Acţionismul în România în timpul comunismului:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Cluj-Napoca
Idea Design & Print
2000
|
| Schriftenreihe: | Zsfassung in engl. Sprache u.d.T.: The actionism in Romania during communism
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | 131 S. zahlr. Ill. |
| ISBN: | 9730010889 |
Internformat
MARC
| LEADER | 00000nam a2200000 c 4500 | ||
|---|---|---|---|
| 001 | BV040677706 | ||
| 003 | DE-604 | ||
| 005 | 20130219 | ||
| 007 | t | ||
| 008 | 130116s2000 a||| |||| 00||| rum d | ||
| 020 | |a 9730010889 |9 973-0-01088-9 | ||
| 035 | |a (OCoLC)828789498 | ||
| 035 | |a (DE-599)BVBBV040677706 | ||
| 040 | |a DE-604 |b ger |e rakwb | ||
| 041 | 0 | |a rum | |
| 049 | |a DE-12 | ||
| 100 | 1 | |a Pintilie, Ileana |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Acţionismul în România în timpul comunismului |c Ileana Pintilie |
| 264 | 1 | |a Cluj-Napoca |b Idea Design & Print |c 2000 | |
| 300 | |a 131 S. |b zahlr. Ill. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 490 | 0 | |a Zsfassung in engl. Sprache u.d.T.: The actionism in Romania during communism | |
| 648 | 7 | |a Geschichte 1950-1990 |2 gnd |9 rswk-swf | |
| 650 | 4 | |a Performance art / Romania | |
| 650 | 4 | |a Dissident art / Romania | |
| 650 | 4 | |a Performance artists / Romania / Biography | |
| 650 | 0 | 7 | |a Aktionskunst |0 (DE-588)4141744-6 |2 gnd |9 rswk-swf |
| 651 | 4 | |a Rumänien | |
| 651 | 7 | |a Rumänien |0 (DE-588)4050939-4 |2 gnd |9 rswk-swf | |
| 655 | 7 | |0 (DE-588)4006804-3 |a Biografie |2 gnd-content | |
| 689 | 0 | 0 | |a Rumänien |0 (DE-588)4050939-4 |D g |
| 689 | 0 | 1 | |a Aktionskunst |0 (DE-588)4141744-6 |D s |
| 689 | 0 | 2 | |a Geschichte 1950-1990 |A z |
| 689 | 0 | |5 DE-604 | |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 2 |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025504149&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen 2 |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025504149&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |3 Abstract |
| 940 | 1 | |n oe | |
| 999 | |a oai:aleph.bib-bvb.de:BVB01-025504149 | ||
| 942 | 1 | 1 | |c 909 |e 22/bsb |f 0904 |g 498 |
| 942 | 1 | 1 | |c 709 |e 22/bsb |f 0904 |g 498 |
| 942 | 1 | 1 | |c 306 |e 22/bsb |f 0904 |g 498 |
Datensatz im Suchindex
| _version_ | 1804149808414326784 |
|---|---|
| adam_text | Sumor
Argument
.................................................. 5
Artă şi comunism
..............................
o
Acţionismul în anii
60
şi
70 ..................................... 15
Paul Neagu
.............................................. 15
Minai Olos
............................................... 21
Ana Lupaş
............................................ 24
Grupul Sigma
............................................ 25
Ştefan
Bertalan
............................................ 28
Constantin Flondor
......................................... 35
Doru Tukan
..............................................
зд
Ion
Grigorescu
............................................. 42
Geta Brătescu
............................................. 50
Acţionismul în anii
80 ........................................... 52
Constantin Flondor,
Doru
Tulcan, Iosif
Király,
Călin Beloescu
........ 53
Baász Imre ...............................................
57
Ütő Gusztáv
.......................;...................... 60
Alexandra Antik
.......................................... 62
Eugenia
Pop
.............................................. 65
Grupul din Oradea
......................................... 67
Rudolf
Bone
.............................................. 68
Újvárossy László
........................................... 70
Anikó Gerendi
............................................ 72
Mircea Stănescu
........................................... 73
Dan Perjovschi ............................................ 74
Amalia Perjovschi
......................................... 76
House Party
.............................................. 78
Dan
Mihălţeanu
........................................... 78
Teodor Graur
............................................. 80
în loc de epilog
.................................................
83
Note
........................................................
85
The Actionism
in Romania During Communism
........................ 91
Biografii artişti
................, · · ·.............................
106
Cronologie selectivă a acţionismului în România în timpul comunismului
-----120
Scurtă cronologie a artei internaţionale
..............................124
Cronologia artei oficiale româneşti
1950-1989 .........................127
Bibliografie generală
.............................................
131
Index de nume (text)
.............................................
I32
133
The fìctionism in Romania
During Communism
Quite scarcely researched in specialised literature bearing on the context of the epoch,
the contemporary Romanian art is insufficiently known in all its aspects. The lack of
a history of the modern and contemporary Romanian art, of treatises which should cover
the whole phenomenon as well as its ever-changing social and political context, all
this makes it difficult to reconstitute certain artistic events just by using a fragmentary
documentation, the art albums or the ARTA review. The latter one also pointed out
the official position but the cryptic tendencies as well which were floating in the art
and in the art criticism in the 1950-1980S.
In elucidating these basic matters about the contemporary Romanian art, the
reader may positively wonder what may be the significance of choosing such a topic
like actionism, quite fragmentary if we consider the nature of selection it operates with
in the field of art. The present research is meant to be a belated recuperation, which
does not aim at an exhaustive treatment of the subject but rather at adumbrating its
main points, re-constituted with difficulty on the basis of poor sources.
What is understood by the term of actionism, after all? This term defines a type of
manifestations in which the artist becomes the performer of his own productions
staged and in which the emphasis is shifted from the object to the subject. The
actionism is an ephemeral form of the contemporary art found in search of new contents
and aesthetic significance. We have here preferred the more general term of action and
actionism avoiding the consecrated notions of happening and performance both of them
having the extremely important component of the public.
In the case of happening, the public is an element taken into consideration by the
artist, becoming part and parcel of the performance. Sometimes on the public reactions
there depends the development of the whole event. In the context of the Romanian
art during communism, this kind of manifestations (in the presence of a public) were
excluded from the very beginning or the public was made up of a reduced number of
people initiated in the domain of art. During the fifth and the sixth decades, the socialist
realism became the unique ideology and plastic solution accepted and promoted, and
so did it as an apanage of the official art of the seventh and the eighth decades. At
the pole opposite to the socialist realism there was the actionism, through its open
character (in the sense given to the concept by
Umberto Eco),
getting away from a unique
artistic formula, giving itself to the visual exploration, to the experiment. This is
explained by the interest of the groups of artists for this particular genre whose
public audience was limited by the isolated political context.
That is why choosing actionism (as a study sample for the period of communism)
is significant, in our opinion. In contrast with the dogmatic official position it also offers
another type of visual manifestations, capable of demonstrating a spontaneous
synchronism with the international artistic phenomenon. Owing to the perfect
functioning censorship, the isolation of the Romanian actionism, in relation to the
91
international
artistic circuit,
transformed it into a marginal phenomenon at that time,
first and foremost in relationship with the centre of the power represented by the official
art in Romania. In the international scene, the contemporary art after
I960
became
non-centrical so that the affirmation of some local nucleus-centres (in a dynamic
relationship due to the rapid modifications of the relationships of power interests and
also due to a mobility specific of these last decades) all this contributes to the
consolidation of an idea of an authentic syncronism through creation.
Actionism in the communist Romania was an underground phenomenon, like in
other countries from the former communist camp . But, if the Polish artists, who
benefited by a much more relaxed political context (as did those in Czechoslovakia)
and Hungary, they enjoyed the presence of some audience or some public fame in the
epoch, the Romanian artists were almost unknown.
The Romanian artists actions (performances) became almost legendary circulating
under the form of some unofficial information within the restricted circle of those who
took an interest in them. A similar situation can also be found in the Soviet area in
which the artists were often constituted in groups, making up the so-called Moscow
conceptualism
which did not benefit by the public audience. Their actions many times
took place either outside the town or in isolated places in which they did not have any
interference with possible spectators. Not only that their relation with the public was
a limited one but their spreading and penetration into the public conscience of such
a manifestation was impossible to be achieved. Unlike the Viennese actionism with which
the Romanian actionism could have in common the circumstances of affirmation
(as a subterranean phenomenon) or unlike the Soviet actionism, the Romanian
actionism was not a unitary movement but it became consolidated during the seventh
and the eight decades around some singular personalities, asserted somewhat earlier.
In the meantime, actionism represented an attempt of binding art to life, of
breaking these barriers separating them, but the intrusion into the real and the
immediate was considered too
ostentative.
The experiences of the actionist painters
were amplified by living objects as the sun-flower, the beans, the vineyard and many
others belonging to the stylistic and exploration repertoire in artists like
Bertalan
and
Flondor. For these artists the observation is the most important object of representation ,
similar to Andrei
Monastìrsky
and others belonging to the Collective Actions Group .
The intrusion into the social and political was the main criticism brought against
actionism; attacking the social and sexual taboos as well as showing a politically
engaged attitude was a characteristic of this kind of manifestations bringing evidence
about the change in the mentalities of the
1970s.
These changes were also perceived
in the Central and Eastern Europe. For this area, the approach in actionism had a
prevailingly political subtext; the political engagement came from a radically realistic
approach dedicated to the value of the every day banal actions which influenced art
(Ion Grigoresoi).
In our opinion, the term of actionism points to a great variety of artistic gestures
in Romanian art: ranging from the tactile objects which preceded Paul Neagu s later
ritual-actions, from the land-art actions with a strong conceptual component resulting
in spatial situations of the environment type (the Sigma Group , Ana
Lupaş,
Mihai Olos)
from the performance in front of a public
(Bertalan,
Olos), to body art in front of a camera
92
or of a moving-picture camera with no public at all (Ion
Grigorescu, Geta Brătescu).
The introduction of photography and film by the actionist essentially contributed to the
creations of another availability for another type of image, the image transmitted through
media also constituting a characteristic of the post-happening of the 1970 s. Thus the
Romanian actionism, without being unitary, was constituted as an artistic phenomenon
with a strong conceptual component crossing several periods and stylistic directions in
the international art of the 1960 s. This phenomenon needs being recuperated for
defining, as correctly as possible, the stylistic directions in the Romanian art developing
between two constant poles: the official art and the studio art, the art per
se,
containing the result of these experimental researches with some artists.
Communism, like fascism as well, created an art supporting its own doctrine.
Socialist realism as a term covers the artistic production put to serve the proletariate s
dictatorship , following the official line of the communist party. The socialist realistic
style appeared as a result of the Stalinist doctrine in the USSR during the 1930 s and
was officially instituted at the first congress of the Soviet Writers Union, in
1944,
in
Moscow. Actually it was Stalin s court style, completely eliminating the artistic
pluralism as it was in the 1920 s. The artists were asked to renounce at intellectualism,
individualism and cosmopolitism (signs of the Western decadence). They were asked
to reflect the new realities and the new man making use of idealising images.
After the Second World War and the world s having been divided, Central and Eastern
Europe would be for many years behind the Iron Curtain isolating it from the civilised
world and throwing it into a zone controlled by the USSR. Together with communism,
implanted in some European Zones, with the help of the tanks, the socialist realism would
be transmitted and introduced as a unique form of artistic expression. The pressure of
the Moscow threats addressed to the home policies these countries had (in the Communist
zone) also reached the domain of arts imposing only the forms with ideological content
Thus, the curator of the Tretjakov Gallery declared that any artist who does not follow
the examples of the
Soviet
art is an enemy of socialism .
The way in which each country reacted in contact with socialist realism depended
on many factors, the political being the most important one. In Poland this trend came
to an end in
1955
under the influence of abstract art, the action painting being
identified with modernism as in the other communist countries. The socialist realism
lasted in some countries until
1964-1965,
as in the German Democratic Republic or
in Romania, while Hungary reached the phenomenon of an avant-garde art in parallel
with the party line and which, in the 1970 s, completely ignored the official art.
Romania like the other countries in the region was part of the socialist zone and
in the same way as the other countries it adapted itself to the Moscow requirements.
The fifth decade {the darkest of the post-war period in the history of Romania) was
marked by imposing the proletarian dictatorship upon a country which was under
occupation. The main priority of a regime imposed with the help of military tanks was
to completely eliminate the elite who opposed resistance by their individualistic
behaviour model. As a result, the whole country was transformed into a huge gulag,
through which an impressive number of people passed, intellectuals first and foremost.
In the general atmosphere of creating terror and increasing intimidation, the socialist
93
realism
was imposed as the unique form of artistic expression that could be accepted;
the system of censorship was applied to all the manifestations in exhibitions but also
in the written and published texts. The severe criticism (sometimes of a denunciatory
character that was published in the press) had the role of setting constraints and more
rapidly and unifyingly imposing models. Reduced to a servile attitude, artists found
themselves obliged to conform, out of conviction or opportunism. The Soviet model
was popularised in the art press especially in the
Arta plastică
review supported by
the Union of Fine Arts, a clear example for the way in which there was imposed the
dogmatic character and the ideological propaganda.
The control upon the fine arts became more and more efficient as the regime kept
consolidating its power. There struck root a state of permanent ideological vigilance
and of surveillance, the works being permanently under constructive criticism, and
being appreciated as a proof of fidelity towards the political power. The regime began
making use of the system of state-orders, paid with huge sums of money in comparison
with the generally modest wages. The system of public acquisitions gave birth to a real
red bourgeoisie among the artists who, thus, had the possibility to become the
clients of the regime, rewarded with favours and privileges. The artists of the older
generation found themselves in the position of keeping pace with the new requirements
and, thus, the positive answer towards the new ideological requirements given by the
fine artists was generally prompter in comparison with other professional categories.
The Romanian art exhibitions abroad suggested the isolation and the
inappropriation
of the Romanian art to the phenomenon of the international art. Since
1954,
there began
again the Romanian participation in the art biennial of Venice sending there some
leading artists , favourites of the regime, while-on the international scene the abstract
art and the action painting were gaining ground. In Romania, the abstract art was
considered a sterile fashion lacking in value and in content. Beginning with
1952,
the
Arta plastică
(the main specialised review) was issued monthly, a publication which
would become a real institution with a significant tutelary role in the contemporary
Romanian art.
However, gradually, since the middle of the sixth decade there began being
adumbrated a certain cultural openness, also felt in the official review of the fine art
creators in which there were no more published (so regularly and insistently) articles
about the Soviet art only but also about international artists. In this respect, there was
also a symptomatic change of
attitude
towards
Brâncuşi s
work: in the 1950 s, although
considered to be an exponent of the Romanian folk art traditions
Brancuşi
was severely
criticized for his serious deviation from realism which could not place him on the
list of creators of the socialist realism as other countrymen could be. After
1965,
the
attitude towards
Brancuşi
became blander and the artist was brought back to actuality
through specialized articles expertly written, leaving room for an approach of more
shades of difference and a more correct reception.
This change of attitude felt on the theoretical level was turned into action by allowing
a greater tolerance in the exhibition juries in which there were both artists and also
political representatives making together the so-called censorship . In
1966,
a wind
of openness was breezing around Romania so that a group of young artists from
Timişoara
exhibited abstract works, for the first time in a regional exhibition.
94
This openness culminated with the year
1968,
the year of the Prague spring when
Romania s official position was declared to be that of solidarity with Czechoslovakia
led by
Dubček
against the invasion of the country by the Soviet army helped by other
members of the Warsaw treaty. This political event supported by General
de
Gaulle s
visit in Bucharest seemed to show that Romania would have entered in a zone of
influence, different from the Soviet one. For the young artists this event had the
significance of some positive signals, which were being multiplied by the possibility
to listen to some jazz concerts regularly organized in Bucharest but also by other
unconventional manifestations.
After Ceausescu s visit to China and North
Coreea
and after the appearance of the
ideological Theses of
1971
there followed an ideological worsening as well as a severe
political control in all the domains including the cultural one, considered as a domain
of ideological propaganda . This meant a new restriction of the perspective of free
expression; it also meant the initiation of a programme in a series of exhibitions
dedicated to national and nationalistic themes to history, strongly affected by gross
forgery, made on order, by themes prepared to satisfy any compromise; it also meant
a Stalinist cult of the presidential pair, the
Ceauşescus.
Under those conditions one may
observe that thematic exhibitions became animated and so was the system of state
acquisitions which put to work a great number of artists. In this way there was
reached a real artistic split personality: one was the public style practised by an artist
for the official exhibitions, and a different, personal style was the one characteristic
of his own work . This was the political, social and economic background maintained
within the same limits until
1989
when there collapsed not only Ceausescu s personal
dictatorship but also the communist regime.
It was upon that social and political background that Paul Neagu was formed as an
artist. Since his debut he became an animator of the local artistic life and, later on, of
the international artistic life. His energy full of a free and easy manner would influence
the artistic environment. His desire to break away from the academic tradition and his
inquisitive spirit led him to a series of neo-Dadaistic works entitled Neagu s Boxes . As
a continuation of this direction identifiable in
1967,
a year later there appeared the series
entitled The Collector of Merits comprising drawings and objects in the same
neo-Dada
manner. Intrigued by the way in which there could be measured the merits in
bestowing titles, honours and
meriť -medals
in communist Romania, Neagu imagined
some ironic machinery which should offer the selection criterion for the merits, as well
as their being attracted and applied to the random people, to the passers-by. This series
of objects culminated with a first street action presented in Romania: in
1968
on a busy
road in Bucharest in the middle of the waves of public traffic vehicles and cars, the artist
placed his merit collectors moving them so as to stay in the middle of the traffic flow.
It was at the time that there also began another long series of objects, paintings,
drawings, performance entitled
Anthropocosmos ,
this one also based on the principle
of composition
-
decomposition bearing, in this case, on the human figure. The body
was deconstrued into its component elements like honey combs , being contemplated
from this angle of the power network itineraries as well as from the point of view of
the cells that make it up. For Neagu
Anthropocosmos
evokes a hierarchic human system
made up of some steps ascending from one to the multiple, from the individual to the
95
collective.
In order to use a terminology suggested by the artist himself his actions are
more like a ritual performed in front of a public that he stimulates to participate in
diverse communication relationships. His actions may be understood also as a complete
dedication to some plastic spaces, possible but unknown. These rituals developed on
three hierarchic levels; the first and the lowest is considered the Blind Bite signifying
for the artist a number of characteristics on the individual plane as intuition,
spontaneity, emotion, feeling, while in a more general collective plan: an unknown
superstitious power, the undifferentiated world, the primordial freedom, the collective
subconscious. The second hierarchic level is represented in Paul Neagu s symbology,
by the Horizontal Rain suggesting the structure of human society, the speculative
and scientific liberty. The artist had made a costume for such a performance having
small transparent pockets in which he usually put messages for the public. These
messages suggested the level of human communication their development within the
society. Finally the last level striving for attaining the new total cosmic liberty was
entitled Gradually Going Tornado , a cyclical ritual in which, through a state of ecstasy,
the artist aspires to be one with the infinite self by atomisation...
Wearing special costumes
írom
which there were hanging all kinds of objects evoking
cultural baggage and reminding of the shamanic accessories, Neagu transposed himself into
a real ritual of spiral rotation; Neagu was turned into a kind of dervish in an ecstatic state.
Tied to the tradition of his native place, the
Maramureş
region, Mihai Olos is a
complete artist for whom sculpture, painting the objects or the actions constitute as
many modes of expression. Influenced by folk art, especially by the forms expressed
in wood, Olos began making some geometric modules-sculptures made of wood using
the traditional fixed joinings without using nails or glue. From these modules which
may develop in geometrical progression, there came into being the concept of
universal town a Utopia proposing a regular development of an urban space based
on mathematical principles. These wooden modules, obsessive spatial structures, also
became modules for his paintings evincing the essentialisation/the sublimation of the
real into an abstraction with a high degree of generalisation. His relationship with his
native space led Olos to a type of communication with his kind which make an
allusion to an ancient behavioural code which functions within some limited
communities reminding us of the archaic rites. The artist positively resorts to such a
behaviour when he descends with gold ingots as far as
500
metres under the ground,
in the Herja mine, in order to build them in the geometric structures (already known
from his sculptures) side by side with wheat grains, sprinkled over the table used as
a base, in the calling-chamber between the mine shifts
fThe
Event Action: Gold, Wheat
and People ,
14
November
1972,
the Herja Mine).
An artist formed in the domain of the textile art, Ana
Lupaş
was also interested in
the environment art, in happening and performance.
First taking up the spatial tapestry and the textile object, Ana
Lupaş
gradually came
to achieve spatial interventions using symbolic elements, reminding us of the folklore,
everything in an organic vision. The canvases, the wheat straw crown, the wax, the
skin and the clay are the main elements constituting his artistic universe, organized
according to ritualistic rigours, echoing the archaic world. The feminine ritual of
stretching the homespun white cloth, in her vision turned into an ample environment
96
which began being achieved since
1970
in the village of
Margäu in
Transylvania. This
kind of action which creates an environment and which stimulated the villagers to
participate in the event, was taken over and over again in different spatial contexts:
in
1973
in The Flying Carpet , a fragment also presented at the Paris youth Biennial
and then in a new variant, in mourning,
1991,
in the University Square of Bucharest
( Rag Monument ).
The actions presented by the Sigma Group of
Timişoara
in the
1970s
had a strong
character of research, of studying form and plastic perception, first and foremost
expressed over nature. Artists and also teachers at the Art High School in
Timişoara,
they all succeeded in imposing a teaching curriculum open to the experimental
education; they followed this direction of plastic research also using actions developed
in the open, in nature, often also in their research stimulating the students who thus
became participants. Such actions of the land-art type that Flondor called installations
de plein-air
(installations in the open) were finalised under the form of some
temporary interventions upon the landscape, usually round the town of
Timişoara,
near the
Timiş
river.
Some of the first and most interesting actions of the group took place in
1974,
on
the occasion of the UNESCO Fine Arts Week entitled Inflatable Structures . The first
part of this action developed at the Art High School where, in the sports hall, the children
were playing with gigantic meteorological balloons. The film of this first action
registered on
8
mm was later used in the second part of the action in an environment.
In the Bastion Gallery, the halls were organised presenting inflatable structures under
the form of transparent tubes on which the film was projected at the moment of the
exhibition day. In this way the spatial environment took the form of the happening,
with an audience.
For
Ştefan
Bertalan,
the feeling for nature is a component of his being, taking the
form of an experience completed into a destiny. In the search for this fulfilment the artist
began every new day dedicated to his studies and observations, with an uncommon
intensity. His researches are formulated in a unifying vision of the universe, being oriented
towards the plants and animals, towards the relationship between light and shadow,
between the living world and the sun, between the sky meridians and the position of
the sun on the canopy of the sky. His unusual intensity of his experiences in front of
nature, translated into artistic gestures of great sensibility (sometimes even dramatic),
all this was combined with the exact studies
-
of bionics and mathematics
-
creating
a blending of an obvious plasticity reminding of the vocation of the universal artist
belonging to the same spiritual family that Leonardo also belonged to.
Self-cultivated, governed by such an interior structure these preoccupations led him
to his first experiments in nature. In August
1973,
Bertalan
created the action Tense
Bands Over the River , aiming at an inner union with nature. For the artist, the
Timiş
river evoked a rhythm of life, as vital an element as an aorta would be for a body,
connecting several vital organs, in this case the human settlements on the river bank.
A constant feature of the Sigma group was the attraction exerted upon its artists by
the new materials used, the nylon threads or the coloured plastic bands. The use of
intensely coloured bands would be generalised in the group actions as well. In the above
mentioned action the artist was interested in the relationship between the horizontal
/ Bayerische )
I
Staatsbibliothek
97
plane
of the water (with its play of reflections and mirroring) and the vertical plane
of the willow trees; the artist stretched and tensioned the coloured bands trying to make
a flexible bridge built up of curves and obliques. The way the action developed also
allowed room for chance,
i.e.
for the natural elements as the wind, the light and the
water, which intervened unexpectedly.
In December
1979,
in Bucharest at the Kalinderu Hall, there was presented (in front
of the public) the action entitled I lived
130
days with a sunflower plant . Invited by
Andrei
Pleşu
who had visited the artist becoming familiar with Bertalan s artistic project
dedicated to the sun-flower,
Ştefan
Bertalan
accepted to achieve an action with an
extremely personal character which has remained unique in the history of this genre
in Romania. His project was based on the study of this plant s growth, from the sprouting
of the seed going through all the phases in its evolution
-
growth, flourishing, fruit-
bearing and death. During the
130
days of its growth, the artist used photography and
drawings watching and writing about the daily changes, down to the smallest detail,
as in
ajournai.
The action motivated by a plant s biological development in a complete
cycle acquired a philosophical consistency becoming a meditation upon the human
and the cosmic existence. In Bertalan s actions there is also an ecological sensibility
which, with him, is raised to an interpretation of planetary proportions. The event proper
developed around an installation made from a dry sun-flower stem with journal
pages and drawings hanging from it, all of them registering the growth of the plant.
The artist read his philosophical texts and, in front of the public he performed a series
of movements as a ritual transposing the content more eloquently.
For
Constantin Flondor
nature also constituted an inexhaustible source of research
but the artist took up a more systematic research out of the desire to set the surrounding
world in order. For him nature was no more a huge cosmic power, a kind of Urmutter
(as in Bertalan s case) but it became a partner with which he tried to establish a dialogue.
His experiments took the form of researches on the image, including the movie which
became a component part of his creation. Attracted by this new medium, the artist used
it, in the beginning, as a means of documentation in the actions but he gradually came
to use it as an independent language. Thus the first action, Soap Membranes
(1972)
was organized with students from the
Timişorean
Art High School; it was developed
out of town proposing for study the theme of the ephemeral and of fragility. Subject
to the aleatory movement of the air currents and in a free floating-falling, those
membranes were filmed how they were being born, then how they were falling apart
and how tensions among them came into existence during that exercise in frailty.
There was a project, for a long time the artist s main concern and which needed a
more rigorous scientific interpretation: how to capture the solar movement covering
a stretch of time, during summer time. Having this purpose in view the artist created
an installation made up of wood stands projecting shadows on scale paper and
marking the solar movement thus registered on paper. These Solarograme (Solar
diagrams), installations sensitive to the movement of water, light and air (first
initiated at
Făget)
were presented again, in the same year, in a natural environment
of great proportions, on the
Valea Pietrele
(the Stone Valley) in the
Retezat
Mountain
Range, giving birth to an impressive, land art, where the shadow (super-imposed by
a band over a patch of snow) marked the imprint of the solar movement. The
98
experiments with aleatory movements in nature were registered with the help of
photos and the film.
For
Doru
Tulcan the experimental environment is both the natural one, upon
which he intervenes, and the environment of the photographic and film images, one
that he keeps on experimenting. He thus tested the plastic expressiveness of the
human body related to other elements as wood perches, a string, but also related to
the natural environment, as in the two actions developed in the summer of
1975,
in
the artistic practical training at
Strungari
in the county of Alba; they were entitled:
Structural Reconsideration
-
Manóle
the Craftsman and Metaphor for a Dandelion .
The artist experimented the relationship between the human body and the shadow
projected by it on the ground, a shadow caught in a structure made up of short wood
perches and strings which draw its contour. The action The Shadow
(1985)
was also
based on this idea obsessively repeated. On the other hand in The Hillocks
Ι, Π,
Ш
the strings are stretched over some valleys forming a texture suspended among the stakes
which delimit the space. The intervention upon nature, the re-drawing of the landscape
evincing his sensibility towards nature, all these are only a few elements making up
a language characteristic of Dora Tulcan.
For the artists of the
Timişoara
Sigma Group the isolation from the political and
social context at the time and consequently the isolation from the artistic context was
a free-willed gesture cultivated by themselves in order to preserve the serenity of their
creation. For Ion Grigorescu the attitude towards the political and artisticall climate
was one of continuous challenging raising contradictory problems. The artist worked
alone with nobody around just staying in front of the photographic camera or the motion
picture camera keeping in contact with the international art. Ion Grigorescu became
acquainted, through art catalogues and reviews with the tendency of the
1960ies
according to which the artist s body became a new support of the work and an open
construction. Using photography as a means with multiple possibilities, Grigorescu
developed (in an original way) the concept of realism and reality combining painting
and the easel photography resulting a kind of photomontages and
bandes dessinées
which seemed to be ironical, an unexpected response to the ideological directives .
A category of actions in the beginning of the
70
was dedicated to the value of every¬
day banal actions, which influenced art through their unequivocal reality. In his
opinion, life with its banality is not made up of unique moments only; it is a kind of
one s own theatre in the sense that the artist is the actor of his own life, in which
he has the conscience of the show which he, however, tries to diminish. In The Kitchen
or in Art in a Single Room
(1976),
Grigorescu presented himself living in the narrow
perimeter of a kitchen in a block of flats while ironing a shirt or while sitting at the
table, cutting his food or eating, using the typewriter or painting on an easel or preparing
to play the violin, among dirty china, all within the space suffocated by furniture and
usual objects. The idea that came from this action seemed to make the banal life an
equivalent of a work of art, turning into account the heroism of the daily petty gestures.
Meanwhile the action did not lose the social commentary in the subtext, almost
brutally presenting the unfalsified daily reality.
However, the majority of the actions created in front of the photographic camera were
dedicated to the exploration of the forbidden body in search of a spiritual geography ,
99
a body unanimously considered as a taboo subject by the Romanian society. On the other
hand, the artist was interested to give the exact registering, at a certain time, of his body,
as an expression of his nudity and as an absolute intimacy. He often related it with the
space (with the room) which he anthropomorphised; on the other hand, he experimented
the visual mechanisms (about which the author himself had written) by placing the camera
in the most unexpected angles and positions, sometimes creating the impression of an
aggression upon the image. In his
1973
action entitled Self-portrait with Mirrors ,
repeated in several variants, Grigorescu made use of two moving mirrors obtaining a
multiplication of the character, an amplifying and vitalising effect of this movement.
Other times he places the camera on the floor in front of the virtual tunnel formed by
the two mirrors while looking backwards between his legs.
The actions made in the middle of nature were of a totally different character
resembling some strollings in which the artist integrated gestures echoing a celebration
ritual of nature. Thus,
Trăisteni
(1976)
was an action organised during the stretch of
the day occasioned by a walk together with a group of friends and which developed as
an event the others did not become aware of except Andrei Gheorghiu the one who took
the pictures. In taking a walk in the middle of nature, the artist crossed a rivulet using
a pole, he found some abandoned objects which he recuperated and officiating a
liturgical moment , unconsciously trying to replace the absence of the sacred element
in everyday life. This absence acutely felt had to be remedied by saying a mass in a ruined
church, using empty cans, clothes turned into rags or pans which were disposed of.
The photography of the
1970s
meant only one of the many masks belonging to
Ulysses the hero who appeared in Grigorescu s identifications. The role played by this
artist upon the younger generation of Romanian artists (after
89
especially) has been
of utmost importance.
Geta Brătescu
was another personality who profoundly influenced the coming
generations of young artists. Her studio did not contain anything of the convention and
the conformist stereotype of the official art of the sixth, seventh and eighth decades but
it rather resembled an oasis , a miraculous space of the continuous experiment and
of the artistic freedom put upon herself. In this context the artist conceived her
scenarios and staged some actions aiming at the profound revelation of the act of creation.
Developed under several credit-titles as The Studio or The Self-portrait , her
explorations were directed towards the creative ego in its various hypostases. Deeply
preoccupied with the exploration of feminine identity as part of her visual strategies,
Geta Brătescu
questioned herself about her own body as an identity element, typical
of the representation. In her action Towards the White
(1971)
the artist began by
transforming this space transfiguring it into an immaculate one by covering the interior
of the room with large sheets of paper and towards the end (when only her silhouette
remained discordant) she also covered herself with white paper finally painting her face
and her hands in white. In this way she wiped out the conjectural details establishing
the representation power of a mask which became a symbol of identification.
Like Paul Neagu,
Mihai Olos, Ana Lupaş, Ştefan
Bertalan,
Constantin Flondor,
Doru
Tulcan and Ion Grigorescu, Geta Brătescu
was
a paradigmatic model
for the younger
generations imposing herself through her lack of
conformism
and through her creativity
which was sustained by a strong artistic thinking. The names of all these artists, that
100
we have discussed in this study, make up some essential points of reference around
which an actionist movement was formed in the
1980s.
The context of the
1980s
was completely different from the preceding decades which
in the main still brought the hope of a freer development in visual arts. As early as
the beginning of the eighth decade, Ceausescu s personal cult was adumbrated and so
was his wife s, a cult which became more and more oppressive generating absurd
situations. The diverse tendencies, the plurality in the languages characteristic of art,
the post-modernism, all these penetrated under the form of some direct information
or some echoes in Romania as well; the greater isolation and the more restrictions
imposed, the greater was the desire to express something different from the official
dogmatic model. In this context actionism became ampler and sometimes even a mass
phenomenon as for example with the
Oradea
Group where several artists of the same
generation manifested themselves simultaneously; meanwhile smaller prestigious
groups also manifested themselves at Sf. Gheorghe, in
Timişoara
or Bucharest.
The type of actions secretly developed became more and more in number, at the
beginning of the
1980s,
in the other regions of the country. Thus, the Transylvanian artists
(sometimes better informed about the art on the international scene) also began practising
actionism, in exploring a form of subversive, ironical and individual expression.
An important figure of the artistic community at Sf. Gheorghe,
Baász Imre
a
black-and-white artist, an animator and organiser of the exhibitions was a complex
personality who knew how to catalyse the local artistic movement. He «xplored the
moods of expression not only through drawing and graphic techniques but also
through the object, the installation or action naturally adopted under the mark of an
authentic artistic vision dramatically potentiated. He asserted himself in a period in
which the political and social situation kept deteriorating continuously becoming more
and more difficult to stand, more and more oppressive, in which the freedom of
expression became more and more intensely controled or in which the themes
suggested for the collective exhibitions were ideologically loaded to the extreme, a
moment when art was threatened to lose its liberty of expression. Far from being
discouraged,
Baász
even tried to oppose the propaganda means imposed by the
ideologists. His sharp intelligence, his nonconformist spirit, the quality of the art he
practiced made him find memorable solutions as was the famous action entitled The
Birth of Myth
(1981)
which created a lot of problems to the political police of the time.
Organising a fine art exhibitions with an imposed theme occasioned by the 60th
anniversary of the Romanian communist party,
Baász
himself made the invitation to
the opening of the exhibition, under the form of a manifesto leaflet which contained
the closing urge (identical with the one formerly used by the underground communist
fighters): Read it and pass it over to somebody else which was spread in a secret way
and glued in public places (phone booths, etc.). This of course had success in the public
but it also triggered a violent reaction from the part of the authorities who felt the irony
and the subversive side of this unexpected action.
In
1985,
Baász
together with
Szigeti Pálma
designed and secretly presented an action
put on the video and entitled A Sorrow Has Struck Me . Staged on the roof of a studio,
among chimneys, the action consisting of binding a person s hands behind with the
face and the eyes covered by a bandage, with the whole body and legs bound as well
101
suggesting a dead-end situation of having lost the freedom of manifestation and moving
of the person. Finally the person thus bound succeeded in getting free and in raising
victoriously above the head a bicoloured marking stick. The action suggests (without
any trace of masking) a state of tension in which the artist of those years felt the threat
against the person s freedom. This thing could happen to anybody, nobody could stand
clear, away from the aggression or above it in a country in which the dictatorship was
maintained with the help of a terrible political police.
For the town of Sf. Gheorghe and for the whole area,
Baász Imre
offered a model of
an artist in continuous exploration fighting against the
conformism
and the stereotypes,
an artist for whom the experiment constituted one of the sources his art fed on. Such
an artist offered a model of creation but also an existential model in those hard times.
Ütő Gusztáv
is the one who would stand out as early as the 1980 s when together
with colleagues and friends he began organising some actions. At the secret opening
of the Forma exhibition (May, in
1987)
Ütő
presented the action Help in front of
a public made up only of friends gathered on the occasion
ofthat
event. Lying on some
sheets of paper making an improvised bed on which the artist had previously
marked the signs plus and minus in soot, wrapped up in a check blanket, together with
the public
Ütő
listened to the opening speech presented by
Baász Imre.
Meanwhile
standing stock-still, in a very low voice, he uttered the words
Segítség/Hilfe/Ajutor
(that is Help in Hungarian, German and Romanian); he then made some movements
as if in a dream as he pronounced those words more and more often reaching a high-
pitched voice, accompanied by a hysterical fretting under the blanket. Finally the artist
woke up from this state, expressed his thanks to the public shaking hands and giving
a black soot-kiss as a marking element on the participants.
This atmosphere defining the actions of the
1980s
was characterised by a cryptic
feature originally blended with a public feature. The artists longed more and more for
communication but they were conscious that it was limited and conjectural.
Alexandru
Antik
is a nonconformist artist who problematised continuously trying to find an
answer even if a provisional one, preserved as a working hypothesis serving for many
of the questions concerning art and the society, the creator and the act of communication.
The most famous action of the
1980s
was that presented by
Antik
at the Young Art
Colloquium in
Sibiu
(1986)
organised by
Liviana Dan.
Suggestively entitled The
Dream hasn t perished yet , an affirmation containing hope for that period of great
national disappointment, the action concentrated around the artists who, through his
own presence, through his nude body offered to be watched by the public as an
immanent reality, through the texts read aloud or through the objects exhibited in a
personal micro-exhibition; all these created tension in the intimate disclosing concerning
the existence and the artistic creation in general. Thus on the background of fiddlers
music, keeping on endlessly, the public entered the space in the medieval pharmacy in
Sibiu
where a series of personal objects belonging to the artist were in a waiting state:
the blue great coat resembling Antik s blue great-coat , the school-leaving certificate
resembling Antik s school-leaving certificate , etc. In this context the artist took off his
clothes, then he allowed himself to have a short haircut as in the case of recruits with
a female character doing this for him and then entered a barred cell where he began
reading
a neo-Dada
poem, holding a candle in one hand. While his helpers brought into
102
the cellar bleeding animal organs casting plaster into them and leaving them as small
islands surrounded by candles, the artist was waltzing to the exhaustion point trying
to write (using smoke on the cell wall) the words
the Dream hasn t perished yet . At
that moment the action was brutally interrupted by a personage , wearing a costume,
who authoritatively asked that the place should be cleaned and the bleeding organs should
be taken away, with everything coming back to the normal. This action played an
emblematic role for the majority of the artists and the critics belonging to the generation
of the
1980s:
it had a direct and percussive character, it showed courage in the use of
some novel elements belonging to the subjective personal repertoire of the artist.
Although between
1986
and
1990
and after,
Antik
did not create such actions, the
continuation on this direction in the ninth decade showed that he remained one of the
outstanding figures of the above mentioned directions.
The group of artists formed around
Atelierul
35
(Studio
35)
in
Oradea
thoroughly
illustrated a generation s typology. It gathered several young artists with common
aspirations longing for doing something, taking initiatives towards the alternative forms
of art of the actionism type resulting in an environment and sometimes even practising
the happening, with organizational initiatives; at a certain moment, this group was the
most uniform and compact group oriented towards such an artistic program. After a
short time loan
Bunuş
was joined by
Jovián György, Nicolae Onucsán, Csako Zoltán,
Kovács Károly
as well as
Ferenczi Károly.
The second generation manifested itself
somewhat later and had among its participants
László Károly,
Rudolf Bone,
Dorel
Găină,
Anikó
Gerendi, Sorin Vreme, Dan
and Amalia
Perjovschi, Vioara Bora,
Gina Hora,
Emil
Dobriban.
This quite heterogeneous group was united by a common atmosphere, by
the desire to stand against, to practice an art which should not follow the usual rule.
Beyond the obvious differences among the members these qualities led to a common
vision and language.
At that time, Rudolf Bone combined installation with the action extended to an
enlarged field of the plastic experiment. Bone s position remained a singular one within
the
Oradea
group: his maturity and his philosophical thinking led to an artistic register
different from the others. Thus Ritual
(1989)
was an action with a strange subversive
character organised in the New Gallery in the presence of some colleagues and fellow-
artists while the public outside was obliged to watch (through the window) the
development of the event. The artists made a personage of
papier-maché,
with ears made
up of musical scores, lying in a horizontal position and fixed on a support which he was
to wrap in films of S8 mm destined to be sacrified as soon as the clothing operation
had come to an end; he put them on the fire on a sound background of a unison choir
of
bla-bla
produced by his colleagues-participants in the action. The ritual was
performed without the public even if on-lookers gathered at the windows of the gallery
reminding of the cryptic atmosphere which was dominant in
1989,
reminding of the fear
generalised by the people around (and on whom the artist keeps his ironic eye), also
reminding of the elusion of the censorship which should have approved of such an action.
This ritual was one of sacrifice in which the artist knowingly destroyed some films
suggesting the necessity of such losses and self destruction from time to time aiming at
regaining a precarious equilibrium. Last but not least there took place the purifying burning
of the figure, a restless metaphor of the human condition itself accompanied by a choir;
103
however there was a note of derision crowning up this spectacle, a mixture of gravity
and grotesque, of secret and of public, of truth and intuition perhaps most suggestively
summarising the Romanians state of spirit before the collapse of communism.
László Újvárossy
also made use of the motif of the self-portrait in order to underline
the state of degradation man reached during the years of communism: he had his haircut
as a recruit taking photos gradually, until he came to have his head shaven, thus pointing
out his condition of a man enrolled into a determined state ( Self-portrait Before the
Parade ,
1983).
Another time sensing the isolation the Romanian art was in, cut off
from the international art, the artist made an action and then an installation with a
meaningful title: Homage to Beuys
(1986).
For a week the artist wore a hat reminding
of Beuys hat, then using it and other objects for an installation, Stele for Beuys Rabbit ,
presented at the Mobil
Fotografia
exhibition.
Amalia
Perjovschi began making actions in her apartment in
Oradea
at a time when
the communication with the public was not easily possible. The Test of Sleep
(1981)
and Annulment
(1989)
remain some dramatic documents of an epoch of sad
recollections; the artist pointed out her interior states but related to the environment
and caused by it.
In the action entitled significantly The Test of Sleep she made allusion to the
initiatory virtues of watching (see the Epopee of Ghilgamesh) and created it for an
exhibition of Mail Art entitled Visual Poetry which was to be opened in Mexico. She
covered her body with drawings, as a delicate writing exposing herself in front of the
photographic camera as a passive body without her own will, playing the role of a screen
surface on which the text is presented. Only that the text has lost the message and nobody
can understand it. The communication achieved by graphic signs does not attain its aim,
on the contrary, it becomes impossible suggesting a loss of meanings, a fall into muteness
and sleep, here identified with a pre-conscious state characteristic of the Romanian
society at that time. If the action is the attribute of masculinity, the passivity of the body
exposed suggests the traditional attribute of femininity; the habitation becomes a bark
of protection in front of the brutal mixture into the private life, a kind of uterus the
only refuge and space of manifestation while the public space is inaccessible. A year later
he would create a new action Annulment , in the same conditions of isolation. Dan
Perjovschi also participated as a helping hand:
Amalia
Perjovschi let herself bandaged with
white strips and then tied up expressing the will of self-destruction. The staging of
getting wounded, the
defragmentation
of the body, its being tied up, all these suggests
the placing in the position of a victim, the breaking out of a blind and helpless fury, states
characteristic of the feminine traumas. In that action
Lia
Perjovschi tried to evoke the
hospital state treating her body as
ifit
had been burnt. The bandaging of the whole body
provoked in her a state of suffocation and panic. In both actions the body became the
vehicle of predilection in expressing the artistic messages using the features that
accompany femininity in the current life: weakness, keeping silent, becoming aggressed,
destruction
-
everything developing in the home space, mainly reserved to her.
At the same time, with the groups constituted in the country, in Bucharest there
came into being a group occasionally gathered in a private apartment belonging to
Nadina and Decebal
Scriba.
Wanda Mihuleac also joined the group; she was a famous
animator of the artistic life of the
1980s;
others would join too: Dan
Mihălţianu, Călin
Dan,
104
Dan Stanciu
and later on, in
1988,
Teodor Graur
and I.
Király.
In fact the meetings of
these artists resulted in some individual actions followed, in turns, by the other
participants and filmed with a video camera, a rare thing at that time.
Undoubtedly Wanda Mihuleac was one of the most interesting protagonists of the
eighth decade, in Bucharest; in parallel with her studio work,
i.e.
with what she publicly
exhibited, W. Mihuleac, created a series of actions, stimulating others to participate.
Teodor Graur
structured his actions on some of his favourite themes: searching for/
asserting the national/European identity
( Europia ,
Bridge ), the new man of the
communist future ( A Sportive Complex , the action at the House Party), the travelling
as a means of escape from a camp (Recollection about the Ship). Falling obsessively
upon these, the artist tried to demolish some national complexes as well as some
clichés
which, unfortunately are topical even today. The first action with a public realised by
Teodor Graur
was entitled
Europia (1986),
held at the
Sibiu
Colloquium of Young Art.
There, in the atmosphere of the pharmacy museum, the spectators could enter only by
standing in the queue , in order to meet the artist. He shook everybody s hand, offering
each a little flag bearing syllables which, recomposed, formed the word
Europia .
On
the walls of the room there were all kind of syllables and letters written, apparently
at random, as in a play of the hazard. After the artist had ended this ritual of
welcoming the public, he left the room leaving the spectators alone on a background
of a sound in crescendo. In this case Europia/Europe represented a nostalgia the
Romanians (being more and more isolated during dictatorship) had been longing for
as if for a recollection.
The Romanian actionism of the eighth decade led to the generalisation of the
phenomenon extended to real groups of artists. The intensification of the actions and
of the framing showed
a reorientation
of these artists towards the social and the political
issues. The artists more and more felt the need of expressing themselves unconventionally,
as a form of protest against what was going on at the level of the country. They
equally felt the need of expressing themselves unofficially organising their owr.
alternatives at the official exhibitions and manifestations designed by the ideological
propaganda and by a servile cult for the dictator s figure. The tentative to give a legal
aspect to those manifestations failed as it was seen in the experience of the
Sibiu
Colloquium of Young Art which led to a real multiplication of small private initiatives,
a great number of actions organised all over the country. To a certain extent, the beginning
of the
1990s
rendered continuity
ofthat
atmosphere of the eighth decade, only that the
themes, the ideas, the actions raised the bid with an intensity multiplied by the
annulment of any censorship and consequently by a complete freedom of expression.
105
|
| any_adam_object | 1 |
| author | Pintilie, Ileana |
| author_facet | Pintilie, Ileana |
| author_role | aut |
| author_sort | Pintilie, Ileana |
| author_variant | i p ip |
| building | Verbundindex |
| bvnumber | BV040677706 |
| ctrlnum | (OCoLC)828789498 (DE-599)BVBBV040677706 |
| era | Geschichte 1950-1990 gnd |
| era_facet | Geschichte 1950-1990 |
| format | Book |
| fullrecord | <?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>02017nam a2200481 c 4500</leader><controlfield tag="001">BV040677706</controlfield><controlfield tag="003">DE-604</controlfield><controlfield tag="005">20130219 </controlfield><controlfield tag="007">t</controlfield><controlfield tag="008">130116s2000 a||| |||| 00||| rum d</controlfield><datafield tag="020" ind1=" " ind2=" "><subfield code="a">9730010889</subfield><subfield code="9">973-0-01088-9</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(OCoLC)828789498</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)BVBBV040677706</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-604</subfield><subfield code="b">ger</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1="0" ind2=" "><subfield code="a">rum</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-12</subfield></datafield><datafield tag="100" ind1="1" ind2=" "><subfield code="a">Pintilie, Ileana</subfield><subfield code="e">Verfasser</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">Acţionismul în România în timpul comunismului</subfield><subfield code="c">Ileana Pintilie</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="a">Cluj-Napoca</subfield><subfield code="b">Idea Design & Print</subfield><subfield code="c">2000</subfield></datafield><datafield tag="300" ind1=" " ind2=" "><subfield code="a">131 S.</subfield><subfield code="b">zahlr. Ill.</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="b">n</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="b">nc</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="490" ind1="0" ind2=" "><subfield code="a">Zsfassung in engl. Sprache u.d.T.: The actionism in Romania during communism</subfield></datafield><datafield tag="648" ind1=" " ind2="7"><subfield code="a">Geschichte 1950-1990</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Performance art / Romania</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Dissident art / Romania</subfield></datafield><datafield tag="650" ind1=" " ind2="4"><subfield code="a">Performance artists / Romania / Biography</subfield></datafield><datafield tag="650" ind1="0" ind2="7"><subfield code="a">Aktionskunst</subfield><subfield code="0">(DE-588)4141744-6</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="651" ind1=" " ind2="4"><subfield code="a">Rumänien</subfield></datafield><datafield tag="651" ind1=" " ind2="7"><subfield code="a">Rumänien</subfield><subfield code="0">(DE-588)4050939-4</subfield><subfield code="2">gnd</subfield><subfield code="9">rswk-swf</subfield></datafield><datafield tag="655" ind1=" " ind2="7"><subfield code="0">(DE-588)4006804-3</subfield><subfield code="a">Biografie</subfield><subfield code="2">gnd-content</subfield></datafield><datafield tag="689" ind1="0" ind2="0"><subfield code="a">Rumänien</subfield><subfield code="0">(DE-588)4050939-4</subfield><subfield code="D">g</subfield></datafield><datafield tag="689" ind1="0" ind2="1"><subfield code="a">Aktionskunst</subfield><subfield code="0">(DE-588)4141744-6</subfield><subfield code="D">s</subfield></datafield><datafield tag="689" ind1="0" ind2="2"><subfield code="a">Geschichte 1950-1990</subfield><subfield code="A">z</subfield></datafield><datafield tag="689" ind1="0" ind2=" "><subfield code="5">DE-604</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen 2</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025504149&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Inhaltsverzeichnis</subfield></datafield><datafield tag="856" ind1="4" ind2="2"><subfield code="m">Digitalisierung BSB Muenchen 2</subfield><subfield code="q">application/pdf</subfield><subfield code="u">http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025504149&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA</subfield><subfield code="3">Abstract</subfield></datafield><datafield tag="940" ind1="1" ind2=" "><subfield code="n">oe</subfield></datafield><datafield tag="999" ind1=" " ind2=" "><subfield code="a">oai:aleph.bib-bvb.de:BVB01-025504149</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">909</subfield><subfield code="e">22/bsb</subfield><subfield code="f">0904</subfield><subfield code="g">498</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">709</subfield><subfield code="e">22/bsb</subfield><subfield code="f">0904</subfield><subfield code="g">498</subfield></datafield><datafield tag="942" ind1="1" ind2="1"><subfield code="c">306</subfield><subfield code="e">22/bsb</subfield><subfield code="f">0904</subfield><subfield code="g">498</subfield></datafield></record></collection> |
| genre | (DE-588)4006804-3 Biografie gnd-content |
| genre_facet | Biografie |
| geographic | Rumänien Rumänien (DE-588)4050939-4 gnd |
| geographic_facet | Rumänien |
| id | DE-604.BV040677706 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T00:28:55Z |
| institution | BVB |
| isbn | 9730010889 |
| language | Romanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-025504149 |
| oclc_num | 828789498 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 131 S. zahlr. Ill. |
| publishDate | 2000 |
| publishDateSearch | 2000 |
| publishDateSort | 2000 |
| publisher | Idea Design & Print |
| record_format | marc |
| series2 | Zsfassung in engl. Sprache u.d.T.: The actionism in Romania during communism |
| spelling | Pintilie, Ileana Verfasser aut Acţionismul în România în timpul comunismului Ileana Pintilie Cluj-Napoca Idea Design & Print 2000 131 S. zahlr. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache u.d.T.: The actionism in Romania during communism Geschichte 1950-1990 gnd rswk-swf Performance art / Romania Dissident art / Romania Performance artists / Romania / Biography Aktionskunst (DE-588)4141744-6 gnd rswk-swf Rumänien Rumänien (DE-588)4050939-4 gnd rswk-swf (DE-588)4006804-3 Biografie gnd-content Rumänien (DE-588)4050939-4 g Aktionskunst (DE-588)4141744-6 s Geschichte 1950-1990 z DE-604 Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025504149&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 2 application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025504149&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Pintilie, Ileana Acţionismul în România în timpul comunismului Performance art / Romania Dissident art / Romania Performance artists / Romania / Biography Aktionskunst (DE-588)4141744-6 gnd |
| subject_GND | (DE-588)4141744-6 (DE-588)4050939-4 (DE-588)4006804-3 |
| title | Acţionismul în România în timpul comunismului |
| title_auth | Acţionismul în România în timpul comunismului |
| title_exact_search | Acţionismul în România în timpul comunismului |
| title_full | Acţionismul în România în timpul comunismului Ileana Pintilie |
| title_fullStr | Acţionismul în România în timpul comunismului Ileana Pintilie |
| title_full_unstemmed | Acţionismul în România în timpul comunismului Ileana Pintilie |
| title_short | Acţionismul în România în timpul comunismului |
| title_sort | actionismul in romania in timpul comunismului |
| topic | Performance art / Romania Dissident art / Romania Performance artists / Romania / Biography Aktionskunst (DE-588)4141744-6 gnd |
| topic_facet | Performance art / Romania Dissident art / Romania Performance artists / Romania / Biography Aktionskunst Rumänien Biografie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025504149&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025504149&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT pintilieileana actionismulinromaniaintimpulcomunismului |