata Hock and Anu Allas 2 Tony Judt, Postwar; A History of Europe Since 1945 (London: Penguin (London: Routledge, 2018), 3. Press, 2005), 203. 4 Interview with Ion Grigorescu conducted by the author in May 2019. 38 Studies in Visual Arts and Communication - an international journal Turning the tables: émigré artists and the West during the Cold War problems, mostly to do with how the capitalist possibility of producing large-scale, ambitious system functioned—through competition-driven works which were more likely to attract the logic and the overbearing presence of the art attention of curators and collectors. market shaping the artistic life. Artist Decebal Relinquishing their idealised image of the West Scriba, who left Romania in the early 1990s to and acknowledging that the conditions

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