DOCSLIB.ORG

Press Kit 12.06 04.10.20

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

•••• ••••• ••••••••••• •••••••••••••••• ···•• •••··· ·········••• • •• ans Centre ...:::. ...:::. .:: ..: Pompi�oil-ttietz centrepompidou-metz.fr #folklore [eiposi tionF0lklore aété c0 n�eetorganisée par te CentrePompidou-Metzenpartenariat avec leMucem.MusiedesCivilisations PRESS KIT 12.06 ➔ 04.10.20 clel'Eur opeetdelaMédiler ranée. Mucem JJI � Centre �� IHI Pompidou WENDEL Métropole metz ll'-saneF �� lnrockuptlbles lélérama' h=i' - ,..._....,.,_ FOLKLORE CONTENTS 1. INTRODUCTION ..................................................................................5 2. THE EXHIBITION LAYOUT ....................................................................7 3. THE PRESENTED ARTISTS ...............................................................23 4. THE EXHIBITION CATALOGUE ...........................................................24 5. ASSOCIATED PROGRAMMING ..........................................................25 6. YOUNG PUBLIC ................................................................................28 7. THE PARTNERS ................................................................................29 8. IMAGES AVAILABLE FOR THE PRESS ...............................................33 3 FOLKLORE Paul Sérusier, La guirlande de roses, 1898 Huile sur toile, 194 × 175 cm. Genève, Association des Amis du Petit Palais. © akg-images 4 FOLKLORE 1. INTRODUCTION FOLKLORE From March 21, 2020 to September 21, 2020 GALLERY 2 Were you aware that Wassily Kandinsky began term, created in England in the middle of the 19th his career as an ethnographer in Russia? That century, and meaning literally "he knowledge of Constantin Brâncuşi’s great-grandfather was a the people", whipped up intense quarrels at the builder of traditional wooden churches in Romania? heart of intellectual and scientific circles, because That Natalia Goncharova developed an abstract of ideological recuperation or of the amateurism painting inspired by Spanish costumes? Joseph of self-proclaimed specialists-to such a point that Beuys declared that he saw in folklore a tool for we sometimes have considered the folklorist as an understanding the future, or that the Museum of artist and vice versa. Modern Art, in the Départment des Aigles, directed by Marcel Broodthaers, had a "folklore section"? The exhibition opens on the fantasy of a search for origins, the appeal of an "internal exoticism", or Equated with tradition, and therefore in appearance of supposed archaic legacies which guided Paul in opposition to the notion of the avant-garde, Gauguin, Paul Sérusier and the Nabis in Brittany the world of folklore, which is subject to multiple at the end of the 19th century, Wassily Kandinsky controversies, infiltrates in different ways large and Gabriele Münter when they established areas of modernity and of contemporary creation. themselves in Bavaria or indeed Constantin Far from the clichés of being backward-looking Brâncuşi, suggesting the craft traditions of his and artificial, artists have been able to find in it a native country. The paradoxes rapidly come to source of inspiration, a regenerative power; as well the surface from a domain frequently associated as an object of critical analysis or of contention. with nationalistic claims, or instrumentalised by a political discourse - tensions at the heart of From the early stages of modern art to the most the initiatives of artists such as Jimmie Durham, current art, this exhibition, conceived by the Valentin Carron, Melanie Manchot or Amy O’Neill. Centre Pompidou-Metz, in collaboration with the Mucem (Museum of European and Mediterranean The exhibition continues with the folklore which Civilisations), recounts the relationships, sometimes also constitutes for artists a pool of forms and ambiguous, that artists nurture with folklore, from an inexhaustible repertoire of motives and the formal borrowing to the imitation of a method, techniques, having contributed to the renewal of from fascination, to critical irony. Concentrating the vocabulary of the visual arts, as the work from essentially on one definition and a European the Bauhaus workshops and of Sophie Taeuber- history of the term, the Folklore exhibition also Arp are there to illustrate, or the paintings of offers an encounter between the history of art and Natalia Gontcharova amongst others. However, the history of human sciences, because it unveils this formal reappropriation should not allow us to simultaneously the invention and the progressive forget that the motives and symbols contain from institutionalisation of a discipline, notably thanks time to time a subjacent language: in this way, the to the resources of the Mucem, the heir to the works of Július Koller or of Endri Dani also take on, National Museum of Popular Arts and Traditions. in the same way as certain folkloric expressions, a The definition of folklore generated and still subversive aspect. generates today important controversies: the 5 FOLKLORE The term "folklore" is fundamentally tied to the Curators : immaterial and to the oral tradition: dialects, Jean-Marie Gallais and Marie-Charlotte Calafat. proverbs, music, dances, rituals, beliefs, superstitions and fantastic creatures. It is this Jean-Marie Gallais, art historian and curator of the content which is more conceptual than material in exhibition is head of the programming department folklore which interests numerous post-war artists of the Centre Pompidou-Metz since 2016. He has amongst whom, Joseph Beuys or Constant, or more curated there the exhibitions Painting the Night in recently Michel Aubry or Susan Hiller, and who are 2018 and Lee Ufan. Inhabiting Time in 2019. Since also present at the heart of the exhibition. his studies, he has been particularly interested in the links between art and folklore, a subject he has Even though during the course of the 1970's the explored in several articles and lecture series. anthropological dimension of art came to the fore on the international scene, artists borrowed Marie-Charlotte Calafat is Heritage Curator, from ethnographers their research and data Assistant to the Head of the Department of collection methods, followed by classification and Collections and Documentary Resources and Head reconstitution, and would notably be fascinated of the Mucem's History Department. She is the by this new everyday museography, as Marcel co-curator of the following exhibitions : Bilingual Broodthaers, Raymond Hains and Claudio document, Photo- Novel in 2017 and Georges Henri Costabare testify, just as more recent generations, Rivière. Seeing is understanding in 2018. Jeremy Deller and Alan Kane, Pierre Fischer and . Justin Meekel, will enable us here to provide a clear picture of "the artist as a folklorist". Finally, the era of globalisation which accompanies a tendency towards uniformisation, in which are perpetuated, newly created folklores for the tourist industry, the exhibition will explore the paradoxical "new geographical areas of folklore" which like populations, continue to move around with them and never cease to be reinvented by artists: Bertille Bak, Corentin Grossmann, Pierre Huyghe, Johanna Kandl… Presented at first in Metz and then in Mucem in Marseille, from 2020, 10th anniversary year for the Centre Pompidou-Metz, to 2021, the Folklore Exhibition will be punctuated with associated events (concerts, projections, shows), which will be spread out over the four seasons as an echo to the natural rhythms celebrated in numerous folklores. Meret Oppenheim (coussin d’assise : Lilly Keller), Läbchuechegluschti [Le monstre du pain d’épices], 1967 Velours, bois, laine, 92,8 x 44 x 38,7cm Berne, Kunstmuseum Bern © Adagp, Paris 2020 ; photo Kunstmuseum Bern 6 FOLKLORE 2. THE EXHIBITION LAYOUT The exhibition scenography, designed by Pascal From outside the gallery, visitors are greeted by a Rodriguez (Modern Couples, Painting the Night series of Ed Hall banners. An architect by training, at Centre Pompidou-Metz, Prehistory at Centre he has been hand crafting since the 1980s banners Pompidou,...), is based on the pattern of the cross for various unions and associations. Intended to and crossroads. In each of the sections, one or be raised in protest or demand in the streets, they more crossbars are used to juxtapose and confront are since 2005 integrated into the Folk Archive several universes. of artists Jeremy Deller and Alan Kane. The latter inventoried contemporary popular forms of Immersed in a rather dark atmosphere, the expression on British territory, updating potential exhibition brings together groups, around an new definitions of folklore. A visible sign of living artist or a subject, sometimes in a deliberately and current folklore, these spectacular banners dense manner. Some picture rails evoke the walls invite the visitors to enter the exhibition. of artists' studios, notably that of Kandinsky and Münter, charged with references to folklore and popular art. In addition, installations or videos required specific arrangements and created a rhythm in the progression from section to section. COLLABORATION WITH ESAL The first room, like an introductory airlock, is Metz, as part of the EXTRA-TEXT program, within devoted to the thorny question of definitions, to a research group composed of students Camille which the term "folklore" always seems to evade. Bauer, Alice Cirendini, Mathilde Godard and The editorial design of this room, based on works Nesma Saïdoune, under the supervision of teachers on folklore preserved in the former library of the Elamine Maecha, Christina Poth
Recommended publications
  • Shades of Red, Shades of Grey

    Shades of Red, Shades of Grey

    Proteau, Jasmine Shades of Red, Shades of Grey Shades of Red, Shades of Grey The Role of Cultural Context in Shaping Museums of Communism Jasmine Proteau Abstract In the post-communist era, Eastern-European museums face three key issues in their attempts to inter- pret the history of daily life under communism: feelings of nostalgia, representing both individual and collective histories, and ‘purposeful forgetting’. As socialism was experienced differently in each regional context, a sin- gle country or museum does not give a full comparative analysis to examine these issues. This work focuses on comparing three institutions across Eastern-Europe: the Museum of Communism in Prague, the GDR Museum in Berlin, and the Romanian Peasant Museum in Bucharest. Two central questions guided the approach of this work: how have these museums, and the countries they represent, portrayed, memorialized – or rejected – socialism in past and how do their approaches connect or diverge? Though all are faced with complex interpretive issues, each museumEastern Europe? is unique More in its specifically, approach. what issues have these museums faced in preserving a controversial and raw Keywords nostalgia, communism, museums, memory, culture Museums, as cultural institutions, are at the munist era, Eastern-European museums face three key - issues in their attempts to interpret the history of daily ty. Seeking to re-establish themselves as credible sourc- life under communism: feelings of nostalgia, presenting esforefront of culture, of redefining intellectual post-communist debate, and criticalnational analysis identi both individual and collective histories, and something of the past, their interpretation of this crucial moment I have chosen to call ‘purposeful forgetting’.
  • Romanian Presidency Programme V2

    Romanian Presidency Programme V2

    Teatrul Naţional din Iaşi Biblioteca Judeţeană „V.A. Urechia” Galaţi Public Domain Marked ROMANIAN PRESIDENCY OF THE COUNCIL OF THE EUROPEAN UNION “Exposing Online the European Cultural Heritage: the impact of Cultural Heritage on the Digital Transformation of the Society” 17-18 April 2019 | Iasi, Romania europeana.eu @EuropeanaEU ROMANIAN PRESIDENCY OF THE COUNCIL OF THE EUROPEAN UNION Context This conference, organized in the framework of the Romanian Presidency of the Council of the European Union and under the auspicies of Europeana Initiative, aims to highlight the impact of exposing cultural heritage online and to provide a platform to discuss the importance of national aggregation infrastructures to the digital transformation of cultural heritage sector using Romania as a case study. The meeting is aimed at cultural policy makers from EU member states (representatives from the Expert Group on Digital Cultural Heritage and Europeana), Romanian cultural heritage institutions involved in the implementation of E-cultura: Romanian Digital Library project and policy makers. The meeting will be joined by representatives of the European Commission and Romanian authorities. Central hypothesis Europe currently has a leading position in the world in digital cultural heritage. This leading position has been built through large investments of the EU (in Europeana and related projects) and of the Member States (in digitization and national infrastructures). Securing this leading position in the future, in particular with the advent of new technologies
  • Nr. III Martie 2013

    Nr. III Martie 2013

    FAMILIA REVISTĂ LUNARĂ DE CULTURĂ Fondată în 1865 de IOSIF VULCAN DIRECTOR: IOAN MOLDOVAN Nr. 3 martie 2013 Oradea Responsabilitatea opiniilor, ideilor ºi atitudinilor exprimate în articolele publicate în revista Familia revine exclusiv autorilor lor. Numãrul este ilustrat de reproduceri ale lucrãrilor artistului plastic Mircea Titus Romanescu Seria a V-a REDACÞIA: martie 2013 anul 49 (149) Traian ªTEF - redactor ºef Nr. 3 (568) Miron BETEG, Mircea PRICÃJAN, Alexandru SERES, Ion SIMUÞ Redactori asociaþi: REVISTÃ DE CULTURÃ Mircea MORARIU, Marius MIHEÞ, Aurel CHIRIAC Apare la Oradea Seriile Revistei Familia REDACÞIA ªI ADMINISTRAÞIA: Seria Iosif Vulcan: 1865 - 1906 Oradea, Piaþa 1 Decembrie, nr. 12 Seria a doua: 1926 - 1929 Telefon: 40-259-41.41.29; 40-770-850068 M. G. Samarineanu E-mail: Seria a treia: 1936 - 1940 [email protected] M. G. Samarineanu (Print) I.S.S.N 1220-3149 Seria a patra: 1941 - 1944 (Online) I.S.S.N 1841-0278 M. G. Samarineanu www.revistafamilia.ro Seria a cincea: 1965-1989 TIPAR: Imprimeria de Vest, Oradea Alexandru Andriþoiu Revista figureazã în catalogul publicaþiilor la poziþia 4213 din 1990 Idee graficã, tehnoredactare ºi copertã: Miron Beteg Ioan Moldovan Responsabil de numãr: Revista este instituþie a Ioan Moldovan Consiliului Judeþean Bihor ABONAMENTE LA FAMILIA Revista Familia anunþã abonaþii ºi cititorii cã la abonamentele efectuate direct la redacþie se acordã o reducere semnificativã. Astfel, un abonament pe un an costã 60 de lei. Plata se face la sediul insti- tuþiei. De asemenea, se pot face abonamente prin platã în contul: RO80TREZ0765010XXX000205, deschis la Trezoreria Oradea. Abonamentul pe un an costã 72 de lei.
  • Assessing the European Union's Contribution to Heritage & The

    Assessing the European Union's Contribution to Heritage & The

    Cynulliad Cenedlaethol Cymru / National Assembly for Wales Pwyllgor Diwylliant, y Gymraeg a Chyfathrebu / The Culture, Welsh Language and Communications Committee Ymchwiliad byr i oblygiadau ymadael â’r Undeb Ewropeaidd / Short inquiry into the implications of Brexit CWLC(5) BREXIT09 1 Ymateb gan Grŵp Amgylchedd Hanesyddol / Evidence from Historic Environment Group Assessing the European Union’s contribution to heritage & the historic environment in Wales since 2007 REPORT Researched and Compiled by Euclid TABLE OF CONTENTS Executive Summary 2 Comments on the Figures 3 Methodology 3 Summary of Amounts Allocated 6 European Structural and Investment Funds (ESIF) 7 ERDF: European Regional Development Fund 7 ESF: European Social Fund 7 EAFRD: European Agricultural Fund for Rural Development: RDP / LEADER 8 EMFF/EFF: European (Maritime &) Fisheries Fund 12 Interreg (European Territorial Co-operation) 13 Trans-National Funds 15 Creative Europe / Culture 15 Europe for Citizens 15 Erasmus+ / Lifelong Learning / Youth in Action 15 Horizon 2020 / FP7 19 APPENDIX – Additional Project Information & Descriptions 20 EU Funding 2007-2016 – Heritage & the Historic Environment in Wales – undertaken by EUCLID – July 2017 2 Executive Summary Cadw commissioned Euclid to identify EU funding for projects focused on or linked to heritage in Wales, across the last 10 years. EU funding works in 7 year cycles, so “the last 10 years” was interpreted as follows: The whole 7 years of the 2007-13 period, for which (in theory) full information is available As much of the 2014-2020 period as could be ascertained at this time – 2014-2016 being 3 years. EU funding can be split into two main categories: The European Structural & Investment Funds (ESIF), which are mostly devolved back to the member states and, in the case of the UK, then distributed separately in England, Scotland, Wales and NI.
  • Creativity and Culture: Towards a Cultural Psychology of Creativity in Folk Art

    Creativity and Culture: Towards a Cultural Psychology of Creativity in Folk Art

    The London School of Economics and Political Science Creativity and Culture: Towards a Cultural Psychology of Creativity in Folk Art Vlad Petre Glăveanu A thesis submitted to the Institute of Social Psychology of the London School of Economics for the degree of Doctor of Philosophy, London, May 2012 Declaration I certify that the thesis I have presented for examination for the MPhil/PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of 98,584 words. Vlad Glăveanu 2 Abstract The present thesis aims to explore creativity as representation, action and cultural participation in the context of a traditional folk art. It develops a cultural psychological approach to the phenomenon, one that considers creativity situated between creators, creations, audiences, and a complex background of norms and beliefs. A tetradic framework is thus formulated trying to capture the dynamic between self and other, “new” and “old” in creative production and in particular their inter-relation through processes of integration, externalisation, internalisation and social interaction.
  • In the Shadow of Yalta

    In the Shadow of Yalta

    There was one exception to the binary division of the Romanian art scene, namely Ion Bitzan, an artist who became one of the most frequently ‘exported’ Romanian artists of the Ceaus¸escu era. His international career began in 1964 when he was awarded a fellowship in Italy. Within two years, he had two shows in Poland (in Poznan´ in 1966 and in Sopot in 1967), exhibitions in The Hague and Amsterdam, a fellowship from the Stedelijk Museum and shows in New York, Paris and Northern Ireland, as well as visiting lectureships in the United States (New York, Washington dc, San Francisco and Philadelphia).51 Bitzan’s work during the 1960s and ’70s was seemingly in a state of suspended animation. In the 1950s the artist, who scrupulously avoided Socialist Realist formulas (he began showing in 1953), produced more or less conventional still lifes and landscapes that incorporated elements of abstraction.52 In 1964 he had an opportunity to visit the Venice Biennale and to see Robert Rauschenberg’s work (Rauschenberg won the Grand Prix that year). Kristine Stiles writes that Rauschenberg’s exhibition made a lasting impression on the Romanian artist, prompting him to investigate object art, collage, assemblage and other neo-avant-garde modes of production over the course of the 1960s.53 These experiments produced such works as Small Sacks (1969), Generator of Images (1976) and Towers (1977–8). Those were not radical statements exploring the identity of an artwork as an object, a subject discussed by Arthur Danto in relation to Pop art, in particular Andy Warhol.54 Bitzan’s works (and the majority of similar East European neo-avant-garde experiments) were implicated in poetics that underscored the importance of the creative function understood within traditional aesthetic categories.
  • E-Catalog Bienala Art Encounters 2015

    E-Catalog Bienala Art Encounters 2015

    ART ENCOUNTERS Editor / PublishEr: Art Encounters Foundation 300011 Timișoara, Romania City Business Centre Coriolan Brediceanu 10 T: +40 256 491042 E: [email protected] W: www.artencounters.ro ART ENCOUNTERS ApARENță și ESENță AppEARANCE AND ESSENCE 3–31 OCTOMBRiE 2015 october 3–31 2015 TiMișOARA | ARAD 4 ro Când, la sfârşitul anului 2014, a prins contur ideea organizării unui amplu eveniment de artă contem‑ porană la Timişoara, această intenţie părea, pentru mulţi dintre noi, improbabilă. În câteva luni, însă, Art Encounters a devenit o realitate vie, un organism complex, ce a reuşit să coaguleze entuziasmul şi energiile comunităţii locale şi ale celei artistice naţionale. Fundaţia Art Encounters şi‑a asumat rolul de ferment al acestei stări, reuşind să creeze punţi: spre trecut—amintind vocaţia Timişoarei pentru mişcarea novatoare, de avangardă, a anilor ’60–’70, şi a înce‑ putului anilor ’90–2000; spre prezent, aducând arta de valoare în apropierea fiecăruia dintre noi; spre viitor, oferind tinerilor creatori şansa de a‑şi investiga propriile mijloace de exprimare, de a experimenta noi practici artistice; în spaţiu, aducând Aradul mai aproape de Timişoara, pe harta artei, dar şi, ceea ce este cel mai important, punţi spre ceilaţi, spre public, ca principal destinatar al artei. Implicată puternic în social, arta contemporană înregistrează pulsaţiile vremii. Este deschisă spre lume, iese pe stradă, coboară în spaţii nepretenţioase. Provoacă reacţie şi participare. De aceea, una dintre ţin‑ tele evenimentului Art Encounters este să ofere publicului oportunitatea de a se întâlni cu arta, de a experimenta, de a participa la o comunicare activă cu artişti, curatori, directori de muzee şi critici de artă, în punctul de intersecţie al scenei artistice româneşti cu cea internaţională.
  • Index Figures in Bold Refer to the Biographies and / Or Illustrations A

    Index Figures in Bold Refer to the Biographies and / Or Illustrations A

    Index Figures in bold refer to the biographies Kenneth Arrow 406 Beau 87 and / or illustrations H.C. Artmann 418, 481,481 Gottfried Bechtold 190, 221,356, 362, Boris Arvatov 61 362, 418, 498, 499, W.R. Ashby 328 499 a Michael Atiyah 255 Johannes R. Becker 58 Karl Abraham 522, 523, 528, 530- Carl Aub6ck 68 Konrad Becker 294, 364, 364 532 Augustine 209 Otto Beckmann 294, 357, 357, 546, Raimund Abraham 546, 574, 575, 574, Amadeo Avogadro 162 580 575 R. Axelrod 408 Richard Beer-Hoffmann 448 Antal Abt 241 Alfred Julius Ayer 456 Adolf Behne 67 Friedrich Achleitner 418, 481,481,483, Peter Behrens 66 484, 485, 488, 570 b L~szl6 Beke 504 J~nos Acz~l 251 Johannes Baader 59 Man6 Beke 245 Andor Adam 61 Baader-Meinhof group 577 GySrgy von B~k~sy 32, 122, 418, 431, Alfred Adler 66, 518, 521,521, Mihaly Babits 513 433, 433, 434 529, 533 G~bor Bachman 546, 559, 559, 560, John Bell 189, 212-217, 218 Bruno Adler 71 561 Therese Benedek 522 Raissa Adler 521 Ernst Bachrich 67 Tibor Benedek 522 Theodor W. Adorno 26, 142, 402, 447, Ron Baecker 343 Otto Benesch 473 478 Roger Bacon 185 Walter Benjamin 70, 476 Marc Adrian 106, 106, 142, 146, Alexander Bain 352 Gottfried Benn 589 148, 148, 355 BEla Bal&sz 66, 84, 338-341, 418, Max Bense 108 Robert Adrian X 363,363 444-447,446, 44 7, Jeremy Bentham 405 Endre Ady 442, 444 449-454, 513, 529 Vittorio Benussi 23-26, 24, 25, 29 August Aichhorn 521,524, 527, 528 Nandor Balasz 238 Sophie Benz 525 Howard Aiken 323 Alice B~lint 514, 515, 517-519, Bal&zs BeSthy 418, 504, 505, 504, Alciphon 166 521,521,522 505 Josef Albers 123 Mihaly Balint 513-516, 518, 522, (:tienne BEothy 55, 57, 69, 368, 384, David Albert 188 522 385, 384-386 Leon Battista Alberti 166, 354 Hugo Ball 525 Anna B~othy-Steiner 55, 384 Bernhard Alexander 521 Giacomo Balla 19,41 Gyula Benczur 71 Franz Gabriel Alexander 521,522 Richard Baltzer 242 Max Benirschke 38 J.W.
  • Vlad Manoliu Published By

    Vlad Manoliu Published By

    Title: “Aurel Flutur and His Museum of Chişcău. (In memoriam Petre Popovăț)” Author: Vlad Manoliu How to cite this article: Manoliu, Vlad. 2009. “Aurel Flutur and His Museum of Chişcău. (In memoriam Petre Popovăț)”. Martor 14: 135‐143. Published by: Editura MARTOR (MARTOR Publishing House), Muzeul Țăranului Român (The Museum of the Romanian Peasant) URL: http://martor.muzeultaranuluiroman.ro/archive/martor‐14‐2009/ Martor (The Museum of the Romanian Peasant Anthropology Review) is a peer‐reviewed academic journal established in 1996, with a focus on cultural and visual anthropology, ethnology, museum studies and the dialogue among these disciplines. Martor review is published by the Museum of the Romanian Peasant. Its aim is to provide, as widely as possible, a rich content at the highest academic and editorial standards for scientific, educational and (in)formational goals. Any use aside from these purposes and without mentioning the source of the article(s) is prohibited and will be considered an infringement of copyright. Martor (Revue d’Anthropologie du Musée du Paysan Roumain) est un journal académique en système peer‐review fondé en 1996, qui se concentre sur l’anthropologie visuelle et culturelle, l’ethnologie, la muséologie et sur le dialogue entre ces disciplines. La revue Martor est publiée par le Musée du Paysan Roumain. Son aspiration est de généraliser l’accès vers un riche contenu au plus haut niveau du point de vue académique et éditorial pour des objectifs scientifiques, éducatifs et informationnels. Toute utilisation au‐delà de ces buts et sans mentionner la source des articles est interdite et sera considérée une violation des droits de l’auteur.
  • Lecture and Symposium: Contemporary Central European Art

    Lecture and Symposium: Contemporary Central European Art

    Lecture and Symposium: Contemporary Central European Art This year, 2014, is V4 plus Japan Exchange Year. “V4” refers to the Visegrád Four, a regional cooperative bloc of four Central European nations: Poland, the Czech Republic, Slovakia, and Hungary. In honor of this year of international exchange, we organized a lecture and symposium on the arts of the V4 nations and their neighbors and of Japan, focusing on how the arts have progressed in each of these places and what role they have played in society, while taking into account each country’s specific historical background. The lecture and symposium were held in Kyoto and Tokyo, and the Kyoto event was in two parts. The first, primarily dedicated to Tadeusz Kantor, one of Poland’s most renowned 20th-century artists, and the Cricoteka archive of Kantor material that reopened after renovation this past autumn, aimed to shed light on the significance of his accomplishments. This portion of the event was organized in part by the Archival Research Center at Kyoto City University of Arts, and also incorporated the fourth meeting of the Tadeusz Kantor Research Society. The second part consisted of talks by each of the curators from the V4 and surrounding nations that are currently in Japan as part of a Japan Foundation project to invite overseas curators, highlighting and comparing the specific dilemmas and conflicts each country faced after World War II and how they fit into the Cold War power structure, and examining the ways in which this legacy continues to affect each nation today. In Tokyo, the central European curators invited by the Japan Foundation gave similar reports on their countries’ histories and circumstances, and a general overview and discussion took place with specialists in central European art taking part.
  • DUMITRU IUGA Studii Şi Alte Scrieri

    DUMITRU IUGA Studii Şi Alte Scrieri

    Dumitru Iuga - studii úi alte scrieri DUMITRU IUGA studii úi alte scrieri Editura CYBELA, 2015 1 Dumitru Iuga - studii úi alte scrieri Carte publicată cu sprijinul financiar al Consiliului JudeĠean Maramureú, în cadrul Programului JudeĠean pentru finanĠare nerambursabilă din bugetul judeĠean al programelor, proiectelor úi acĠiunilor culturale pe anul 2015. Tehnoredactare: Dumitru Iuga, Raul Laza Coperta I: Pomul vieĠii, cu pasărea Măiastră. Sec. XVIII. Stâlp de poartă din Maramureú. Foto: Francisc Nistor. Descrierea CIP a Bibliotecii NaĠionale a României IUGA, DUMITRU studii úi alte scrieri/Dumitru Iuga; - Baia Mare: CYBELA ISBN 10 973-8126-28-2 ISBN 13 978-973- 8126- 28 - 2 ConĠinutul acestui volum nu reprezintă în mod necesar punctul de vedere al finanĠatorului, sau al Editurii CYBELA. 2 Dumitru Iuga - studii úi alte scrieri studii L O C A L I T Ă ğ I L E din ğ A R A M A R A M U R E ù U L U I în secolul XIV Maramureúul de dincoace de Tisa, de la Muntele Bârjaba până la Huta, cât a mai rămas în România după primul război mondial, este abia a treia parte din vechea Terra Maramorosiensis care se întindea de la Obcinele Bucovinei până la Talabârjaba úi dincolo de cetatea Hust. În satul Iza, situat la cîĠiva kilometri de această poartă a Tisei spre Vest, s-au făcut importante descoperiri arheologice datând din mileniul volburării de popoare spre inima Europei o Ġară înconjurată úi apărată de zidurile munĠilor Rodnei, ğibleú, Gutâi, Oaú, Bârjabei úi, margine spre vechea PocuĠie, GaliĠia úi Bucovina, munĠii Maramureúului úi CarpaĠii Păduroúi.
  • Dan and Lia Perjovschi

    Dan and Lia Perjovschi

    F O Kristine Stiles preface: biography as history The Perjovschis were born in 1961 in Sibiu, situated Dan and Lia Perjovschi’s art is of singular sig- in the center of Romania in the Fagaras Mountains, nificance in the development of experimental art in the highest peaks of the Southern Carpathians; Sibiu’s S 1 Dan and Lia Perjovschi Romania since the late 1980s. The Perjovschis’ work archeological remains date from the Late Stone Age. matured under the double pressures of Romanian [Fig. 1] Dan and Lia met as children while attending socialism and Soviet communism. In response to these special schools for the training of artists in Sibiu, : influences, both artists forged original and challenging and became romantically linked as teenagers. [Fig. 2] forms of visual expression in drawing, performance, During their studies, these art schools were closed E installation, and conceptual practices, as well as in the by the former dictator Nicolae Ceausescu, and the Per- analysis and use of mass media (especially television jovschis graduated in 1980 from a Pedagogical School. and newspapers). Both artists have also been heralded Dan entered the Academy of Art in Iasi, a city on the D internationally, included in many biennials through- eastern border of Romania; his studies were interrupted T out the world, and featured in dozens of international by nine months of military service. Lia remained in group and solo exhibitions. The current exhibition, Sibiu even after their marriage in 1983. The couple was however, is the first retrospective of their work, one only able to live together after 1985, when Dan finished that follows ten years after Duke University hosted their his studies and was appointed to a museum position in N A first two-person show in the United States in 1997.