Suchergebnisse

The study shows that the World Festival of youth and students, one of the most important sporting, cultural and above all ideological events in the 1950s, represented a real heterotopia of the communist world, a contradictory, paradoxical space, a discontinuity that interrupted, at the time of the event, the apparent normality of the ideological order. The Festival represented a small space of globalization, promoting dialogue and real exchanges between the politically regimented youth of the East, the youth of the West, living the beginning of the long sixties, and the young people arriving from the third world, who experienced the decolonization process. The international exhibition of visual arts opened as part of the Festival, that too, should have illustrated the ideological unity of the Communist world, revealed the cultural diversification which manifested after 1953 in the Eastern bloc. The article offers information on the participation of Romanian artists at the Festival, on the topics preferred by the Romanian institutions and on the relationship between youth, the creativity of the artists, and ideological issues.

This article is a case study of the Romanian Artists' Union during the Thaw as an institution potentially capable of renewal by creatively applying the rules imposed in the totalitarian communist State. The methodology used is that of archival research through the use of the concepts of Repressive State Apparatus, Ideological State Apparatus (Althusser), dispositif (Foucault), and habitus (Bourdieu). The text shows that from 1953 until 1957, in the context of similar changes in the Soviet Union, the Union of Romanian Fine Artists underwent a gradual transformation, which culminated with the change of the Management Board and a professionalization on specific criteria of the structure. The characteristics of the modern foucauldian dispositif, that the Union acquired in the period of the Thaw, remained valid in the next period, of reideologisation (1958-1963). The conclusions are that even in conditions of totalitarianism, subjects and structures can introduce creative elements into the process of reproduction of a given order, by modifying this order.