![]() ![]() Can Nae Caranfil’s Restul e tăcere / The Rest is Silence alone take the screen, or should Grigore Brezeanu’s 1912 Independența României / The Independence of Romania also be there? (Of course it should!) When will Gopo be recovered as a science-fiction movie director? How much of the current cinematic canon of the communist period is based on the aesthetic merits of movies and how much is derived from the stories of the dissident film-makers? And the questions can go on, in a continuous fervent and, to a certain degree, vital negotiation.īut this exhibition comprised almost exclusively of nonfictional audio-visual material (around 90% cinema and 10% video art) is not the place for such negotiations – there is no one to assist Rus and Velisar in negotiating a new and revised canon of the Romanian nonfictional cinema, and this is because there is no such thing as a pre-existing canon of this sort. The Romanian edition of the biennale, organized by the Romanian Cultural Institute, is the most fertile soil to plant questions on the past-present dynamics in Romanian art, especially the heaviest, inevitable issues referring to canons, the boogeyman of art theory. ![]() ![]() The exhibition History in Fragments, curated by Raluca Velisar and Andrei Rus, was part of the Negotiating History: Cinematic Representations Past & Present program for The EUROPALIA International Art Festival’s Videograms of a Nation cinema section. ![]() History in fragments, exhibition view photo by Andrei Tănăsescu ![]()
0 Comments
Leave a Reply. |