EUNIC 2011 – In the limelight – Towards the Enduring links – Continuity – scho‑ balance sheet of Romanian artists future – interna‑ projects for interna‑ larships, courses, the Romanian abroad tional visibility for tional co‑operation residencies presidency Romanian festivals

4 12 28 38 46 Dear friends of the celebrating the prestige Romanian artists place or are due to take place in the imme‑ Romanian Cultural Institute, have achieved abroad and the praise both diate future (p. 38). they and have garnered in the 2011 was a dynamic year for the RCI, one international press (p. 12). At the same Although the Institute’s strategy is rich in cultural projects, which bore fruit time, in this publication we would like to updated according to goals that have also thanks to the seeds sown in previous present to you the vision that guides our already been met and the circumstances in years. The creativity of Romanian artists is activity, the strategies we have adopted, which we operate, some programmes have gaining an ever wider audience abroad, and and the tools we employ in order to been continued and improved year by year: increasing numbers of prestigious cultural place the work of Romanian artists in scholarship programmes, residencies, and institutes are coming to us to request international circulation. courses teaching Romanian as a foreign the participation of Romanian artists in (p. 46). their programmes. Year after year, the Romanian Cultural Institute has supported major Romanian Of course, none of this would have been Between June 2010 and June 2011 festivals by inviting programmers, curators, possible without the support of our partners the Romanian Cultural Institute, in the critics and journalists from abroad, with a and the professionalism of the teams of the person of its president, Mr Horia‑Roman view to encouraging joint cultural projects Romanian Cultural Institutes abroad and Patapievici, held the one‑year rotating and also to fostering an ever stronger profile the team in . presidency of EUNIC (European Network for Romanian festivals (p. 28). of National Institutes for Culture), which gave Romanian cultural diplomacy unprec‑ The mobility programme, whereby Irina Ionescu edented exposure among cultural institu‑ international programmers, curators and DIRECTOR GENERAL – GENERAL tions abroad. In 2011, one in three direc‑ specialists are able to visit Romania for DEPARTMENT FOR ROMANIAN CULTURAL tors of Romanian cultural institutes abroad research and to prepare cultural projects INSTITUTES ABROAD either concluded or took up a mandate with Romanian artists and cultural insti‑ as president or vice‑president of a EUNIC tutions has been implemented at the level Ovidiu Dajbog‑Miron local cluster in the country where they of the entire network since 2009. Although DIRECTOR – DEPARTMENT FOR MONITORING operate (p. 4). the results and impact of this type of THE PROGRAMMES OF THE ROMANIAN programme will become visible over the CULTURAL INSTITUTES ABROAD The same as in previous years, we long term, there are already numerous inter‑ would like to invite you to join us in national projects that have already taken

2

In 2006, EUNIC ( National of national institutes form local groups for backed by both the European Parliament Institutes for Culture) was as yet an co‑operation in the cultural sphere. and the European Council, EUNIC now has informal network for co‑operation between The Romanian Cultural Institute joined the appropriate framework to play a deci‑ European cultural institutes that had agreed EUNIC as early as 2007, and a year later, in sive role. Since the establishment of the to pool their creative as well as financial June 2008, the president of the Romanian European External Action Service, culture resources in order to implement trans- Cultural Institute, Mr Horia‑Roman has become a sine qua non component of national cultural projects celebrating Patapievici, was elected vice‑president, European public diplomacy. But in order to European diversity. Five years on, EUNIC going on to hold the presidency of the put this vision into practice, there is a need is an official network with a well‑estab‑ network between June 2010 and June for professionals capable of conceiving and lished remit and area of extent, with perma‑ 2011. The changes implemented during putting into practice projects for co‑oper‑ nent headquarters in and its own the mandate of the Romanian presidency ation in EU regions of interest, logistical renewable budget, which, coupled with have built a clear and functional operating infrastructure, funds to top up those made the combined human, financial and logis‑ structure, as well as laying the foundations available by the Union, and credible repre‑ tical resources of its members, makes it the for long‑term development. In the context sentatives at the local level – all of which largest cultural operator in the world. in which the European Union intends to EUNIC has. In other words, over the medium EUNIC operates at two complimentary gain recognition as one of the most impor‑ term EUNIC has the groundwork to become levels: heads – presidents and directors tant cultural players on the world stage, the main platform for implementation of EU general of national institutes for culture – and given the adoption of the European cultural policies in the sphere of its interna‑ and clusters – the directors of the branches Agenda for Culture in a Globalising World, tional relations.

EUNIC 2011 – balance sheet of the Romanian presidency

4

The basic idea from which EUNIC set out is governments they represent and operate hundred joint projects in 2011 alone, with extremely simple: it is that many good things outside national borders. EUNIC does not the most efficient clusters developing more can result if people decide to work together. function at the national or inter‑govern‑ than ten projects yearly, projects that are Although simple, this basic idea was not mental level: it can and indeed does have innovative and go beyond traditional arts naïve. It hinges on two crucial observations. multiple members from a single country. festivals. The shared wealth of EUNIC consists The first is that in today’s world the bipolar What counts is sooner what these members of more than 2,000 branches in more than tends to be incorporated into the multipolar. do than their country of origin. The initials 130 countries, employing more than 25,000 The second is that today’s societies can no “EU” in the acronym EUNIC express a people, including 7,000 teachers who give longer be reduced to nation states in order to geographical rather than a political position. language lessons to more than 2,000,000 confer upon them international representa‑ At present, EUNIC is made up of twenty‑nine students annually and provide more than tion. These two observations allow two direct institutes for culture from twenty‑five 8,000,000 certificates of foreign‑language conclusions. The first is that the rigid, typi‑ member states of the European Union, which competence. It is indicative of EUNIC’s poten‑ cally modern opposition between centre and operate independently of their governments tial that in 2011 its twenty‑nine members periphery, north and south, developed and and therefore enjoy a position of autonomy had a business turnover of more than underdeveloped or developing is on the way from them: the degree of autonomy varies 2.5 billion Euros. to being destabilised, either through relativi‑ from case to case, depending on the institu‑ EUNIC’s operating structure, as agreed sation or through co‑operation, the second of tional architecture of the particular country. upon, voted and budgeted during my these being by far the most interesting case. EUNIC promotes European agendas and mandate as president, incorporates a bureau If these two conclusions are true, then a third values. EUNIC is active through an ever in Brussels, which opened in July 2011, also presents itself: traditional cultural diplo‑ greater diversity of projects. These projects and a think tank available to the heads macy has become too narrow a framework for not only unfold at the cluster level, but also for multi‑sector expertise, which is called the aspirations toward cultural contact felt are multi‑cluster and multi‑member in the Strategy Group and has already deliv‑ by societies today, which tend to favour direct nature. EUNIC advocates cultural co‑oper‑ ered its first studies at the twice‑yearly forms of co‑operation to those mediated ation and direct cultural relations. Its meeting of high‑level representatives of by official institutions. This is the horizon members benefit from formal and informal EUNIC members – the Heads Meeting held in within which the idea at the origin of EUNIC collaboration and partnerships with the Lisbon in June 2011. Also during my presi‑ inscribed itself. European Commission, among others. dency, at the Heads Meeting in Bucharest in EUNIC members are organisations that EUNIC is accepted by the European Union as June 2010, the matter of joining the network function according to the following princi‑ a source of advice and suggestions for the and membership status was clarified. At ples: they support national cultural diplo‑ cultural policies it implements. Relations present, there are clear rules on member‑ macy and operate at an organisational with the European Union/EEAS are close ship status within a cluster: each member at level to establish cultural relations; they and aimed at reciprocal support. At present, the heads level may nominate a representa‑ are financed from the public sector; they EUNIC has more than sixty‑five clusters tive within a cluster as a full member, which enjoy a certain degree of autonomy from the worldwide, carrying on more than four occurs automatically for institutes; in the

6 case of embassies, a decision is taken at the whose number is growing rapidly. EUNIC central rather than the local level (embassies means global creativity, which is born from can become associate members, which means bringing local initiatives together. Before that we are able to have representatives you come together, you never know how many from Switzerland and Norway at the cluster things can be done together. EUNIC allows a level). In addition, at the Heads Meeting type of creativity to emerge which even crea‑ in Brussels in December 2010, there was a tive people neglect before they work together. vote passing an interesting mechanism to (Horia‑Roman Patapievici, EUNIC president, “equalise” the presence of all EUNIC members June 2010 – June 2011, and president of the throughout the EUNIC network, called “EUNIC Romanian Cultural Institute) Hosting”. This allows EUNIC members that do not have an institutional presence within a region of interest to have concrete projects hosted by one of the institutes already present there. In conclusion, how can we describe EUNIC? EUNIC is an active network, which encour‑ ages members to carry on joint projects at every level; it is a network dedicated to educa‑ tion and the sharing of ideas and good practices between members; it is a part‑ nership network, which promotes collabora‑ tion with major partners worldwide, among which the European Union and Council of Europe hold a central place; it is an advo‑ cacy network, which contributes to a growth in awareness of and efficiency in cultural relations between people throughout the world. Although EUNIC is limited to the coun‑ tries of the European Union, and member‑ ship is restricted to organisations based in the EU, member organisations engage in activities in more than 130 countries, and more than 50 countries host EUNIC clusters,

7 The success of the mandate of the approach becomes in a non‑European situation of having held the presidency of Romanian presidency of the EUNIC global context. EUNIC actions are often more visible the EUNIC cluster presidency network is also institutional, because in than those of the individual cultural institu‑ for three consecutive mandates, starting in their turn the Romanian Cultural Institutes tions, at least in New York. Likewise, running 2008. The cluster’s statutes allow this, inas‑ abroad played an active role in the dynamic the New York cluster made possible a RCI NY much as in the Czech Republic, unlike in of the local clusters. In 2011 alone, one presence from a position that spotlighted the other countries, the president and vice‑pres‑ in three directors of Romanian Cultural Institute’s vision, one focussed above all on ident are elected in a yearly vote, without Institutes held the vice‑presidency or pres‑ modern dynamics of cultural co‑operation. there being any rotation principle to prevent idency of the local clusters in which they (Corina Șuteu, president of the EUNIC USA the candidacy of those who have already held operated. In 2011, Corina Șuteu (director, cluster – New York, June 2010 – June 2011) the posts. It has been an extremely complex RCI New York), Mircea Dan Duță (director, period, with numerous successful cultural RCI ), and Brîndușa Armanca If I had to illustrate, not only in words, programmes, achieved thanks to interna‑ (director, RCI ) completed their but also in images, how the sixteen full and tional co‑operation, sometimes with fail‑ mandates as presidents of EUNIC clusters, four associate members of the Hungarian ures, from which we have learned, but on and Ioana Anghel (director, RCI ) cluster work together, what would immedi‑ the whole, with a massive accumulation of and Katia Dănilă (director, RCI Paris) ately come to mind is the “EUNIC DAY: Europe experience in what working together means began theirs. Cristina Hoffman (director, on Stage” event. The hundreds of spectators for the cultural institutes and embassies RCI Berlin) took up the vice‑presidency at the concerts we organised, the numerous of different European countries, as well as of the Berlin cluster, and Dan Stoenescu, journalists, the enthusiastic faces, the other non‑governmental institutions, asso‑ cultural attaché to the Romanian Embassy applause, the applause… And above all the ciations and organisations. […] We believe in and RCI representative in , friendly and relaxed atmosphere wagered on that one point we have won is, in a way where the RCI does not yet have a branch, by the partnership between organisations, that is paradoxical only in appearance, the succeeded in uniting the main European styles, and various cultural institutions, all fact that we have demonstrated, including institutes for culture in a EUNIC project, as of them convinced that the driving force of a by personal example, that the financial well as holding the presidency of the cluster. united Europe remains culture. (Brîndușa factor is not really a “sword of Damocles” Armanca, president of the EUNIC as far as international cultural co‑opera‑ The presidency of the EUNIC cluster in the cluster, June 2010 – June 2011) tion is concerned. EUNIC projects with an United States of America, based in New academic content, achieved in co‑opera‑ York, first of all gave me the opportunity The Romanian Cultural Institute in tion with different universities in the Czech to realise just how efficient the European Prague finds itself in the somewhat unusual Republic, have demonstrated this, projects

Corina Șuteu, director of RCI New York Brîndușa Armanca, director of RCI Budapest

Mircea Dan Duță, director of RCI Prague

8 that brought together more than two thirds discussions with local and national repre‑ The portfolio of the EUNIC Madrid cluster, of the members of the cluster in various sentatives (cultural organisations, town founded in 2008, can already boast a long programmes co‑ordinated by RCI Prague. halls, the Ministry of Culture) in order series of projects in various fields (film, street Such projects demonstrated that the presence actively to contribute to the continuous devel‑ theatre, literature, debates on subjects of of ideas and above all the will to co‑operate opment of the French cultural market. (Katia topical importance); projects of broader are, within the framework of EUNIC activity, Dănilă, president of the EUNIC or narrower scope, for audiences large or factors of palpable significance which, when cluster, June 2011 – June 2012) small, involving greater or lesser numbers they function, can overcome not only finan‑ of members. But EUNIC also means cial obstacles, which are supposed to be In Beirut on 21 January 2011, the an exchange of experience, mutual knowl‑ fundamental in culture, but also the political Romanian Cultural Institute along with edge between cultures and, at the same time, ones. (Mircea Dan Duță, president of the four European cultural institutes with a way for the institutes to get involved in EUNIC Czech Republic cluster, 2008–2011) branches in Lebanon – the British Council, projects that go beyond Spain’s frontiers. French Cultural Institute, Italian Institute For EUNIC Spain, the year 2011 was dedi‑ The creation of EUNIC Paris was a labour of of Culture, and Goethe‑Institut – signed cated to literature: conferences, round table long duration, given that in Paris a structure the statutes to found the EUNIC network discussions, workshops with book illustra‑ that united the majority of foreign cultural in Lebanon. The members of the cluster tors, and events at Spain’s most impor‑ institutes had already been in existence for launched the network with the “Green Your tant book fairs – the Retiro Park Book ten years – FICEP (Forum des Institus culturel Culture” project – a series of cultural events Fair (May–June, Madrid), the Children’s étrangers à Paris). After many months on ecological themes in partnership with the and Youth Book Salon in Burgos, and the of negotiations and settlement of various indyACT non‑governmental organisation and LIBER International Book Fair for people in details, EUNIC Paris was founded in June with the support of the European Union dele‑ the industry (5–7 October, Madrid). The 2011 as a structure within the framework gation in Lebanon. In 2012, EUNIC Lebanon avalanche of European literature, which of FICEP. As the first president of the new will host the regional meeting of EUNIC North also included Romanian literature, rounded structure, my role this year was to guide the Africa and Middle East. In addition, given off the projects of the Romanian Cultural Parisian branches of the European cultural recent social and political developments in Institute in Madrid, the majority of which institutes in gaining an awareness of the the Arab world, EUNIC Lebanon will spear‑ were organised under the slogan “2011: The importance of EUNIC. Besides a series of joint head the regional project to support civil Year of Romanian Literature in Spain.” The projects scheduled for the coming year, the society through culture. (Dan Stoenescu, experience accumulated in previous years, mission of EUNIC Paris will be to gain recog‑ president of the EUNIC Lebanese Republic and in 2010–11 in particular, when RCI nition in France as an important partner in cluster, 2011–2012) Madrid held the vice‑presidency of the local

Katia Dănilă, director of RCI Paris Ioana Anghel, director of RCI Madrid

Dan Stoenescu, representative of RCI in Lebanon

9 cluster, leads us to believe that the year 2012, as vice‑president of EUNIC not long after I when EUNIC Spain will be co‑ordinated by became director of RCI Berlin was an unex‑ RCI Madrid in the capacity of president of pected but obviously pleasant surprise. The the local cluster, will be one of original, much programmes we initiate and present at the more varied projects, which will have a high RCI are highly appreciated by our EUNIC part‑ impact on the wider public. (Ioana Anghel, ners and present a guarantee of the construc‑ president of the EUNIC Spain cluster, tive and imaginative input of the vice‑presi‑ September 2011 – September 2012) dent. (Cristina Hoffman, vice‑president of the EUNIC Germany cluster, 2011–2012) In 2012 EUNIC Berlin continued its existing programmes, which have had a very positive reception in the German press and have drawn large audiences: “Europa Literarisch”, in partnership with the European Commission Representation in Berlin and Literaturwerkstatt; “Kleine Sprachen, grosse Literaturen” at the Leipzig Buchmesse; “F.I.N.D.”, a series of stage read‑ ings; “Tag der Sprachen”, an event that encourages partnerships with schools and libraries in Berlin to promote study of the of EUNIC member countries; among others. The EUNIC Berlin cluster is the largest in Europe, with fourteen founder members, fourteen associate members, and permanent guests that include represent‑ atives of the German Ministry of Foreign Affairs and Berlin City Hall. My appointment

Cristina Hoffman, director of RCI Berlin

10 EUNIC DAY (2 April) in Budapest ended with a jazz concert by artists from seven European countries For the network of Romanian Cultural At the strategic level, the institutes have the partnerships artists forge with pres‑ Institutes abroad, the year 2011 was marked been developing cultural programmes tigious cultural institutes abroad, and by a series of far‑reaching events, which around arts movements that represent opportunities identified by the program‑ brought to fruition the strategic positioning specific features of the cultural markets mers and selectors from abroad who have efforts of recent years. The fact that the in which they operate, such as the “New been invited by the Romanian Cultural Romanian Cultural Institute has managed Wave” of Romanian cinema, post‑2000 Institute to familiarise themselves with the to maintain steady funding over the past figurative painting, and the late‑twen‑ Romanian cultural market with a view to three years of economic hardships and tieth‑century Romanian school of developing future projects. uncertainties has caused it to be perceived composers, among others. At the opera‑ as a strong partner, thereby attracting pres‑ tional level, the selection of artists is largely tigious cultural institutes and substantial determined by the local markets and crys‑ contributions to its projects. tallises in the form of invitations to festivals,

In the limelight – Romanian artists abroad

12

Thus, the strategy of the Romanian examples in private buildings in Paris, as series, a week of concerts of classical music Cultural Institute in Paris of presenting well as innovative lighting and a system of (September 2010), which was followed by the younger generation of Romanian play‑ flexible canvas cupolas to create an impres‑ a tour de force in 2011: concerts of baroque wrights and actors on the effervescent stage sion of depth, a system also later used in the music (6–9 June), theatre evenings (11–30 of the French capital has capitalised on Scala Theatre in Milan. The famous figures September), and a theatre workshop a unique advantage: the Salle Byzantine that have graced the stage of the Salle (21–27 November). of the Béhague Palace. Hidden from the Byzantine include composer Gabriel Fauré, Given that baroque music has a wide Parisian public for five decades, the audito‑ who conducted his Requiem here, and audience in France and that, thanks to rium of the Béhague Palace, which has been famous ballerina Isadora Duncan. its acoustics, the size of its stage and its the residence of the Romanian Embassy Closed to the public and partly destroyed unique décor, the Salle Byzantine is the since 1939, is today the only theatre space during the communist period, the audi‑ ideal venue for early music ensembles, a in the city to be housed in a private building. torium has now been restored as a venue number of prestigious ensembles were At the beginning of the twentieth century, for performances, thanks to the efforts of invited: Hesperion XXI, La Follia, Balkan the Salle Byzantine, which owes its name to the Romanian Cultural Institute in Paris, Baroque Band, and Les Talents Lyriques. its Art Nouveau architecture with elements with the support of the Romanian Embassy Jordi Savall and Montserrat Figueras , of mediaeval inspiration, was equipped with in France. In 2010, RCI Paris inaugu‑ emblematic figures of the international an organ, now among the rare remaining rated its “Nights at the Palais de Béhague”

Monserrat Figueras on stage at the Salle Byzantine, 9 June

14 baroque music scene, gave concerts in the selection of works, Nuits théâtrales au in 2012, is to put Romanian students Salle Byzantine on 9 June. Palais de Béhague brought to the atten‑ in contact with international theatrical Autumn brought the “Nuits Théâtrales tion of French audiences the new wave of research, to present specific theatrical prac‑ au Palais de Béhague: la nouvelle vague du Romanian actors, playwrights and theatre tices, and also to allow exchanges of meth‑ théâtre roumain en festival à Paris,” which directors, as well as joint Franco‑Romanian odologies between teachers. In the long featured the performances 9 Degrees in theatre projects. run, the Salle Byzantine will become what Paris, directed by Peter Kerek, Declaration Following the box office and critical the Countess de Béhague, who commis‑ of Personal Liability, directed by David success of the younger‑generation perform‑ sioned the auditorium, intended: a place Schwartz, Backyard Games, directed by ances, the Romanian Cultural Institute in for experimentation with new forms of the Gabriel Pricop, and The Tempest, directed Paris held a theatre workshop in November, performing arts. by Victor Ioan Frunză, all in Romanian profiting from the presence of great theat‑ Not only the opening of the auditorium to with French subtitles, and Avant‑hier, rical teacher Anatoli Vassiliev and a partner‑ the public, but also the quality of the events après‑demain, directed by Gianina ship with ARTA (Association de Recherches held here have put the Salle Byzantine back Cărbunariu, and Mode d’emploi, directed de Traditions de l’Acteur), part of the on the map of the performing arts in Paris, a by Alexandra Badea, both in French. La Cartoucherie Centre for Theatrical fact that has not passed unnoticed in publi‑ The event was held during the Week of Research. The long‑term goal of these cations such as Le Monde, Le Parisien, Foreign Cultures in Paris. Thanks to its theatre workshops, which will continue France Info and Direct Matin.

Nuits baroques at the Salle Byzantine – Isabelle‑Saint‑Yves, Les Talens Lyriques

15 The strategy of the “Mihai Eminescu” world, featuring actors from Romania Paris by Peter Kerek and Amalia Takes a Cultural Institute in Kishinev is aimed and . The Festival was held at a Deep Breath by Alina Nelega, directed by at creating dynamic partnerships between number of venues around Kishinev (the Mariana Cămărășan. Audiences could also artists on both banks of the Prut. Between Licurici Theatre, Satiricus Theatre, UNITEM, watch actors from the other side of the Prut 12 and 15 October, actors from Romania Foosbook, and the National Opera) and performing in stage productions of “native” and Moldova came together for a new featured four Romanian and five Moldovan texts: Andrei Sochircă, with a text by Eugen edition of the One Man Show Festival productions. Sponsored by the “Mihai Cioclea; Doriana Talmazan, with a perform‑ in Kishinev, whose theme this year was Eminescu” Romanian Cultural Institute ance by Nicoleta Esinencu; Alexandru “Theatrical Bridges”. The Festival marked in Kishinev and supported by Kishinev Pleșca, with a performance based on a text the twentieth anniversary of the Bridge City Hall, the Act Theatre staged three by Mitos Micleușanu and Florin Braghis; of Flowers over the Prut and brought productions: Absolutely, an adaptation and Mihai Fusu, with a show based on to Kishinev some of the best one‑man of Ion Creangă’s Ivan Turbincă, directed avant‑garde poetry from the Transnistria of shows from the Romanian‑speaking by Alexandru Dabija; and 9 Degrees in the 1920s.

Alina Berzunțeanu in a performance of 9 Degrees in Paris, directed by Peter Kerek © Ramin Mazur

Marcel Iureș in a performance of Absolutely, directed by Alexandru Dabija, at the National Opera, Kishinev © Ramin Mazur

Cristina Casian – Amalia Takes a Deep Breath, directed by Mariana Cămărășan © Ramin Mazur 16 Every year, the Romanian Cultural spectacular costumes, which were classed in responding to complex situations for recov‑ Institute in Prague picks one cultural three categories for the Quadrennial compe‑ ering the “terrain” dedicated to the theatre. field as the guideline of its programme. If tition: professionals: countries and regions; 2009 was dedicated to the visual arts and architecture; and students. Under the guid‑ Between 12 and 15 October 2011, the the theme of 2010 was music, the year ance of set designer Prof. Ștefania Cenean, largest exhibition space in Brussels, Tour 2011 rested under the sign of stage design, Romania’s commissar at the event, our et taxis, drew almost theatregoers to four with the Institute supporting Romania’s country was present with national stands performances of Faust, directed by Silviu presence at the Prague Quadrennial of in every section of the Quadrennial. The Purcărete, a production by the “Radu Performance Design and Space, held at the exhibitions put on by young Romanian set Stanca” Theatre in Sibiu. The response of Veletržní Palace, the National Museum, designers brought together video projec‑ theatre experts was enthusiastic: Such a and the Church of St Ana between 16 and tions, drawings, plans, mannequins, and spectacular production has not been seen 26 June 2011. Spanning almost forty‑five happenings, whose metaphysical source in Belgium since the 1970s, said a repre‑ years, the Quadrennial of Performance of inspiration was Manole the Master sentative of the National Theatre of the Design aims to investigate the phenom‑ Builder, a myth of sacrifice as a tool of crea‑ French Community in Brussels (TNCF), and enon of interdisciplinarity between the tion. Taking part in the student section the theatre’s director, Jean-Louis Colinet, performing and the visual arts in contem‑ were students from the “I. L. Caragiale” added: Although we were partners of the porary theatre, and brings together exhi‑ National University of Theatrical Art and project from the very first, I didn’t think that bitions and artists from sixty‑two coun‑ the Bucharest National University of the such a production could be brought here. It tries and five continents. In 2011, the theme Arts, with group exhibitions on the theme seemed like a crazy dream to me. of the Quadrennial was “art as sacrifice”. “Eugène Ionesco, Eugen Ionescu – plans, Accepting an invitation from the More than 5,000 theatre professionals and models, happenings.” The architecture Romanian Cultural Institute, the President performing arts students took part, and had section focussed on the theme “fast back‑ of the European Commission, Mr José more than 10,000 square metres of exhi‑ ward play fast forward.” Apart from demon‑ Manuel Durão Barroso, was present at bition space at their disposal. More than strating freshness and architectural coher‑ the final performance, on Saturday, 15 40,000 visitors were able to admire the ence, the exhibited projects also provided October 2011, and was enchanted by the best international performances, the best reasons for reflection on the contempo‑ magic of the production. Also present were sound and lighting montages, and the most rary performance space, each in its own way cultural and theatrical figures from France,

The President of the European Commission at the close of a performance of Faust

A scale model presented by students of the “I. L. Caragiale” National University of Theatrical and Cinematographic Arts at the Stage Design Quadrennial in Prague © Prague Quadrennial 17 Luxembourg, Britain and Holland. On 13 in Istanbul: the Pera Museum, AkBank in an annual festival of Romanian film, October 2011, the RCI organised a debate Gallery, and French Institute. After three support for launches of Romanian films titled The Romanian Theatre Today at the Romanian films were presented in 2010 – on the Swedish market, and assist‑ TNCF, as well as launching a special issue of The World According to Ion B. (2009), ance for Romanian films and directors at Alternative théâtrales magazine, dedicated directed by Alexander Nanau; My Beautiful various festivals in Sweden, the Göteborg to the Romanian stage, an event attended Dacia (2009), directed by Julio Soto and International Film Festival decided in 2011 by theatre scholars George Banu and Ștefan Constantinescu; and Humoresque to devote a separate section to Romanian Mirella Patureau. (2009), directed by Diana Deleanu – in film, titled “Romanian New Wave”. The Romanian Cultural Institute is prob‑ 2011 the festival, in partnership with the In an interview in Fokus, the festival’s ably the most active foreign institute for “Dimitrie Cantemir” Romanian Cultural artistic director, Marit Kapla, explained the culture in Brussels, and the staging of Institute, set aside a special section dedi‑ choice of Romania as guest country: Faust confirms that it has a vision on a grand cated to Romanian documentary film. scale, declared Nicolas Wieers, the general Five documentaries were screened: In Romania they have been making good producer of Euronews in Brussels. The Shukar Collective Project, directed by films for many years. These films rest under run of performances in Brussels enjoyed Matei Alexandru Mocanu; Kapitalism – Our the sign of a hyper‑realism that influences the High Patronage of the Presidency of Improved Formula, directed by Alexandru both major social events and minor, personal, Romania and was realised with the support Solomon; The Autobiography of Nicolae but universally valid matters. For example, of the Ministry of Culture and National Ceaușescu, directed by Andrei Ujică; in 4 Months, 3 Weeks and 2 Days, a film Heritage, the Romanian Cultural Institute, Oxygen, directed by Adina Pintilie; and about abortion, which has the tension of a and Wallonie Bruxelles International. University Square – Romania, directed by thriller and keeps you on the edge of your Stelian Tănase. The invited directors were seat all the way to the end. I would have Romanian film is one of the art forms Matei Alexandru Mocanu and Alexandru liked more Swedish films to be more serious, most intensively promoted by the Romanian Solomon, the second of whom held a crea‑ more exigent, and to describe reality like Cultural Institute, with around one in five tive workshop as part of a programme Romanian film does. (Fokus, no. 1/2011, events being dedicated to cinema. to develop international cinema projects 28 January) organised by the Balkan Documentary Year after year, the “Dimitrie Cantemir” Centre between 3–5 June. Between 28 January and 7 February, as Romanian Cultural Institute in Istanbul part of this special section of the festival, has supported Romania’s presence at the Thanks to the sterling efforts of the following feature films were screened: Documentarist Festival. Now in its fourth the Romanian Cultural Institute in Aurora, dir. Cristi Puiu; The Tuesday, After year, the festival is held at various venues Stockholm team, which have resulted Christmas, dir. Radu Muntean; Outbound,

Documentarist, “Romanian Film Days”ˮ 31 May – 5 June, in Stockholm, Malmö Istanbul and Lund

18 dir. Bogdan George Apetri; Morgen, dir. “Red Western” section, featuring films Malmö and Lund. At the Zita Cinema Marian Crișan; Principles of Life, dir. made in the U.S.S.R. and former commu‑ in Stockholm (10–13 February) and the Constantin Popescu; and Kapitalism – Our nist countries, there was also a Romanian Spegeln in Malmö and Kino in Lund (17–20 Improved Formula, dir. Alexandru Solomon. film:The Artiste, the Dollars and the February) there were screenings of the films Each screening of a feature‑length film Transylvanians, dir. Mircea Veroiu (1980). previously shown as part of the Romanian was preceded by a short film:Megatron , The great novelty of the section dedicated to section of the Göteborg Festival. dir., Marian Crișan; Waves and The Cage, Romanian film was a retrospective of short both directed by Adrian Sitaru; The Lamp films directed by Mihail Livadă (1908– Romanian film also enjoyed success in with a Hat, dir. Radu Jude; Trolleybus 92, 1992), whose work is more familiar to audi‑ Zaragoza, at a series of events that brought dir. Ștefan Constantinescu; and For Him, ences in Sweden, his adoptive country, the cultural life of Bucharest to the fore – a dir. Stanca Radu. The selection included than Romania, from where he emigrated project organised annually by Zaragoza City not only recent “New Wave” productions, after the Second World War. Beginning in Hall and Zona de Obras magazine, whereby but also four films from the heritage of 1949, the former Romanian engineer laid other Latin cities are invited to present their Romanian cinema: The Reconstruction, dir. the foundations of Swedish experimental culture. Bucharest was the first European Lucian Pintilie (1970); The Stone Wedding, cinema, together with his life’s partner, city to be invited, with previous guests dir. Dan Pița and Mircea Veroiu (1973); poetess Rut Hillarp. After the festival, RCI having been Tijuana, Caracas, Montevideo, The Cruise, dir. Mircea Daneliuc (1981); Stockholm organised the fifth edition of , Buenos Aires, and Quito. The and Contest, dir. Dan Pița (1982). In the “Romanian Film Days” in Stockholm, series of events dedicated to Bucharest,

Ana Ularu and Timotei Duma in Outbound, director: Bogdan George Apetri © Saga Film 19 realised in partnership with the Romanian were screenings of the filmsStuff and with publishers of Romanian literature Cultural Institute in Madrid, unfolded Dough, dir. Cristi Puiu; The Death of Mr in Spain (El Nadir, at the La Buena Vida between 26 May and 11 September, and Lăzărescu, dir. Cristi Puiu; The Beheaded bookshop on 31 March); the attendance of featured concerts, exhibitions, film screen‑ Rooster, dir. Radu Gabrea; and Bucarest, Mircea Cărtărescu at the “Poetas del mundo ings, and book launches. On 26 May, five memoria perdida, dir. Albert Solé. In the en Córdoba: COSMOPOETICA” festival exhibitions by Romanian artists were presence of the authors, there was also a (6–10 April); and the E. M. Cioran Essay inaugurated at the Centro de Historia in launch of two novels published with subsi‑ Competition, which was awarded to Natalia Zaragoza: two exhibitions of work by the dies provided by the Romanian Cultural Izquierdo López as part of the events held Romanian Illustrators Club, titled “¡Hola, Institute, through TPS (Translation and on the occasion of the LIBER International soy Bucarest!” and “Historia en historías”; Publication Support Programme): The Book Book Fair. the “8art+” exhibition, featuring paint‑ of Whispers by Varujan Vosganian (trans. Romania’s spectacular stand at the ings by Gheorghe Anghel, Marcel Bunea, Joaquín Garrigós, Pre‑Textos publishing LIBER International Book Fair in Madrid Florin Ciubotaru, Darie Dup, Petru Lucaci, house) and Christina the Maidservant and was organised by the Romanian Cultural Vladimir Șetran, Napoleon Tiron, and the Soul‑Hunters by Petru Cimpoeșu (trans. Institute’s National Book Centre and Vasile Tolan; an exhibition on the subject Francisco Javier Marina, Mira Editores). created by a team of architects led by of Bucharest as seen by Spanish photoga‑ The Year of Romanian Literature in Șerban Sturdza and Pierre Bornowki. phers; and a performance and street‑art Spain, an extensive programme of events The inauguration of the stand was exhibition by Alexandru Ciubotariu, organised by RCI Madrid, celebrated attended by Spain’s Minister of Culture, alias Pisica Pătrată (Square Cat), titled Romania’s presence as guest of honour at Ángeles Gonzálex‑Sinde Reig, Romania’s “Bucharest Performance Live‑Art”. Also Spain’s most important book fair, the LIBER Minister of Culture, Kelemen Hunor, and on 26 May, at the López Room, there was International Book Fair, held in Madrid the President of the RCI, Horia‑Roman a concert by The Amsterdams, an alter‑ between 5 and 7 October. Patapievici (4 October). The stand and native rock band from Bucharest. On 10 As part of the Year of Romanian the events co‑ordinated by RCI Madrid June, the Shavale Brass Band played a Literature in Spain a number of events were brought a true festival of Romanian culture concert of Romanian traditional music at held, including the Cioran Centenary at to the city, and the Spanish press widely the Q4 Ribera del Ebro. In September, at the Circulo de Lectores in Madrid (29–30 commented on the diversity and consistency the Centro de Historia in Zaragoza, there March); book launches in partnership of the Romanian cultural presence. There

Romania’s stand, guest The Square Cat during country at the LIBER a visit to Zaragoza Book Fair in Madrid © Alexandru Ciubotariu © Șerban Bonciocat 20 were conferences, presentations and round Romania, to which we have close ties thanks and drama were also selected, works already table discussions about echoes of Jewish to a very familiar language, among other published or in the course of publication in tradition in modern Romanian culture (26 things, and from whence now, at last, the English. The format of the readings juxta‑ September), German‑speaking Romanian glimmers are reaching us from a litera- posed classic and contemporary authors, as writers (28–29 September), the Cantemir ture which, already distanced from its French follows: 8 March – a reading performance family (3 October), the book market in tradition, is drawing on the Latin American of excerpts from The Hieroglyphic History Romania (6 October), subsidy programmes boom and magic realism as sources for by Dimitrie Cantemir and The Gypsiliad by for literary translations in various EU works that contain literature with a Ion Budai‑Deleanu, dir. Ana Mărgineanu; 9 member states (6 October), Romanian capital L, a literature that is among the most March – a reading performance of excerpts writers not published in Spain (6 October), vigorous and spectacular in Europe. (ABC, from The Children’s Crusade by Florina Ilis and writing in Spanish (7 6 June 2011) and Retail Prose by Dan Lungu, dir. Tamilla October), as well as exhibitions of cartoons Woodward; 15 March – The Decomposed and book illustrations, drawing workshops, Exploring new ways of promoting Theatre by Matei Vișniec, dir. Tamilla film showings, and a temporary bookshop. Romanian literature in the USA, the Woodward; and 16 March – Completely Romanian Cultural Institute in New York Fabricated True Stories from One might recall Mihai Eminescu, that re‑launched its “Reading the Tea Leaves” by Peca Ștefan, dir. Ana Mărgineanu. The Cervantes of the Romanians. The more event, a series of English‑language read‑ series continued on 13 May with a reading widely read and travelled perhaps might ings based on Romanian literary texts, performance of The Third Stake by Marin recall Cioran, Ionesco, Tristan Tzara and performed by American actors working with Sorescu, directed by John Eisner, with eight Mircea Eliade, all of them Romanians and Romanian and American theatrical direc‑ American actors taking part. transcendent figures of the twentieth century. tors. The series of events is co‑ordinated by And perhaps a few other names, but this director Ana Mărgineanu. This year, in addi‑ means almost nothing for a country like tion to contemporary texts, classics of prose

“Reading the Tea Leaves” at RCI New York: a reading performance of Matei Vișniec’s The 21 Decomposed Theatre Concerts of classical, pop, rock, jazz, elec‑ highly competitive stage of the principal My encounter with the fabrik dance tronic, Byzantine and traditional music metropolis in the homeland of jazz. company in Potsdam during a scholar‑ made up twenty per cent of the six hundred The Músicas do Mondo Festival is a ship for cultural managers from Central projects run by Romanian Cultural musical journey around the world, held and Eastern Europe (a thirteen‑month Institutes abroad in 2011. annually in the birthplace of Vasco da Gama programme run by the Robert Bosch since 1999. This year, thirty‑eight groups Foundation) allowed me to glimpse from the One of the most successful and enduring from twenty‑three countries took part. outset the huge opportunity to create the initiatives of the Romanian Cultural first complex platform for artistic exchanges Institute in Lisbon is the Romanian Music The “Titu Maiorescu” Romanian between Romania and Germany in the field Season in Portugal, now in its fourth year. Cultural Institute in Berlin, in partner‑ of contemporary dance. And thus was born In 2011, the Tuba Project gave two concerts. ship with the Fabrik Potsdam International the Moving Romania Festival, and the plat‑ The event also marked the Portuguese debut Dance Centre and the Robert Bosch form got underway with the help of the RCI of this Romanian‑American group, whose Foundation, and with the support of Berlin, the Bucharest National Centre for members are Bob Stewart, Bruce Williams, the National Dance Centre, organised a Dance, and the Romanian Association Alex Harding, Lucian Ban, and Derrek festival dedicated exclusively to contem‑ for Promotion of the Performing arts. The Phillips. A double debut, to be precise. On porary Romanian dance, a premiere in result was a far‑reaching, well‑articu‑ the first evening, 29 July, the Tuba Project Germany. “Moving Romania” took place lated, well‑grounded, and welcome project, performed at the Músicas do Mondo between 8 and 15 September, and offered of interest not only to the arts world of Festival in Sines, in front of an audience of German audiences the chance to discover Brandenberg/Berlin, but also to demanding almost 4,000, and then, on 30 July, gave eight Romanian dance productions choreo‑ audiences from Potsdam. The road is now a recital in the elegant Museu do Oriente graphed by Andreea Novac (Dance a Playful open to the many other Romanian‑German auditorium. The group was formed in New Body and Pretend We Make You Happy), partnerships in the field of contemporary York by pianist Lucian Ban and saxophonist Cosmin Manolescu (Supergabriela), dance that are to follow. And as history Alex Harding a decade ago, and stars Bob Sergiu Matiș and Vlaicu Golcea (Duet), repeats itself, let’s repeat it dancing!” Stewart on tuba. Ban is the first Romanian and Mihaela Michailov and Mădălina Dan (Ciprian Marinescu) jazzman to make a name for himself on the (White Words – Blue‑Hearted).

The Tuba Project in Portugal © Dan Andrei

Ștefan Lupu, Alin State, István Teglas – Pretend We Make You Happy © Lucian Spătariu As in previous years, the visual arts have was the result of an unusual curatorial Ministry of Foreign Affairs, the Romanian enjoyed sustained exposure abroad – project, with each artist being presented Cultural Institute took part in organising from shows of work by the 70s, 80s and by a student of the history of art from Romania’s presence at the Biennale of 90s generations and the “Cluj School” to Ben Gurion University. RCI Tel Aviv spon‑ Contemporary Art in Venice. Exceptionally, heritage exhibitions. sored the attendance of lecturers Măriuca Romania was the only country to exhibit Stanciu, Codruța Gabriela Antonesei, a second national project besides the one In partnership with the Romanian Liana Cojocaru and Adina Babeș, artists shown in the national pavilion in the Giadini Cultural Institute in Tel Aviv, the Ben Dan Perjovschi, Maxim Dumitraș (curator della Biennale. Romania’s two entries Gurion University from the city of Beer of the Museum of Comparative Art in to the 54th Biennale, exhibited in the Sheva organised an exhibition and confer‑ Sîngeorz‑Băi) and Vasile Rață, and gallery Romanian Pavilion and at the New Gallery ence titled “I am Romanian: Route owners Matei Câlția (Galeria Posibilă, of the Romanian Institute of Culture and Bucharest–Tel Aviv” on 29 March. From Bucharest) and Mihai Pop (Plan B Gallery, Humanistic Research in Venice, were various angles, the events tackled the Cluj). The events were subsidised by the “Performing History” and “Romanian Romanian influences and creative roots of World Association of Israelis of Romanian Cultural Resolution”. The two projects were Israeli artists of Romanian origin and also Origin and the Association of Israelis of selected following a national competition the major contributions of Jewish intellec‑ Romanian Origin. The project was the held by the Ministry of Culture and National tuals to Romanian cultural heritage. Open result of a research and prospecting trip Heritage, the Ministry of Foreign Affairs, from 29 March to 1 June, the exhibition to Romania by Prof. Haim Maor, spon‑ and the Romanian Cultural Institute. introduced the public to different points of sored by the Romanian Cultural Institute The “Performing History” project, initi‑ view about Romanian identity, tradition and through its mobility programme for foreign ated by curators Maria Rus Bojan and memory as they appear in the visual work of arts programmers interested in developing Ami Barak, aimed to show the work of Ion twenty Romanian artists and twenty Israeli projects with artists and organisations Grigorescu in an unusual light, including artists of Romanian origin. The works were from Romania. both historical and recent works, and in selected by the project’s curator, Prof. Haim relation to a series of new projects by artists Maor, and his students, in collaboration In partnership with the Ministry of Anetta Mona Chișă (Romania) and Lucia with RCI Tel Aviv. The exhibition catalogue Culture and National Heritage and the Tkáčová (Czech Republic). Co‑ordinated by

Detail of the exhibition “I am Romanian: route Bucharest–Tel Aviv” at the Ben Gurion University in Beer Sheva © Gal Mahler

23 writer Bogdan Ghiu and in partnership with publisher Timotei Nădășan, “Performing History” enjoyed exceptional publishing visibility, with the project catalogue taking the form of a special supplement to issue 38 of IDEA artă+societate magazine. The “Romanian Cultural Resolution” project, initiated by Adrian Bojenoiu and Alexandru Niculescu, consisted in trans‑ ferring the activity of the Club Electro Putere Centre for Contemporary Culture to the setting of the Venice Biennale, with an emphasis on the publishing and docu‑ mentary stage of the event, whose aim is to research the contemporary artistic context in Romania. Through the partici‑ pation of an impressive number of artists, critics, and curators, “Romanian Cultural “Performing History” Resolution” traced the solutions and trends at the Venice Biennale of Art, that the visual arts in Romania have devel‑ Giardini della Bienale oped in recent years, speaking not only of © MBArt Agency a renascence and a reform of the contem‑ porary artistic discourse, but also an entire ensemble of problems or situations that illustrate the precariousness of the condi‑ tion of the artist in the local context and nuances of the global context confronted with the idea of spectacle and commer‑ cialism. The catalogue was published by the prestigious Hatje Cantz in Germany. In addition, Jacopo Mazzetti made a docu‑ mentary film based on interviews with the twenty‑two Romanian artists and cura‑ tors involved in the local and interna‑ tional artistic context. The 54th Venice Biennale of Art was held between 4 June and 27 November.

“Romanian Cultural Resolution” at the Venice Biennale of Art, New Gallery © Club Electro Putere

A selection of works by scholarship American Lectures, which was followed In the run‑up to Orthodox and Catholic students at foreign academies and insti‑ by a theatrical performance by Maruchi Easter celebrations, the Romanian tutes in Rome and by Italian and foreign León, Angel Masip and Clara Gonzáles Cultural Institute in Budapest and the artists could be viewed at the Accademia (Real Academia de España en Roma) titled Astra Museum in Sibiu organised an di Romania in Rome as part of the Spazi “Prova registrata sull’etjud dell’opera di exhibition of thirty‑three priceless nine‑ Aperti exhibition of contemporary art Anton Cechov, Tre Sorelle”. On 18 June, the teenth‑century icons for the Hungarian between 8 and 21 June. Now in its nineth Basmati group presented a live performance public. The “Icon‑painting on glass… time year, the event included a sweeping pano‑ of dance accompanied by a digital anima‑ of faith in the Transylvanian space” exhi‑ rama of contemporary artistic forms, from tion video, and on 20 June, as part of the bition, held between 19 April and 30 May video art and photography to installa‑ European Festival of Music, instrumental at the Kiscelli Museum in Budapest, was tions, performance art, painting, theatre, ensemble La piccola Accademia degli part of the programme of a conference dance, and music. Curated by Luisa Conte specchi gave a concert of contemporary with the title “Religious art in Hungary and and taking as its theme aesthetic experi‑ chamber music, with a repertoire attentive Romania – reciprocal influences from the ence, the exhibition was organised by the to minimalist and post‑minimalist experi‑ Middle Ages to the present”. A symbolic Accademia di Romania in Rome under the ments. The event came to a close on 21 June number, the thirty‑three Transylvanian patronage of the City of Rome, in part‑ with a concert of jazz for electronic piano icons originate from southern Transylvania, nership with the Belgian Academy, the by Romanian living legend Jancsy Körössy from the main icon‑painting centres of British School in Rome, the Accademia in an extraordinary keyboard duet with Nicula and Gherla (Cluj County), Laz and di Danimarca, Circolo Scandinavo, Real Ramona Horvath. Lancrăm (Alba County), Șcheii Brașovului Academia d’España, and with the partic‑ and Făgăraș (Brașov County), Mărginimea ipation of the Faculty of Arts and Design Sibiului and Sibiu. With this event the of the Western University of Timișoara. Romanian Cultural Institute in Budapest The exhibiters were Pelayo Varela Alvarez, was continuing an initiative of the Anastasia Basmati (Saul Saguatti/Audrey CoÏaniz), Foundation dating from 1994. Under the Charlotte Bergman, Patricio Cabrera, title “Pas d’accord avec Zefirelli”, five Riccardo Cazzato, Aurelio Edler Copes, Romanian artists – Sorin Dumitrescu, Alessandro Di Gregorio, Maria Diekmann, Mihai Sârbulescu, Horea Paștina, Ion Robert Fekete, Julio Galeote Carrascosa, Grigorescu and Ioana Bătrânu – painted Carlos García Fernández, Richard Gasper, Orthodox religious frescos on walls Silvio Giordano, Clara González, Andrea and columns. Jaurrieta Bariain, KirsiMarja Metsahuone, Eva La Cour, Marco Lamanna, Maruchi The Romanian Cultural Institute aims León, Angel Masip, Giacomo Miracola, to highlight cultural heritage even beyond Alessandro Morino, Ursula Nistrup, Spazi Aperti established artistic fields and conventional Alex Pascoli, Tommaso Pedone, Adina events (concerts, exhibitions, film screen‑ Plugaru, Tero Puha, Marius Purice, Sorin ings etc.). Cosmin Scurtulescu, Laurence Snackers, Sergiu Toma, Charlotte Troldahl, Devis The Romanian Cultural Institute in Venturelli, and Claudia Roxana Zloteanu. Vienna had the unique idea of publishing a On the inaugural evening, representa‑ bilingual cultural guide about the traces left tives from the Faculty of Arts and Design by major Romanian figures around the city: of the Western University in Timișoara Romanians on the Ringstrasse: Journeys of presented a selection of works by students. Yesterday through Today’s Vienna. Richly The vernissage continued with a perform‑ illustrated and published in 2,500 copies, ance of audiovisual mapping on the façade the Romanian‑German bilingual guide of the Academy, followed by a set by DJ describes the marks made by Romanian Sillyconductor. On 11 June, Alex Pascoli artistic, literary and political figures, who performed a text inspired by Italo Calvino’s lived in Vienna for relatively long periods, 26 settled here, or were influenced in one way dir. Cornel Gheorghiță. The programme about the minorities in question. The exhi‑ or another by their sojourns in the city. The continued on 11 and 12 May with a debate bition was shown in Krakow, in the Small 260‑page guide makes up a “Romanian and a concert dedicated to Romania’s Square of the Old City, between 15 June and map of Vienna”, with three separate routes Hungarian minority. The debate was hosted 15 August; in Poznań, in the Large Square, grouping thematically the urban land‑ by the Hungarian Cultural Institute in between 15 August and 9 September; and in marks that define the Viennese journeys Warsaw and focussed on the particulari‑ Warsaw, on the Krakowskie Przedmieście, of famous Romanians. You can explore ties of Romanian‑Hungarian relations in between 9 September and 31 October. Vienna in the footsteps of Mihai Eminescu, Romania. Moderated by Janosz Tischler, the Titu Maiorescu, Georges Enesco, Ciprian director of the Hungarian Cultural Institute Porumbescu, Ioan Slavici, Lucian Blaga, in Warsaw, the debate featured invited and Ioan Holender. Two guides organise guests Zsombor Csata, director of the regular tours that take in the prin‑ Cluj Centre for Research into Inter‑ethnic cipal places that bear the stamp of these Relations, and István Szakács, cultural Romanian figures (houses, places of study, manager of the Altart Paintbrush Factory cafés, museums, public institutions, public and Foundation. On 12 May, the Sánkér spaces, etc.). An electronic version of the Quartet gave a concert at the renowned guide can be accessed and downloaded from Tygmont jazz club in Warsaw. The group www.rumaenischespuren.at combines elements of jazz with the music of the Csángó and Hungarian ethnic minor‑ Under the heading “Plural Romania”, the ities from Transylvania. The third compo‑ Romanian Cultural Institute in Warsaw nent of the “Plural Romania” programme organised a series of events in Poland aimed was dedicated to the German community at illustrating the ethno‑cultural diversity of in Romania. On 9 November there was a Romania and familiarising Polish audiences debate, slide show and film screening dedi‑ with Romanian music, dance and traditions. cated to the German minority. In partner‑ The first component of this programme ship with the Austrian Cultural Forum, unfolded between 4 and 6 March, in the Goethe Institut and Czarne Publishing form of a traditional Romanian weekend House, the events were held at the head‑ at the National Museum of Ethnography quarters of the Austrian Cultural Forum in Warsaw. Over the course of the three in Poland and commenced with a talk days there were performances of music by German‑speaking Romanian author and dance by the “Dor Transilvan” folk‑ Eginald Schlattner about Romania’s lore ensemble from Cluj, an exhibitions of German minority. The debate was followed traditional Romanian costume and festive by a slide show with commentary of photo‑ Romania’s ethnic customs, created by Adriana Andrei from graphs by Lucian Muntean on the subject diversity celebrated by RCI Warsaw the Cluj County Centre for the Conservation of annual meetings of the Saxon minority © Lucian Muntean and Promotion of Traditional Culture, a in Romania and a screening of the filmThe culinary exhibition, and dance workshops Beheaded Rooster, dir. Radu Gabrea. The for adults and children. The folk craftsmen event was moderated by Tomasz Łubieński, invited to Warsaw had an opportunity to the editor‑in‑chief of Nowe Książki. present Romanian crafts including weaving, The programme also incorporated the embroidery, leatherworking, woodworking, “Multi‑ethnic Romania” public diplomacy and iconpainting on glass. In addition, campaign, in the form of an open‑air trav‑ the museum’s cinema screened the ethno‑ elling photography exhibition illustrating graphic filmsTales from the Carpathians, various aspects from the life of Romania’s dir. Aurora Runcan, The Potter from minorities (folk costume, customs, holidays, Biniș, dir. Cosmin Țiglar, Milky Way, dir. architecture, etc.), accompanied by short 27 Ivana Mladenovic, and Masquerades, texts encapsulating essential information A festival is a marketplace for ideas, which practical, and there are lower risks involved artistic fields: theatre – the Bucharest brings together different cultures and chal‑ in offering a foreign programmer, the National Theatre Festival, the Sibiu lenges artists; it is a place where projects chance to select what best suits his or her International Theatre Festival, the “Gellu and partnerships are born. native cultural environment, which is the Naum Meetings”, held in Cluj for the Adopting its new strategy in 2005, the one he or she knows the best. In the medium first time in 2011, and the International Romanian Cultural Institute realised that term, the aim of the Romanian Cultural Shakespeare Festival, held every two years it could be not only an exporter of cultural Institute is to offer the various markets in in Craiova and Bucharest; film –TIFF products, but also, at the same time, a which it is active the diversity and quality (Transylvania International Film Festival), conduit for partnerships. In the vision of of continuously renewable artistic prod‑ the Astra International Documentary Film the Romanian Cultural Institute, success is ucts. The stimulation of such events, which Festival, Anim’est Animation Festival, and gauged according to durability and multiple create or sustain particular cultural indus‑ the “Anonimul” Independent Film Festival; partnerships that take concrete form in tries, is vital in achieving this aim. music – the “George Enescu” International joint projects. Once a critical mass of such In addition, support in the form of Festival, among others. partnership projects has been reached, it organising the attendance of foreign is possible to speak of a self‑generating festival directors, specialist journalists mechanism, which provides Romanian and arts programmers enhances the value artists, independently of public financing, of Romanian festivals, helping them to with access to new professional networks, enter the circuit of prestigious interna‑ opening the doors to institutions that would tional festivals, to become visible and to otherwise have remained closed to them. put the cities where they take place on the Apart from this long‑term goal, the spon‑ international map. sorship of festivals in Romania also meets For these strategic reasons, the Romanian needs in the short and medium term. In Cultural Institute supports a large part of the short term, it is more economical and Romania’s leading festivals in different

Towards the future – international visibility for Romanian festivals

28

The Romanian Cultural Institute has in Warsaw (Poland); Piotr Olkusz, lecturer joined with the Romanian Theatre Union with the School of Dramaturgy and Theatre (UNITER), the Ministry of Culture and in Łódź (Poland); Marc Matthiesen, play‑ National Heritage, Bucharest City Hall, and wright (Sweden); and critic Tímea Papp the General Council of the City of Bucharest Gálné (Hungary). The guests had the to sponsor the Bucharest National Theatre opportunity to attend thirty‑two theatre Festival. Every year, a single curator, productions, each of which had two or three mandated by the UNITER Senate, invites the performances, and to take part in confer‑ most innovative and challenging theatre ences, colloquia and launches of specialist productions to Bucharest. It is a unique books in their field. occasion for foreign guests to view these productions, to meet Romanian playwrights and actors, and to conceive joint projects. Between 28 October and 6 November, leading cultural figures, the directors of Launch of the catalogue George Löwendal, theatres and major international festivals, an Aristocrat in the critics, and journalists were in Bucharest Limelight was held for the festival. They included George Banu, during the National theatre critic, theoretician, essayist and Theatre Festival on 31 October 2011 professor (France): David Zinder, director © Fundația Löwendal and professor in the Tel Aviv University Department of Dramatic Art (Israel); Manabu Noda, theatre critic, researcher, and professor in the Faculty of Arts and Literature, Meiji University, Tokyo (Japan); Octavian Saiu, researcher and theatre critic, doctor of theatre studies, professor at universities in Romania and New Zealand; Monica Săvulescu Voudouri, prose writer, essayist, poet (Greece); Chris Ackerley, critic and professor of English literature at the University of Otago (New Zealand); Yun Cheol Kim, dean of the Faculty of Theatre, National University of the Arts, Seoul, and president of the International Association of Theatre Critics (South Korea); Christopher Wynn, director of Research and Partnerships, Edinburgh International Theatre Festival (UK); Kevin Bitterman, actor, director and producer (USA); Eileen Blumenthal, PhD, theatre history (USA); Kerry Michael, artistic director of Theatre Royal Stratford East (UK); Christopher Haydon, artistic director of the Gate Theatre (UK); Kathrin Veser, programmer (Germany); Agnieska Tuszyńska, play‑ wright (Poland); Paweł Płoski, head of the literary secretariat of the National Theatre 30 The year 2011 saw the inauguration of the Centre National de Recherche Scientifique, and The Island, a performance and concert International Meetings Festival in Cluj, Paris; David Esrig, director of the by Ada Milea. The programme also included conceived by director Mihai Măniuțiu, Athanor Academy (Germany); Eli Simon, a conference titled “Gellu Naum and the manager of the Lucian Blaga National professor and head of the Department of European Avant‑garde”, held by writer Theatre in Cluj. International Meetings will Dramatic Art, University of California, Simona Popescu and critic and literary tackle a different theme each year, to be Irvine (USA); Marina Vanci‑Perahim, historian Ion Pop, and the exhibition “Gellu decided upon by participants at the festival art historian, emeritus professor, Paris Naum and Jules Perahim.” the previous year. The range of themes University 1 Panthéon‑Sorbonne; will be extremely varied, from subjects of Michael Gurevitch, artistic director of A reading performance, a book launch, general and artistic interest to establishing the Khan Theatre in Jerusalem; Mirella and an improvisation workshop made a programme of performances, confer‑ Nedelcu‑Patureau, researcher, Centre up the series of events organised by the ences and debates centred on the work of National de Recherche Scientifique, Romanian Cultural Institute at the Sibiu individual artists or various artistic move‑ Paris; Peter Uray, director‑choreographer International Theatre Festival in 2011. ments. In 2011, the festival, which ran (Hungary); Roberto Bacci, artistic and The event enjoyed the high patronage of the from 7 to 9 October, was dedicated to the executive director, Fondazione Pontedera Romanian Presidency and the European work of Gellu Naum, the most impor‑ Teatro (); Sebastien Reichmann, poet Commission for Education, Training, tant Romanian Surrealist and one of the (France); Žarković Batrić, director of Culture and Youth. Each year, the festival last representatives of Surrealism globally, the Slavija International Theatre Festival focuses on themes of topical importance, and marked the tenth anniversary of his (Serbia); Žarković Ljiljana, artistic director and in 2011 the theme was “community.” death. The Romanian Cultural Institute of the Slavija Theatre (Serbia); and Kemal On 3 June, at the Humanitas Bookshop supported the attendance of fourteen Bașar, theatre director, professor, translator, in Sibiu, there was a reading performance foreign guests: Anna Stigsgaard, theatre Director of Theatres, Turkey. and launch for the compact disc of Gellu director, external collaborator at the Odin The festival featured three performances Naum’s play The Island, translated into six Theatre (Denmark); Ayşenil Şamlıoğlu, based on two plays and a novel by Gellu languages. The performance, directed by director of the Istanbul Municipal Theatre; Naum: Zenobia, directed by Mona Marian; Vlad Massaci, was given by students of the Beatrice Picon Valin, director of the Theatre Florence is Me (by Gellu Naum with Jules Theatrical Arts Section of the Lucian Blaga Performance Arts Research Laboratory, Perahim), directed by Alexandru Dabija; University in Sibiu. The translations were by

Elena Ivanca and Cristian Rigman in a performance of Zenobia during the first International Meetings of Cluj © Nicu Cherciu

31 Lora Nenkovska (Bulgaria), Joanna Kornaś (Poland), Faustine Vega (France), Elena Borrás García (Spain), Kerstin Ahlers (Germany), and Răzvan Purdel (Italy), all of them recipients of trainee translator scholarships awarded by the Romanian Cultural Institute’s National Book Centre (CENNAC). The following day, at the Habitus Cultural Centre, a book launch was held for Matei Vișniec: The Mirage of Warm Words by Daniela Magiaru, a work published by the Romanian Cultural Institute. In addi‑ tion, the Romanian Cultural Institute’s publishing house had a stand at the Publishing and New Media International Book Fair, which ran from 2 to 6 June and was an integral part of the festival. As part of the Sibiu International Theatre Festival, the RCI supported a cycle of lectures given by George Banu, a series of special conferences chaired by Octavian Saiu, the launch of the book Das rumänische Theater nach 1989. Seine Beziehungen zum deutschsprachigen Raum by Alina Mazilu, Medana Weident and Irina Wolf (Frank & Timme, Berlin), a set‑design workshop run by Nic Ularu, and an exhi‑ bition of photographs by Dragoș Spițeru. Likewise, the RCI supported the following productions: Metamorphoses and Faust, dir. Silviu Purcărete, performed by the Radu Stanca National Theatre, Sibiu; The Word Progress on My Mother’s Lips Doesn’t Ring True, based on a text by Matei Vișniec, dir. Jean‑Luc Paliès; Duel, by the BRAF theatre company from France; Leonce and Lena, dir. Zoltán Balázs, performed by the Maladype Színház Theatre, Hungary.

The production of Muare‑Moire by the Argentine/Spanish Voala Project (directed and choreographed by Roberto Strada) at the International Theatre Festival in Sibiu © Paul Băila

Between 25 October and 30 October the producers and directors. Fifty‑four produc‑ year between 3 and 12 June in Cluj and eleventh Astra Film Festival was held in tions were selected for the four sections of 15 and 19 June in Sibiu. The partnership Sibiu. It is the oldest international docu‑ the festival’s competition: International, between TIFF and the Romanian Cultural mentary film festival in Romania and the Europe, Romania, and Student Docs. Institute began in 2006, when the New York biggest of its kind in Central and Eastern Romanian Film Festival was launched by Europe. The Romanian Cultural Institute, The Romanian Cultural Institute was the RCI New York. In 2011, the RCI supported the event’s traditional partner, awarded partner of the sixth Anim’est International the Romanian Film Days section, dedicated the festival’s most important prize – the Animation Film Festival and awarded to Romanian productions, and the attend‑ Astra Film Trophy for best Romanian docu‑ the Anim’est Trophy and the Romanian ance of a delegation of thirty‑one leading mentary – to Crulic: The Path to Beyond Animation Short Film Prize. Starting this film critics, film curators, producers, and (dir. Anca Damian). In addition, via the year, the winner of the Anim’est Trophy distributors from abroad (at the recom‑ Romanian Cultural Institute in Tel Aviv, the directly enters the competition for Cartoon mendation of Romanian Cultural Institutes Romanian Cultural Institute in Vienna, and D’Or, Europe’s most prestigious prize for abroad and the organisers): Basil Tsiokos, the “Mihai Eminescu” Romanian Cultural animated shorts. In premiere for a major documentary film programmer for the Institute in Kishinev, the RCI sponsored the film event in Romania, Anim’est organ‑ Sundance Festival (USA); David Kwok, attendance at the festival of the following ised a special event in Kishinev between 3 programming director, Tribeca Film Festival international film experts: Galia Sara Bador, and 6 November. The Anim’est Trophy was (USA); Laurence Kardish, curator, Film director of the DOCAVIV international docu‑ awarded to the short filmBody Memory, and Cinema Department of the Museum mentary film festival (Israel); Fabian Eder, directed by Ülo Pikkov (Estonia, 2011). of Modern Art, New York; Benjamin screenwriter, director and cameraman More than twenty films were in the running Crossley‑Marra, sales director, Zeitgeist (Austria); and Virgiliu Mărgineanu, film for the Romanian Animation Short Film Films (USA); Barry Gifford, screenwriter producer, director of Kishinev’s CRONOGRAF Prize this year, and the Romanian Cultural (USA); Brian Chirls, media artist (USA); international documentary film festival. Institute awarded the trophy to The Scream, Anna Kilian, film critic (Poland); David Besides screenings of documentary films, directed by Sebastian Cosor. Jenkins, journalist, Time Out London (UK); this year’s festival also hosted photography Wendy Ide, journalist, The Times (UK); Ed exhibitions, concerts, workshops, and, for The RCI has a far‑reaching partner‑ Lawrenson, journalist, Film critic (UK); the first time, a series of master classes ship with the Transylvania International Tim Robey, journalist, The Telegraph with the world’s elite of documentary film Film Festival (TIFF), which was held this (UK); Hrönn Marinósdóttir, director of

The Astra Film Trophy for the best Romanian documentary film, awarded by the Romanian Cultural Institute, went to the filmCrulic: The Path to Beyond (directed by Anca Damian) © Aparte Film

The first Anim’est Festival in Kishinev, with the support of RCI Kishinev © Anim’est the Reykjavik International Film Festival cinematographic techniques (USA); Tamara Prize for the best Romanian film went to (Iceland); Cuneyt Cebenoyan, film critic, Tatishvili, director of the National Film Morgen, directed by Marian Crișan. Birgün daily newspaper (Turkey); Yusuf Centre, Georgia; Srinivas Sunderrajan, Güven, editor of Yeni Film (Turkey); Necati director (India); Cédomir Kolar, producer One of the Romanian Cultural Institute’s Sönmez, documentary film director and film (France); and Uberto Pasolini Dall’Onda, strategic objectives in 2011 was promo‑ critic (Turkey); Emel Çelebi, film director director, winner of the TIFF Film‑Directing tion of the music of George Enescu on the (Turkey); Bașak Emre, representative of the Prize, 2009 (Italy). 130th anniversary of the composer’s birth. Ankara Association of Cineastes (Turkey); The delegation attended screenings This strategy took the form of facilitating Yaron Shamir, curator for the Haifa at Romanian Film Days, meetings with the attendance of foreign musicologists at International Film Festival and lecturer at Romanian cineastes, and a debate on the twentieth George Enescu International the Cinamatheques in Haifa, Tel Aviv and the subject “10 Years: The New Wave Festival, as well as organising within the Jerusalem (Israel); Roberto Cueto, editor, of Romanian Film – in America and network of Romanian Cultural Institutes Cahiers du Cinéma, Spain, and member Worldwide,” chaired by Corina Șuteu, abroad numerous concerts aimed at making of the Selection Committee of the San director of RCI New York. The Romanian Enescu’s work more familiar to music lovers Sebastián Film Festival (Spain); Desirée de Cultural Institute also made a substantial and promoting the Festival internationally. Fez, film critic (Spain); Eva af Geijerstam, contribution to the production of the special The Romanian Cultural Institute journalist, Dagens Nyheter daily newspaper English‑language publication aperiTIFF – in Tel Aviv, the “Mihai Eminescu” (Sweden); Andrea Zennaro, editor, Arts and Romanian Cinema 2011, dedicated to the Romanian Cultural Institute in Kishinev, Artifacts in Movie – Technology, Aesthetics, tenth anniversary of the emergence of the the Romanian Institute of Culture and Communication: AAM TAC, Alessia di New Wave of Romanian cinema. Humanistic Research in Venice, and the Saro’ (Italy); Anna Ferrario, collaborator, The Romanian Cultural Institute made Romanian Cultural Institute in London Pasinetti Cinematheque, Venice; Kaeun another major contribution by awarding financed the attendance of the following in Park, programmer, Busan International the Transylvania Trophy and the Prize Bucharest for the duration of the festival: Film Festival (Korea); Margaret Von for Best Romanian Film. The winner of Raz Binyamini, musical director of the Schiller, programming co‑ordinator, the Transylvania Trophy was Sin retorno, Chamber Music Centre of the Israeli Seville Film Festival and Cuenca Women directed by Miguel Adrian Cohan, a Conservatoire; Larisa Zubcu, director Directing Festival (Spain); Thomas Mai, Spanish‑Argentinean co‑production, the of the Organ Auditorium in Kishinev; specialist in the application and use of new Agnesa Rusu, Sergey Lunkevich National

Miguel Adrian Cohan, director of the film Sin retorno, winner of the Transylvania Trophy awarded by the Romanian Cultural Institute © TIFF

An open‑air screening of the film Odessa in Flames (directed by Carmine Gallone) at TIFF © Nicu Cherciu

35 Philharmonic, Kishinev; Cristina Paraschiv, Humanistic Research in Venice organ‑ Festival is a multidisciplinary European musicologist, Sergey Lunkevich National ised the “George Enescu in Italy” tour. project aimed at building bridges between Philharmonic, Kishinev; Rodica Iuncu, The project made its debut in Venice on 26 the performing and the visual arts in an music journalist (Republic of Moldova); February and came to a close in Rome on 1 attempt to create new artistic forms, and Cesare Mazzonis di Pralafera, artistic December, the National Day of Romania, is currently held in ten countries: Belgium, director of the RAI National Symphonic having garnered unanimous praise from Estonia, France, Germany, Hungary, Italy, Orchestra, ; Pierangelo Conte, artistic audiences in Verona and Turin in the mean‑ Portugal, Poland, Romania and Turkey. As secretary of the La Fenice Theatre, Venice; time. The concerts were given by violinist well as international guest performances in Michele Dall’Ongaro, president of the RAI Gabriel Croitoru and pianist Karim Said Cluj, there was an emphasis on independent National Symphonic Orchestra, Turin; (the beneficiary of the first scholarship Romanian productions by young artists Jennifer Lang, deputy music director of the awarded by the Enescu Society and RCI that used performance to bring into discus‑ St Martin in the Fields Academy, London; London, in partnership with the Royal sion subjects connected to recent Romanian and Mark Eynon, director of the Newbury Academy of Music in London) in Venice, history, current cultural phenomena at the Spring Festival, London. Verona and Turin, and the final concert periphery of society, the influence of virtual In memory of the illustrious composer, in Rome was given by Remus Azoiței reality on our lives, and the way the memory RCI Lisbon organised a concert of classical (professor at the Royal Academy of Music in of the real passes through our bodies. music at the Museu Nacional do Azulejo – London and artistic director of the Enescu Basilica Madre Deus, performed by the Society) and pianist Eduard Stan (founder In a wholly special way, the attend‑ Enescu Quartet, featuring Constantin and artistic director of the George Enescu ance of international arts programmers Bogdanas (violin), Florin Szigeti (violin), Festival in Heidelberg and Mannheim). plants the seeds of partnerships that bear Vladimir Mendelssohn (alto) and Dorel The Romanian musicians also gave open fruit over the medium and long term, Fodoreanu (cello). lectures for students of the Benedetto although many results are also evident Likewise, on 21 September at the Haus Marcelo Conservatoire in Venice, the E. even in the short term, as can be seen in the der Musik, RCI Vienna organised a recital F. Dall’Abaco Conservatoire in Verona, following section. by pianist Horia Mihail and violinist Gabriel the Giuseppe Verdi Conservatorio Statale Croitoru, who played Enescu’s celebrated di Musica in Turin, and the Accademia Guarneri violin. Nazionale di Santa Cecilia in Rome. The series of musical events dedicated to Enescu continued with sponsorship of the The Romanian Cultural Institute facili‑ attendance of the PROMS ensemble at the tated the attendance of seven international seventh annual George Enescu Festival, specialists from the field of the performing held in Heidelberg and Mannheim and arts at the TEMPS D’IMAGES Festival, organised by the A. I. Cuza Association. held between 11 and 20 November in The “Titu Maiorescu” Romanian Cultural Cluj: Kyoko Iwaki, journalist and artistic Institute in Berlin organised the third consultant (Tokyo Festival/Kanagawa The Hague Philharmonic “Enescu Days in Berlin” event, whose Arts Theatre, Japan); Joanna Wichowska, in concert at the George Enescu Festival, conducted theme this year was “George Enescu and actress and journalist (East European by Christian Badea the Musical Romania of His Time”, a Performing Arts Platform, Poland); Julie © Alexandra Jitariuc wide‑ranging project that included concerts Rodeyns, researcher, Kaaitheatheater by Romanian and foreign musicians, an (Belgium); Judith Blankenberg, assistant international symposium on musicology, programmer, Rotterdamse Schouwburg and an “Enescu and Bartók” exhibition. International Festival (); Aenne In partnership with the George Enescu Quinones, playwright and theatre/perform‑ National Museum in Bucharest, the ance curator, Hebbel Theatre (Germany); Enescu Society in London, RCI London, Beáta Barda, artistic director of the Trafo the Accademia di Romania in Rome, and Contemporary Art Centre (Hungary); and the George Enescu International Festival, Carlotta Garlanda, cultural operator, Parco the Romanian Institute of Culture and Arte Vivente (Italy). The TEMPS D’IMAGES 36 Roșia Montană along Physical Lines and Political Lines (directed by Gianina Căbunariu, Andreea Vălean, Radu Apostol) at the TEMPS D’IMAGES Festival, supported by the Romanian Cultural Institute © Sânziana Crăciun

(anti) Aging, choreographed and performed by Mădălina and Mihaela Dancs, at the TEMPS D’IMAGES Festival © Sânziana Crăciun In order to achieve its main aim – that they operate. A complementary instru‑ in the previous section, increasing numbers of introducing an increasing number of ment systematically implemented by the have also been visiting Romania for docu‑ Romanian cultural products into interna‑ entire network of Romanian cultural insti‑ mentation purposes, with a view to deve‑ tional circulation – the Romanian Cultural tutes abroad since 2010 is the mobility loping projects of international cultural Institute has opened branches in the prin‑ programme that identifies programmers, importance. Although the results and cipal countries of interest. The teams of the curators and cultural managers interested impact of the mobility programme can Romanian cultural institutes abroad have in developing projects with Romanian mostly be evaluated over the long term, year an excellent knowledge of local values, how artists or cultural institutions in Romania. after year numerous far‑reaching projects international cultural markets work, and In its budget, each Romanian cultural insti‑ have already been developed thanks to also the Romanian market, which allows tute abroad sets aside a percentage for such visits. them to forge enduring links between the mobility and, although the majority of invi‑ arts in Romania and in the countries where tees take part in leading festivals, as shown

Enduring links – projects for international co‑operation

38

One such case was the Nottara Theatre’s [T]he performances are often intense, and the theatre‑going public (a thing very hard touring production of Festen, directed by the disastrous dinner party celebrating the to achieve), every Romanian theatre produc‑ Vlad Massaci – the result of the Romanian father’s 60th birthday is stylishly stage. Ion tion crowned with success outside the country Cultural Institute’s strategy of putting Grosu brings a sweaty, nervous intensity has been part of an international festival. Romanian theatre back in the forefront and sense of deep damage to the role of the Festivals put the names of Romanian theat‑ in Britain, which combined perfectly abused son, who finally finds the courage to rical creators and the Romanian theatre in with the selection made by a prestig‑ speak out, and Alexandru Repan’s bullying international circulation, but are aimed at a ious local partner: the Barbican Centre confidence as the despicable father finally specialised, select audience rather than ordi‑ in London. As a result of the attendance deflates to compelling theatrical effect. nary theatregoers. The limited number of of the Barbican Centre’s international (The Telegraph, 11 November 2011) performances scheduled within a festival is theatre programmer, Toni Racklin, at not enough to allow the way theatre is made the National Theatre Festival in 2010, On 14 November, after the performance, within a particular cultural space to commu‑ thanks to the Romanian Cultural Institute’s the audience had the opportunity to engage nicate outside it. From this point of view, the mobility programme, Romanian theatre in a dialogue with director Vlad Massaci, “luxury” of a micro‑season resides in the fact had the opportunity to re‑forge links with journalist John O’Mahony of The Guardian, that the audiences are given time to know London audiences after the memorable and Romanian theatre critic Anca Ioniță. and understand. All ten performances sold success of the Bulandra Theatre’s produc‑ The production was part of the Barbican’s out, an indisputable indicator of success tion of Hamlet in the 1990s. At the time, BITE (Barbican International Theatre with the public, and the theatre critics of Ion Caramitru’s performance in the role of Events) season. The programme featured the biggest British dailies and specialist Hamlet was ranked by Time Out London productions that combine dance, music magazines – The Times, The Independent, as one of the top ten of all time. Between 9 and theatre in unusual ways, pushing the The Telegraph, and Time Out London, to and 19 November, at the Barbican Pit there boundaries of dramatic art. mention but a few – lauded the acting of the were ten sold‑out performances of Festen, two protagonists, Alexandru Repan – patri‑ an adaptation of Thomas Vinterberg’s Since Alexandru Tocilescu’s Hamlet, archal, powerful, Shakespearian – and Ion film of the same title, and the Romanian staged in London immediately after ’89, a Grosu – “intense, cathartic” – both of them cast’s acting was praised in Britain’s performance that produced an echo beyond “powerful presences on the stage”, and leading dailies: the event in itself, entering the awareness of also the entire cast of actors, “admirably

Toni Racklin, director Performance of Festen of the Barbican during its run at the Centre’s international Barbican Centre, 9–19 theatre programme, November 2011 during a visit to © Ciprian Duică the 2010 National Theatre Festival © Barbican Centre

40 directed” by Vlad Massaci, “a talented In famous museums in London, including participants were Judy Rudoe, curator at craftsman.” (Anca Ioniță, theatre critic) the British Museum, Victoria and Albert the British Museum; Edwina Ehrman, Museum and Horniman Museum, there are curator at the Victoria and Albert Museum; Also with the financial support of the major collections of traditional Romanian Freda Chapman, curator at the Haslemere Romanian Cultural Institute in London, artifacts and costume whose value has not Museum; Gabriel Hanganu, museogra‑ Mark Ball, the artistic director of the been capitalised on. The Romanian Cultural pher at the Pitt Rivers Museum in Oxford; London International Theatre Festival Institute in London is negotiating and Alexandra Urdea and Magda Buchcyzk, (LIFT), took part in the Bucharest National with these museums to organise far‑ranging doctoral students at Goldsmiths College Theatre Festival. As a result of this visit, exhibitions that would allow the British who also work at the Horniman Museum. there will be four performances of 20/20, public to become acquainted with After her trip to Romania, Fiona Kerlogue directed by Gianina Cărbunariu, at the Romania’s traditional arts. To this end, proposed an exhibition to be titled “Easter thirtieth LIFT, which will take place in RCI London sponsored a fact‑finding visit Customs: Painted Eggs from Romania.” July 2012, during the same period as the by Fiona Kerlogue, the Deputy Keeper The exhibition will be created in partner‑ Olympic Games and Cultural Olympiad. of Anthropology at the Horniman ship with the Romanian Cultural Institute, The success of the mobility programme also Museum. Between 10 and 19 August 2011, with the support of the “Dimitrie Gusti” encouraged the Romanian Cultural Institute Fiona Kerlogue visited the Museum of National Museum of the Village and the in London to invite programmers to the the Romanian Peasant and the “Dimitrie Bukovina Museum Complex, and will also 2011 National Theatre Festival in Romania. Gusti” Museum of the Village in Bucharest, include a programme of related activities: In this way, Kerry Michael, artistic the ASTRA National Museum Complex in Easter egg painting workshops held by director of the Theatre Royal Stratford Sibiu, the Bukovina Museum Complex, folk craftsmen and concerts of traditional East in London, was able to view perform‑ and the Art of Woodworking Museum in music. The exhibition aims to make known ances by the new wave of Romanian play‑ Cîmpulung Moldovenesc. Her visit was a significant and insufficiently exploited wrights, on which occasion it was agreed to preceded by a conference hosted by the segment of Romanian traditional culture: organise a residency for a Romanian play‑ Romanian Cultural Institute in London, the customs of Romanian Orthodox holi‑ wright starting in 2012, in partnership with at which curators from various museums days. The Horniman Museum exhibits the Romanian Cultural Institute. debated different strategies for capitalising decorative and textile arts from all over the on Romanian museum pieces. The other world, and the Romanian exhibition will be Romanian Study Day, conference on the Romanian collections held in British museums © Horniman Museum Fiona Kerlogue (right) during a visit to the Museum of the Romanian Peasant © Horniman Museum

41 an absolute premiere, in the context of the Contemporary Romanian artworks, instal‑ attended by curators and gallery owners growing interest in the traditional culture of lations and video projections from the port‑ from Romania: Alina Șerban (Centre for Eastern Europe, which is better conserved folios of a number of galleries around the Visual Introspection), Adrian Bojenoiu and than in the West. country were brought together to form Alexandru Niculescu (Club Electro Putere), The “Titu Maiorescu” Romanian this dynamic exhibition. The artists were Mihai Pop (Plan B Gallery), and Esther Cultural Institute in Berlin also organises Rudolf Bone (Plan B Gallery, Cluj), Lia Eppstein (founder of Perla Mode and events in the German‑speaking regions Perjovschi (Contemporary Art Archive and Message Salon, the oldest alternative space of Switzerland, which created the oppor‑ Centre for Visual Introspection, Bucharest, in Zurich). tunity to invite curator Olga Ștefan to and Club Electro Putere, Craiova), Irina Romania in April 2011 in order for her Popa and Alina Gheorghe – the Bureau Thanks to the mobility programme of the to visit galleries and visual arts centres for Melodramatic Research, Maria Crista, Romanian Cultural Institute in Tel Aviv, in Bucharest, Cluj, Timișoara, Craiova Rodica Tache and Anca Gyemant (H’art, Arie Berkowitz, a professor at the Holon and Jassy for fact‑finding purposes. As Timișoara), and Ștefan Tiron and Claudiu Institute of Technology (HIT) and director a result of this trip, Olga Ștefan organ‑ Cobilanschi (Paradise Garage, Bucharest). of the Artists’ House in Tel Aviv, visited ised the “Just Another Brick in the Wall” On 9 December, a debate about the art Romania between 4 and 8 October 2010 exhibition at the Barbara Seiler Gallery in scene in Romania in the current economic, with a view to promoting Romanian visual Zurich between 8 and 23 December 2011. political and social context was held, art in Israel. As a result of this trip, two

Lia Perjovschi with her work Life Coaching, 1996–2006, part of the “Just Another Brick in the Wall” exhibition, Zürich, 8–23 December 2011 © Lia Perjovschi

42 projects in the sphere of design and visual of the academic partnership between the and art universities from Romania. Eight arts took shape. The first project, which National University of Art’s Design Faculty up‑and‑coming artists were chosen: Ana ran from 20 October to 18 November 2010, and the Design Department of the Holon Maria Micu, Dragoș Burlacu, Francisc consisted of an exhibition on the history of Institute of Technology, with the participa‑ Chiuariu, Cătălin Petrișor, Bogdan Raţă, Romanian design at the public gallery of the tion of the Bucharest Polytechnic University Aurel Tar, Radu Belcin, and Flavia Pitiș. Holon Institute of Technology. “DesignR (the University Museum) and the Bucharest In a form adapted to the Israeli space, the 30” tells the story of some major design Museum of Technology. exhibition repeated the exhibition concept projects created in Romania in the inter‑war The second project featured an exhi‑ that Romania put forward at the Moscow period. The exhibition set out to high‑ bition of contemporary Romanian art – Art Biennale in 2011. The featured artists light Romania’s contributions to interna‑ “Colouring the Grey. States of Mind” – were from Bucharest, Brașov, Timișoara, tional design heritage, such as the world’s which opened on 24 November 2011 at the Craiova, and Bacău. first aerodynamic automobile, created Artists’ House in Tel Aviv. The exhibition by Aurel Perșu in 1923 and the Fernic illustrated the main trends in contempo‑ In 2010, the Romanian Cultural Institute aeroplane. The project’s curator, Radu rary Romanian art using a selection made forged a partnership with the Transylvania Teodorescu, is a professor in the Design by curator Arie Berkowitz in collabora‑ International Film Festival, which, via Department of the National University of tion with Cosmin Năsui and Oana Ioniță, RCI New York, has created new opportu‑ Art in Bucharest. The project was the result as well as artists, critics, private galleries nities for visiting delegations of American

“DesignR” – exhibition of Romanian design from the inter‑war period at the Holon Institute of Technology © Holon Institute of Technology

Catalogue for the exhibition “Colouring the Grey. States of Mind”, Tel Aviv (detail of Scream, Bogdan Rață) © Cosmin Năsui

43 critics, film distributors and representa‑ One of the fields most intensively tives of prestigious festivals from the USA. promoted by the Romanian Cultural For example, the attendance of an American Institute in Stockholm is literature, which delegation at the ninth Transylvania Film every year organises salons of Romanian Festival (TIFF) resulted in the subsequent poetry, prose and drama, publishes anthol‑ participation of three Romanian films for ogies, encourages translations of Romanian the very first time at the New York Film literature, and presents the Marin Sorescu Festival, as well as major visibility in the Prize. Thanks to the efforts of recent years, American mass media for the Romanian Romania is due be the invited country at Film Festival organised in New York by the Göteborg Book Fair in 2013. In order to the local branch of the Romanian Cultural take advantage of this favourable context Institute. The delegation had the oppor‑ for Romanian literature, as well as to stim‑ tunity to attend film screenings, estab‑ ulate as many Romania‑themed publishing lish contacts with Romanian directors, projects in Sweden as possible, two repre‑ producers and distributors, and take part in sentatives of Swedish publishing house a round table discussion titled “Romanian 2244 were invited to Bucharest’s Bookfest Cinema in America – A Love Story” in 2011 as part of the mobility programme: chaired by Corina Șuteu, director of RCI publisher Ingemar Nilsson and editor New York, followed by questions from the Mattias Axelsson. Nilsson and Axelsson festival audience. Also present at TIFF were took part in various events at Bookfest Scott Foundas, scheduler of the New York and had meetings with representatives of Film Festival and the Lincoln Center Film the Humanitas, Polirom, Paralela 45 and Society; Alissa Simon, documentary film Cartea Românească publishing houses. scheduler for the Sundance Film Festival; As a result of these meetings, the Swedish Daniel Elefante, on behalf of the Kino publisher purchased the rights to the novel Lorber film distribution company; and jour‑ The Book of Whispers by Varujan Vosganian nalist Susan Norget. and also intends to translate titles by Following the remarkable success of the Lucian Dan Teodorovici, Garbiel Liiceanu, first joint project withTIFF in 2010, RCI New Victor Ieronim Stoichiță, and Radu York extended and expanded the partner‑ Paraschivescu. The 2244 publishing house ship for the festival’s jubilee in 2011, spon‑ was officially launched atRCI Stockholm in soring the attendance of seven American September 2011. film schedulers. The first, immediate result was a partnership with the Museum of These are just a few eloquent examples of Round table discussion Modern Art, via Laurence Kardish, the the efficiency of the mobility programme, with directors of museum’s main film curator, with a view to which the Romanian Cultural Institute the “New Wave” and the American organising a Lucian Pintilie Retrospective intends to expand over the coming period. delegation at TIFF 2010 at MoMA in 2012. © Adi Marineci

44

At the same time as it achieves its main high market rating. In this way, ongoing scholarship and residency programmes. The goals, the Romanian Cultural Institute projects acquire credibility, and the insti‑ residency programmes that are run within constantly adapts its strategy to the new tutions with which the RCI co‑operates at the network of Romanian cultural institutes international context, and programmes the international level display an interest in abroad are available to both Romanian and to support young artists and teach the future partnerships, thereby allowing ever Moldovan citizens, with selections being have been guiding greater numbers of Romanian artists to carried out by an international jury and direction of its activities year after year. enter international circulation. In parallel, based on project proposals. As a priority, the Institute includes in young artists and those embarking on an its programmes established artists with a international career are given support via

Continuity – scholarships, courses, residencies

46

This year, the Romanian Cultural Institute augmentation of the studies they have been The residency in Paris was very intensive in Paris picked twenty‑five residents, constantly engaged in over the last few years in its opportunities for research and devel‑ offering them the opportunity to dedi‑ in Bucharest. opment and the ’live’ discovery of a dynamic cate themselves exclusively to creation The main aim of the residency was to and emerging professional zone, one that is and production within the French cultural meet and interview famous architect Yona in constant transformation, and in which sphere, and at the same time encouraging Friedman. In 2010 he agreed to contribute various specialities and areas of expertise, them to forge contacts with professionals in his Les Meubles Plus (text and drawings) historical models and theoretical directions their own particular fields. The successful to the studioBASAR publication Evicting the come together to examine current urban candidates were from various fields, from Ghost: Architectures of Survival, edited issues: the crisis of community and common anthropology and the social sciences to by Alina Șerban, published by the Centre space, a state of disillusion and confusion architecture, film, literature and theatre, for Visual Introspection, and launched in on the part of the urban community similar and included Jean‑Lorin Sterian, Alex Bucharest in December 2010. As a result to that found in Romania and Bucharest. Axinte and Cristi Borcan (studioBASAR), of the talks we had on that occasion, Mr Likewise, the contacts that were established Marina Albu, Elena Gold, Marius Olteanu, Friedman agreed to grant us an interview, in found tangible form in projects and partner‑ Alina Bodocan, Radu Aldulescu, Liliana which we discussed the problematics of the ships in 2011. (studioBASAR) Corobca, Alexandru Bumbaș, and publication, the history of the WINDOW move‑ studioBASAR was founded in 2006 by Alex Eugen Jebeleanu. ment in the period of the megastructures of Axinte and Cristi Borcan as both an archi‑ In January 2011, Alex Axinte and the 1950s and 60s, and, not least, an aspect tectural studio and a search‑and‑rescue Cristi Borcan were the recipients of a hitherto not examined in detail in his inter‑ team, operating as an observer and creative residency for architects at the views: the period of around one year that he agent of urban intervention. studioBASAR Romanian Cultural Institute in Paris, a spent in Bucharest between 1945 and 1946. projects encompass art installations, urban project conceived as an extension and research, and competition entries and

The beneficiaries of the first residencies atRCI Paris in 2011 were Alex Axinte and Cristi Borcan (studioBASAR) © studioBASAR

48 various typologies for public and residen‑ project, with the support of the RCI London theatre director Ioana Păun, actor Cristian tial buildings. team. Anca Benera worked on a project Hogaș, art critic Ileana Pintilie, disk jockey The Attic Arts programme, which titled “I Listen to Objects,” in partner‑ Cosmin TRG, and photographer Raul Ștef. was founded by the Romanian Cultural ship with RCI London and the Camden Arts Recently, Attic Arts expanded its Institute in London as early as 2006, allows Centre, between 6 October and 5 December programme to include a residency to train residents to work in a multicultural capital 2011, and Claudiu Komartin launched a professionals in cultural diplomacy and that is unique in its ethnic diversity and the project to translate and publish a series of cultural management. The International complexity of its cultural options. contemporary Romanian poets in collabo‑ Cultural Co‑operation Residency is a In 2011, the Romanian Cultural Institute ration with the Poet in the City organisation course of practical instruction and coaching in London provided four two‑month and British poet Stephen Watts, between 6 that lasts three months, commencing with bursaries for residencies in its attic flat in December 2011 and 5 February 2012. The an intensive stage of theoretical and prac‑ Belgrave Square. The successful candidates RCI London Attic Arts programme made its tical training at RCI London and a partner this year were Vera Ion and Sorin Poamă debut in 2006, and to date the beneficiaries cultural institution in Britain, after which (“Busk for Your Life”), Ioan Tițu (“Silent have been violinist Tudor Andrei, playwright residents work full‑time alongside the RCI Strike and Sukie Smith”), Anca Benera, and Andreea Vălean, cultural manager Dragoș London team on cultural projects in various Claudiu Komartin. They had the opportu‑ Olea, interior design group Liste Noire fields: film, theatre, music, literature, dance, nity to experience London cultural life, to (Ioana Nemeș and Maria Farcaș), curator traditional culture, etc. The first beneficiary explore new directions in their activity, and Alina Șerban, visual artists Matei Bejenaru, was Claudia Cîrlig (September–December capitalise on the contacts they forged with Ramona Poenaru, Aneli Munteanu, Aura 2011), to be followed in 2012 by Alexandra British professionals in various fields. Over Bălănescu, Peter Szabo, David Șandor, Rusu (January–April), Ana‑Maria the period of their residencies, the artists Vlad Nancă, and Carmen Dobre, writer Onisei (May–July), and Ghenadie Șonțu each completed a professional or artistic Jean‑Lorin Sterian, playwright Peca Ștefan, (September–December).

Claudiu Komartin, resident in the attic of the Romanian Cultural Institute in London © Mircea Struțeanu

Vera Ion and Sorin Poamă, “Busk for Your Life” 49 © Bogdan Grigore Alexandra Rusu is an editor, translator, and Besides its two residency programmes, where he has focussed his attention on book reviewer. She is currently a publishing RCI London also grants two scholarships the work of Enescu, whom he describes manager at Editura ALL, having previously aimed at promoting the contributions as “conveying a sensibility that makes an worked as an editor at Editura Humanitas that George Enescu made to the history of impression on every listener.” for five years. She has contributed to classical music, encouraging increasing Young pianist Jinah Shim, a student at Evenimentul zilei, Dilema veche, New York numbers of young musicians to include the the Guildhall School of Music and Drama, Times Book Review (the Romanian edition), Romanian composer’s work in their reper‑ already displays a mature musical intel‑ Cosmopolitan, Luceafărul, and Viaţa româ‑ toire. The Enescu Scholarship is awarded ligence and a technique to be envied, nească, and presents a programme on to a student recommended by the Royal elements that have led her to become closer foreign books for TVR Cultural. Academy of Music and a student at the to the work of Enescu. In spite of her tender Ana‑Maria Onisei is an editor for the Guildhall School of Music, and consists of a years, the pianist has an impressive curric‑ culture section of the Adevărul daily. She sum of money to cover a part of the tuition ulum vitae, having won numerous compe‑ has published reportages, interviews and fees for one year of academic study. In 2011, titions. Jinah thinks that “a great musi‑ book recommendations in Tabu and Esquire the Enescu scholars were violinist Konrad cian must be capable of offering audiences magazines, and reviews cultural events for Elias‑Trostmann and pianist Jinah Shim. impeccable, flamboyant performances.” the Dilema veche weekly. Born in London in 1989, Konrad Ghenadie Șonțu is president of the ARS Elias‑Trostmann is a highly talented and In 2011, the network of Romanian DOR Association from the Republic of expressive violinist, with an excellent tech‑ Cultural Institutes abroad established new Moldova and works as an expert for the nique and abundant creativity. Having scholarship and residency programmes in Moldovan Ministry of Culture’s National already won a number of major prizes and Tel Aviv, Milan and Kishinev. Agency for the Inspection and Restoration national and international festivals, Konrad of Monuments. studies at the Royal Academy of Music,

Silent Strike in residence at Belgrave Square, RCI London © Silent Strike

Jinah Shim and Konrad Elias‑Trostman, winners of the Enescu Scholarships awarded by the Romanian Cultural Institute in London © RAM and GSMD The programme launched by the Romanian as my personal roots. Ever since childhood, portrait. Some frames will contain only text, Cultural Institute in Tel Aviv, in partner‑ a central female figure has marked me in a short diary phrases that I shall write over the ship with the Visual Arts Residencies Centre special way, without my ever having known course of the residency. (…) is a pun on תוהמ‑א / in Herzlyia, offers professionals in the arts her: my grandmother on my father’s side. It The title E‑mahut ‑which means mother ,תוהמא the opportunity to spend a month in Israel all began by the fact that we have the same the Hebrew at the Centre in Herzliya. Successful candi‑ name: Erzsebet/Elisheva. (…) hood, but replacing the first letter with anE , dates are selected on the basis of an artistic What I propose is an installation, a wall from Elisheva, thereby interiorising the term project that has to be completed during the of drawings of various sizes and techniques, and transforming it into a personal concept. period of their residency. with different frames and boxes (some made Another important element of the project is The project I propose for the residency using found objects), portraits of the Jewish that it puts forward an alternative vision of in Herzliya is centred on personal searches women I meet or see on the street, and under‑ collective memory and the transition from a that have led me toward the Israeli people neath I shall inscribe their real names or historical vision to one that is more personal and culture, toward the Jewish woman, to be made‑up names The story embodied in the and humanist. (Lea‑Elisabeta Rasovszky, more exact, the central and enigmatic figure musicality of each name (Rozalia, Mazal, recipient of the first residency) of my childhood, as well as my adult life. The Erelah, Myriam, Sharon, etc.) lends a roots of this project are one and the same special and personal dimension to each

Lea‑Elisabeta Rasovszky in residence at the Centre for Visual Arts Residencies in Herzlyia, with the sponsorship of RCI Tel Aviv © Lea‑Elisabeta Rasovszky

51 The Romanian Institute of Culture and and performed major roles from the opera Fuștei (the translation and publication of Humanistic Research in Venice offers repertoire in Italy, Russia, China, and the works of Alexandru S. Sturza); univer‑ scholarships for young opera soloists to South Africa. sity lecturer Emil Dragnev (research into the Accademia Teatro alla Scala in Milan. the history of Christianity); Dr Varvara Founded by Riccardo Muti in 1997, the Founded at the end of 2010, the “Mihai Buzilă, deputy scientific director of the Accademia Teatro alla Scala is a school Eminescu” Romanian Cultural Institute National Museum of Ethnography and of excellence for opera singers which in Kishinev aims to contribute to building Natural History (research into ethnog‑ continues the tradition of the Cadetti della a professional elite through its programme raphy and peasant culture); and archi‑ Scala School, created by Arturo Toscanini in of scholarships awarded to Moldovan citi‑ tect Rita Garconiță, senior lecturer in the 1950 to perpetuate the Italian opera tradi‑ zens. The programme, which is named after Faculty of Architecture at the Technical tion. Drawing upon the experience and Moldovan scholar Alexandru S. Sturza, University of Moldova (an architectural professionalism of artists of international commenced on 15 October 2011, granting restoration project). renown, the Italian institution prepares six scholarships covering one academic young opera singers for a solid professional year for projects that included the restora‑ Besides its scholarship and residency career by perfecting their technical and tion of a historic monument in Kishinev; programmes, implemented through the performing abilities over a period of two the publication of an annotated transla‑ network of Romanian cultural institutes years. This year, the winner of the auditions, tion of the literary, political, theological, abroad, the Romanian Cultural Institute held in two stages, in Bucharest and Milan, and philosophical works of Alexandru S. awards scholarships for budding and was Letiția Vițelaru. Sturza; research in the field of ethnog‑ professional translators of Romanian liter‑ Born in 1985, Letiția Vițelaru studied raphy and peasant culture; research into ature; scholarships for foreign journal‑ violin at the “George Apostu” Arts Lycée totalitarian regimes; and research into the ists interested in the Romanian cultural in Bacău and canto at the “Dinu Lipatti” history of Christianity and apologetic liter‑ phenomenon; and scholarships for further Music Lycée in Bucharest. She is currently ature. The beneficiaries of the first round of academic study available to Romanians a final year student at the Giuseppe Verdi scholarships were university lecturer Igor abroad, as well as foreign students inter‑ Conservatoire in Milan. She has taken Cașu (research into totalitarianism); univer‑ ested in Romanian topics. A partnership part in numerous competitions in Italy sity lecturers Virgil Pîslariuc and Nicolae between the Romanian Cultural Institute

Letiția Vițelaru, the winner of the first scholarship to the Accademia Teatro alla Scala in Milan, awarded by the Romanian Institute for Culture and Humanistic Research in Venice © Letiția Vițelaru

52 and the Woodrow Wilson International with the Romance Studies Institute of the language, literature and culture. Following Center for Scholars in Washington D.C. University of Vienna). their attendance of the course, partici‑ allows Romanian researchers to engage Not only the students’ backgrounds, pants acquire knowledge of the Romanian in advanced studies in history, law, polit‑ but also their reasons for taking language equivalent to level A1, required ical and administrative science, interna‑ Romanian‑language courses are diverse: for enrolment on the courses of Vienna tional relations, and economics. Likewise, from lawyers, teachers, social workers, University. The length of the course is two the Constantine Brancusi and Georges nurses, sociologists, engineers, IT special‑ weeks and includes ten hours of teaching Enesco scholarships allow Romanian ists, businessmen, former ambassadors, per week. visual artists and musicians with acknowl‑ conductors, students, and tourists to people One novelty relating to the sessions held edged achievements in their fields to work with Romanian spouses or of Romanian in 2011 was the frequent requests on the on projects at the studio Romania rents in descent and those merely wishing to learn a part of Romanian‑language teachers in the Cité Internationale des Arts in Paris. new language. Vienna to attend the courses provided by the Details about the number of scholarships, The number of students taking courses Romanian Cultural Institute in the Austrian their value, and the criteria for successful varies from institute to institute, and the capital. This is a professional indicator applicants are constantly updated on the annual average is one hundred. Enrolment of the fact that the courses have become Institute’s web page. on courses is based on a language aptitude a benchmark for competence in the local test to establish the student’s level, and at language training market. Consequently, The network of Romanian cultural the end of the course participants receive in 2012 RCI Vienna will organise a work‑ institutes abroad offers those interested a diploma attesting course attendance and shop on methodical teaching of the the opportunity to take courses in the language level. Romanian language. Romanian language and culture. Courses The Romance Studies Institute of Every year from April to June and for beginners and advanced students Vienna University has continued the from October to December, the “Titu are held in Bucharest, Brussels, Rome, programme it established in partnership Maiorescu” Romanian Cultural Lisbon, Madrid, Paris, Prague, Tel Aviv, with RCI Vienna in 2010 – a free inten‑ Institute in Berlin organises Romanian Venice (in partnership with the Ca’ Focsari sive Romanian‑language course aimed at language courses for beginners and University), and Vienna (in partnership students opting to study the Romanian intermediate students.

The Romanian Cultural Institute in Vienna, in partnership with the Romance Studies Institute of Vienna University, holds Romanian language courses annually

Language courses held in Madrid are accompanied by lectures, film screenings and concerts

53 I am interested in foreign languages in This course is really interesting: not only lectures on subjects relating to history, general, and in the Romance languages in do we learn notions of grammar, orthography Transylvanian traditions, cinema, politics, particular. I have learned French and Latin. and vocabulary, but also we learn notions of journalism, anthropology, and literature. In I think the Romanian language course at Romanian history, and information about addition, there were creative workshops, at the Romanian Cultural Institute in Berlin is Romanian artists, musicians, painters, which course participants could try out their very interesting. I especially like the relaxed and writers. (Anthoni Lichaa, Romanian abilities in gastronomy, nineteenth‑century atmosphere. (Cristian Chang, course partic‑ language course participant, Beirut) society dance, pottery, journalism, adver‑ ipant, RCI Berlin) tising, and acting. Complementary to these Bucharest is a city of contrasts, but herein activities there were also cultural research Romanian is the only Romance language resides its charm, as its foreign residents trips to the Transylvanian region (the Saxon that I do not know and this is why I want to often say. In order to fit into this landscape, fortified churches, Sibiu, Bran, Sinaia), an learn it. (Ludger Schiffler, course partici‑ the Romanian Cultural Institute offers them international evening, and screenings of pant, RCI Berlin) courses throughout the year, whether inten‑ Romanian films. sive (three hours a week) or extensive (two To accompany Romanian language hours a week). Over the years, I have taken part in lots teaching sessions, the Romanian cultural of language courses in various countries, institutes abroad also organise events I came to Romania two years ago. I but the programme in Brașov exceeded all aimed at familiarising course participants didn’t know anything, not a single word my expectations. In the first place, Brașov with Romanian culture via film screen‑ or expression in Romanian. I decided to was a good choice for a language course, ings, concerts, and lectures. Between 24 learn Romanian at the RCI and after taking because it is a wonderful city. (…) The January and 8 April 2011 at the Romanian courses I discovered that the RCI is the best programme in itself was genuinely inten‑ Cultural Institute in Madrid, for example, option if you really want to speak Romanian, sive and varies, and, at least for me, this was the guests were Roberto Cueto (film critic in a pleasant atmosphere, using a simple something positive. The language courses and author of a book about Romania), José and highly effective method. But what is in the morning, designed and taught in Manuel Oñoro (writer, photographer, and most important is that the RCI has a team a professional way, were interactive and maker of a film about Romania), Felicia of professional teachers, made up of five adapted to the level of each student. Every Mihali (writer), Olivia Petrescu (lecturer at ladies who are always ready to help. They Saturday and Sunday we visited some of the the “Babeș‑Bolyai” University in Cluj). are highly qualified teachers, with a deep most beautiful historic towns and villages in One premiere in 2011 was the holding of knowledge of Romanian and they always Transylvania. (Adam Pulchart, interpreter at Romanian language courses in Lebanon. display an excellent disposition and apti‑ the European Commission) On 26 September 2011, a series of courses tude, to encourage you to learn effectively. commenced, with forty participants. Lasting (Juana Nunez, Romanian language course twelve weeks, the courses are organised participant, Bucharest) by the Romanian Cultural Institute with the support of the Romanian Embassy in Those interested in learning Romanian The first Romanian Beirut, the Romania‑Levant Association, through total immersion in a Romanian language courses in the Lebanon drew and the CLAC Sin El Fil Cultural Centre. environment can opt for the Romanian more than seventy This initiative meets a demand on the Language, Culture and Civilisation participants part of numerous Lebanese citizens inter‑ Courses held annually in Brașov. A multi‑ ested in studying in Romania, the business cultural space, Brașov (Latin: Corona, community, and mixed Romanian‑Lebanese German: Kronstadt, Hungarian: Brassó) families. is famous as a historic mediaeval trading city, as well as a cultural and academic I am a translator and I find the bastion and the place where the spark of Romanian language and culture very Romania’s first anticommunist revolts was interesting – thank you for this course! struck. In 2011, the courses were held over (Mira Al Haber, Romanian language course three weeks in the month of July, but the participant, Beirut) programme also included other activities: 54 Participants in Summer School held in Brașov enjoy an intensive cultural itinerary DIRECTORATE GENERAL FOR ROMANIAN

CULTURAL INSTITUTES ABROAD

DIRECTOR GENERAL: Irina Ionescu

DIRECTORATE FOR THE ASSESSMENT OF THE

PROGRAMMES OF THE ROMANIAN CULTURAL

INSTITUTES ABROAD

DIRECTOR: Ovidiu Dajbog‑Miron

EDITORS: Anamaria Antoci, Teodora Cașcarade, Ovidiu Dajbog‑Miron, Ștefana Popa, Daniel Sur RESEARCH: Valentina Andrei, Agripina Anghel, Irina Constantin, Gabriela Damian, Cătălina Giugariu, Anca Hrab, Denisse Ionescu, Ortansa Ispas, Silvia Leu, Georgiana Oprescu, Iulia Scutaru, Ana Teodorescu GRAPHIC DESIGN: Radu Manelici IMAGE PROCESSING: Aurelian Ardeleanu TRANSLATION: Alistair Ian Blyth CONSULTANT: Dan Croitoru

We would like to thank our colleagues from the Romanian Cultural Institutes in Bucharest and abroad for all the help they have provided.