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 phenomenon we have tried to approximate in our work is that of Romanian inter-war spirituality. The "protagonists" of this research belonged to the so-called "young generation" or "generation 27", that is "The Criterion group": Mircea Eliade, Emil Cioran, Constantin Noica, Mircea Vulcanescu, as well as other two representatives of a different generation: Nae Ionescu and Nichifor Crainic. The first chapter, entitled "Steps and traps in the perception of Romanian inter-war spirituality" stipulates the topic of our research. The novelty of the approach lies in our desire of deciphering the way in which these persons had perceived themselves and their role in what we are going to refer to as the great inter-war experiment. We intend to regard reality as the sum of various images, arising from different layers of perception, coming from the respective personalities, their critics and exegetes. These images overlap to an extent that does not justify the metaphor of a "mirror broken into pieces" and reconstructed; they merely form a sort of kaleidoscope whose images are recomposed in ever changing pictures every time the object one looks through revolves. In the same time, we make a starting point in an idea suggested by social psychology, which leads to our belief that the way in which the protagonists under discussion perceived themselves was defined by their representations on the events of the time, a sort of intellectual projection of collective consciousness. We made clear some terms such as "post-event perception": the type of cognitive reflection upon a cultural background that occurs under the circumstances imposed to the subject, situated at considerable distance in time, capable of placing him in a favorable position – as the absence of subjectivism cannot contaminate direct, synchronic perception of events; possible reiteration of the moment achieved by means of reading, an experiment possessing the supplementary cognitive charge of an anticipatory knowledge of the denouement, as well as a series of disadvantages – such as the informational deficiencies caused by the passing of time, the reality of events being an indirect, secondary one; the contamination of hypothetical decisions and post-event judgments by the bulk and value of information on the events, as well as their subsequent evaluation, jeopardizing the accuracy of perception. Evaluating the working hypotheses we notice that there is a considerable difference between the way in which we, who were not directly involved in the events, perceive the "epoch", and the way it was perceived by the persons whose intentions we are striving to decipher, together with the ideas and attitudes they shared, the people they came into contact with, the events they took part in or carried them along a sometimes disagreeable, often ungrateful History. Our protagonists observed that whatever culture consecrates or recovers is in possession of another type of reality. It is a relatively continuous reality; even if it becomes the subject of ever renewed evaluation, it constantly perpetuates a series of values, while history is anthropophagous, swallowing in an equally inconsiderate manner both geniuses and jesters, bringing together in its terrifying ignorance both illustrious characters and the most ordinary of all people.
