Suchergebnisse

This article discusses the case of Ion Grigorescu, and of his ambiguous relationship with the communist regime, which he registered through a form of "documentary realism". Through his "realgrams" Grigorescu documented real life experiences in an innovatory approach to the majority of Romanian artists of the time using photographs of his everyday environment, and being inspired by his social and political context. Grigorescu is thus an artist committed to the public space and assuming a critical stance without it being discursive, pedant or moralizing. The approach of this study is descriptive, based on the artists' artworks and self-descriptions, and seeking to situate Grigorescu's approach in the context of the communist regime and its transformation after 1990 into a democratic regime. The conclusions show that Grigorescu's artworks are anti-system, criticizing any establishment, no matter in which regime he finds himself. His contestation is specific to a committed artist that chooses to express his freedom of expression beyond his own studio.

During the communist regime, photography was a popular activity due to the existence of the Association of Photographic Artists. Its members weren't professional artists, but mostly people with technical backgrounds, and who transformed their hobby into a job. The lack of interest of Romanian artists in photography (except for a few particular cases such as Ion Grigorescu or Ștefan Bertalan) can be explained by the fact that there were no photo-video departments within the art universities and the Romanian Artists' Union (UAP), the only form of institutional organization of the Romanian artists, had no special photography department. Therefore, the photographic practice in communist Romania was linked to the Association of Photographic Artists and not to the Romanian Artists' Union. The evolution of its activity in the period between 1968 and 1978, and the impact that politics had on it transpire very well from the evolution of the Fotografia magazine, the only photo periodical of that era. This article shows that even in a creative field, which was overlooked by the Communist Party, the echoes of the official political discourse were felt, mainly after 1975. We have outlined two aesthetic trends in the mid-1970s. One was the photograph obtained by laboratory procedures, supported by a depoliticized discourse and the second was a pseudo reportage photography, namely the communist propaganda photography.

This article compares the ideas of two political thinkers representative for their time and region - Kautilya (of ancient India) and Machiavelli (of modern Europe). The analysis reveals important similarities and differences, and offers potential explanations for the findings. Most significantly, the similarities between Kautyla's Arthasastra and Machiavelli's Prince are visible particularly when it comes to their treatment of war, 'state' administration, diplomacy, monarchy and the features of a good leader. Such similarities suggest that the development of modern European philosophy has been influenced by other cultural spaces, including Ancient India.

The paper analyzes the institutional transformation of cultural policies in postcommunist Romania and the correspondent emergence of an art market in Romania. The case studies considered show that both artists and policy makers adapted to extraneous expectations and patterns rather than promoting new visions and models. The "triangle metaphor" forged by Magda Cârneci, representing the relationship between artists, the state and the Union of Visual Artists (UAP), offers the basis for analysing the game of continuity and change after the fall of Romanian communism.

The article presents the judgment delivered by the European Court of Human Rights of 5 March 2020 in GROBELNY v. Poland, by which the Court found that Article 1 of the First Protocol to the European Convention on Human Rights had been infringed following the rejection by national courts of the applicant's claim for compensation equal to the invalidity pension which he was unlawfully deprived of by applying the res judicata principle, despite the existence of relevant and sufficient grounds for departing from that principle, namely the fact that the applicant's deprivation of pension rights was the consequence of a manifest error attributable to the public authority, found as such by the court in the second dispute. The Court held that, in this way, the national authorities had failed to ensure compliance with the principles of social justice and fairness or good governance and that the burden to which the applicant was subject was disproportionate, since he was required to bear the consequences of the errors attributable to the public authorities on his own, even though he did not have any other legal means to compensate for the damage. The article also contains an analysis by the author of the ECtHR ruling.

Although many institutions were involved in the cultural diplomacy of the Romanian communist regime, a very consistent part of the artistic exchanges with the East and the West were mediated by the Union of Artists. This paper would like to highlight the important role the Union played in framing the artistic exchanges with several "capitalist countries" and "popular democracies", by looking at several agreements of collaboration between Unions or similar institutions. More precisely, we will look at the variations regarding the form and the quantity of exchanges that were established through such official documents and which referred mainly to exchanges of persons, informations or exhibitions. We will also look at the way these were organized in practice: the study of the travel reports, informative notes or daily programs that were produced on such occasions shows that these exchanges were systematically surveilled and politically motivated. A preliminary analysis of these allows us to observe the Union's interests regarding the East and the West and suggests that the Romanian Union of Artists contributed to the expansion, the regulation and at the same time the control of the cultural contacts with foreign countries.