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On the Varieties of Cultural Resistance During Romanian Late Communism

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Art, Religion and Resistance in (Post-)Communist Romania

Part of the book series: Modernity, Memory and Identity in South-East Europe ((MOMEIDSEE))

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Abstract

This chapter focuses on the varieties of cultural resistance during Romanian late communism. It provides an outline of the ongoing debates about the meaning, content and politicality of “cultural resistance,” a concept that gained momentum in the post-communist Romanian public discourses. The argument advanced is that “cultural resistance” is multifarious and for its assessment, we need to focus on the analysis of the form and content of cultural practices and artefacts and not on political resistance alone. To this end, this chapter elaborates on several types of cultural resistance, without the pretension of offering an exhaustive list: for example, “cultural resistance” understood as critical complicity with the official canon of cultural production; “cultural resistance” understood as (religious) art collecting and resistance through the art of religious inspiration.

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Notes

  1. 1.

    Magda Cârneci, “The 80s in Romanian Art,” in Experiment in Romanian Art since 1960 (Bucharest: Soros Centre for Contemporary Art, 1997), 62 (Cârneci 1997).

  2. 2.

    Adrian Marino underlines that one of the first debates on cultural resistance during communist rule took place in 1991: Adrian Marino, Politică si Cultură: Pentru o Nouă Cultură Romaneasca [Politics and Culture. For a New Romanian Culture] (Iaṣi: Polirom, 1996) (Marino 1996).

  3. 3.

    Ioana Preda, Resisting through Culture in Communist Romania, Master Thesis in Cultural Policy and Management (Warwick: University of Warwick, 2012–2013), 11 (Ioana Preda 2012–2013).

  4. 4.

    Notable anti-communist civic initiatives in other former socialist countries of Eastern Europe are Charta 77 (in Czechoslovakia from 1976 to 1992); Polish Labour Union founded in 1980 (in Polish Solidarność, Solidarity) and the Hungarian Uprising against the Soviet style communism in 1956.

  5. 5.

    Ioana Preda, Resisting through Culture, 7.

  6. 6.

    Gabriel Liiceanu, Jurnalul de la Paltinis [The Palitinis Diary] (Bucharest: Humanitas, 1991), 6 (Liiceanu 1991).

  7. 7.

    Ioana Preda’s translation from Gabriel Liiceanu’s Jurnalul de la Păltinis (The Păltiniş Diary) in Ioana Preda, Resisting through Culture, 6.

  8. 8.

    Horia-Roman Paptapievici, Flying against the Arrow (Central European University Press, Budapest, 2003), 6 (Patapievici 2003).

  9. 9.

    Nicoleta Sălcudeanu, Rezistența prin Cultură sau Cultura Tolerată [Cultural Resistance or Tolerated Culture,] in Anuarul Institutului de Cercetări Socio-Umane “Gheorghe Șincai” al Academiei Române [The Yearbook of the “Gheorghe Șincai” Institute for Social Sciences & the Humanities of the Romanian Academy, 2016] 19: 178 (Sălcudeanu 2016).

  10. 10.

    Norman Manea, On Clowns: the Dictator and the Artist (Grove Press, New York, 1992), 30 (Manea 1992).

  11. 11.

    Lucian Maier, Dan Perjovschi: Rezistența culturală [Cultural resistance], Protokoll Studio Cluj: Ideea. http://www.idea.ro/. Available at: http://www.idea.ro/revista/?q=en/node/41&articol=537 (23 April 2018) (Maier 2018).

  12. 12.

    Ioana Preda, Resisting through Culture, 8.

  13. 13.

    Caterina Preda, Art & Politics under Modern Dictatorships: A Comparison of Chile and Romania (Cham: Palgrave Macmillan, 2017), 253 (Caterina Preda 2017).

  14. 14.

    This does not mean that only Ceauṣescu’s regime encouraged the portrayal of the leader in artistic production. To a much lesser extent, the kind of visual homage to the leader was also present during Gheorge Gheorghiu Dej’s rule (1947–1965), especially after the 1950s.

  15. 15.

    Geoffrey Hosking quoted in Joel Crotty, “A Preliminary Investigation of Music, Socialist Realism, and the Romanian Experience, 1948–1959: (Re)reading, (Re)listening, and (Re)writing Music History for a Different Audience,” Journal of Musicological Research 26(2) (2007), 151 (Crotty 2007).

  16. 16.

    According to Mirela Tanta’s convincing exploration of what she calls “Neo-Socialist Realism” (1970–1989), “The Soviet Union had long ceased to impose Socialist Realism throughout its sphere of influence when Nicolae Ceauṣescu began reintroducing Socialist Realist tropes into the Romanian visual arts in 1965.” Mirela Tanta, “Neo-Socialist Realism: the Second Life of Socialist Realism in Romania (1970–1989),” in The State Artist in Romania and Eastern Europe: The Role of the Creative Unions, ed. Caterina Preda (Bucharest: Editura Universității din București, 2017), 231 (Tanta 2017).

  17. 17.

    Idem, 232.

  18. 18.

    Caterina Preda, Art & Politics under Modern Dictatorships, 173–179.

  19. 19.

    Mihai Botez quoted in Andrei Pleşu’s article “Intellectual life under Dictatorship,” in Representations 49 (1995), Special Issue: Identifying Histories: Eastern Europe before and after 1989 (California: University of California Press), 64 (Pleşu 1995).

  20. 20.

    The National Museum of Contemporary Arts in Bucharest preserves many of them.

  21. 21.

    For instance, Cristian Ionel claimed in a local magazine that the Central Committee of the Romanian Communist Party accredited only certain artistic techniques as appropriate to render the leader’s greatness. Cristian Ionel mentions serigraphy as one of the acceptable techniques. See Mădălin Sofronie’s interview with Cristian Ionel, “Pictorul care i-a facut peste 1000 de portrete lui Nicolae Ceauṣescu. Tablourile erau facute pe o panza facuta de meṣteṣugarii cizmari,” Adevărul, 15 March 2015. https://adevarul.ro/. Available at: https://adevarul.ro/locale/slobozia/pictorul-i-a-facut-1000-portrete-nicolae-ceasescu-tablourile-erau-facute-panza-folosita-mestesugarii-cizmari-1_5505a0c3448e03c0fd942d8d/index.html (Sofronie 2015) (15 September 2019).

  22. 22.

    Tanṭa, “Neo-Socialist Realism,” 244.

  23. 23.

    Magda Radu, “Interview with Ion Grigorescu,” Mărturii XXI, 2012, min. 15:52 to 17:15, Available at: https://www.youtube.com/watch?v=UNmjf3yWIJ8 (Radu 2012) (14 February 2020).

  24. 24.

    Tanta, “Neo-Socialist Realism,” 232.

  25. 25.

    Ioana Preda, Resisting through Culture, 14.

  26. 26.

    Igor Golomstock, L’art Totalitaire [Totalitarian Art] (Paris: Carré, 1991) (Golomstock 1991).

  27. 27.

    Boris Groys, “The IRWIN Group: More Total than Totalitarianism,” in Primary Documents: A Sourcebook for Eastern and Central European Art since the 1950s, eds. Laura Hoptman and Tomaš Pospiszyl (New York: Museum of Modern Art, 2002), 288 (Groys 2002).

  28. 28.

    Amy Bryzgel, “Special Issue: Artistic Reenactments in East European Performance Art, 1960–present”. Artmargins Online, 26 January 2018 (2018). https://artmargins.com/. Available at: https://artmargins.com/artistic-reenactments-in-east-europe-introduction/ (30 October 2019) (Bryzgel 2018).

  29. 29.

    Valentina Iancu, “Collections and Art Collectors in Modern Romania.” Samizdat, 2 April 2014. http://www.samizdatonline.ro/. Available at: http://www.samizdatonline.ro/collections/ (26 October 2019) (Iancu 2014).

  30. 30.

    Ibidem.

  31. 31.

    Mihai Pelin, Deceniul prabusirilor (1940–1950): Vieṭile Pictorilor, Sculpturilor ṣi Arhitecṭilor Români intre Legionari ṣi Staliniṣti (Bucharest: Compania, 2005).

  32. 32.

    Iancu, “Collections and Art Collectors in Modern Romania.”

  33. 33.

    Ibidem.

  34. 34.

    The list of artists from Sorina Costina’s collection is displayed in the following project: Cristina Petrescu and Cristian Valeriu Pătrăşconiu, “Costina, Sorin. How I Became a Collector, in Romanian, 1989.” Unpublished Manuscript. The Horizon 2020 Project ‘Courage Connecting Collections’ (2018). http://cultural-opposition.eu/. Available at http://cultural-opposition.eu/registry/?search=Romania&lang=en&uri=http://courage.btk.mta.hu/courage/individual/n171589&type=masterpieces (24 January 2020) (Petrescu and Pătrăşconiu 2018).

  35. 35.

    Ibidem.

  36. 36.

    Mihail Neamṭu, “The Seasons of Life and the Practice of Wisdom,” in Memory, Humanity and Meaning, ed. Mihail Neamṭu and Bogdan Tătaru-Cazaban (Bucharest: Zeta Books, 2009), 33 (Neamṭu 2009).

  37. 37.

    Cristina Petrescu and Cristian Valeriu Pătrăşconiu, The Horizon 2020 project Courage Connecting Collections (2018). Available at http://cultural-opposition.eu/registry/?uri=http://courage.btk.mta.hu/courage/individual/n16487 (24 January 2020) (Petrescu and Pătrăşconiu 2018).

  38. 38.

    Andrei Pleṣu, “Un Colecṭionar de Destine: Sorin Costina,” Arta 7 (1988): 12 (Pleṣu 1988).

  39. 39.

    Simona Vilau and Valentina Iancu, Art Collecting in Romania. Eastern European Collectors (no year provided). http://www.knollgalerie.at/blog/. Available at: http://eec.knollgalerie.at/einleitungrumaenien.html?&L=1. (Vilau and Iancu, no year provided).

  40. 40.

    The artwork can be consulted in the catalogue Experiment in Romanian Art since 1960 (Bucharest: Soros Centre for Contemporary Art, 1997), 322.

  41. 41.

    James D. Herbert, “The Eucharist in and beyond Messiaen’s Book of the Holy Sacrament,” Journal of Religion, 88(3) (July 2008): 331 (Herbert 2008).

  42. 42.

    Michele de Certeau quoted in Jill Massino, “From Black Caviar to Blackouts: Gender, Consumption and Lifestyle in Ceauṣescu’s Romania,” in Communism Unwrapped: Consumption in Cold War Eastern Europe, eds. Paulina Bren and Mary Neuburger (New York: Oxford University Press, 2012), 242 (Massino 2012).

  43. 43.

    Ibidem.

  44. 44.

    Dumitru Sandru (Escape from Communism, 2013), quoted in Ina Ghiṭă, “Altering Cooking and Eating Habits during the Romanian Communist Regime by Using Cookbooks: A Digital History Project,” Encounters in Theory and History of Education 19 (2018): 149 (Ghiṭă 2018).

  45. 45.

    As I will elaborate later on in this volume, Marian Zidaru’s sculptures reunited under the title Blood-Stained Christmas (1985), allegedly having artistically foreseen the dramatism of the Romanian anti-communist revolution from December 1989, when more than 1000 people died for freedom and democracy right before Christmas time.

  46. 46.

    Dermot A. Lane, “The Eucharist as Sacrament of the Eschaton,” The Furrow 47 (1996): 467 (Lane 1996).

  47. 47.

    Adrian Ioniṭă, “Două simpozioane de sculptură din Banat. O analiză la persoana întâia.” [Two Symposiums of Sculpture from Banat. An Analysis in the First Person]. In Scurt istoric al simpozioanelor de sculptură în lume. Tradiṭie ṣi Postmodernitate: 200 de ani de artă plastică in Banat [Short History of Sculpture Symposiums in the World. Tradition and Postmodernity: 200 Years of Plastic Arts in Banat], 140–145, eds. Andrei Medinski, Doina Antoniuc, Violeta Zonte, Ioan Szekernyeş, Andreea Foanene, Adrian Ioniţă (Timiṣoara: Graphite Publishing House, 2012), 141 (Ioniṭă 2012).

  48. 48.

    The first National Camp of Sculpture took place at Măgura Buzaului in 1970, followed by Open-Air Wood Sculpture Camp at Deta in 1983, the Stone Sculpture Camp at Timiṣoara in 1984 and many others.

  49. 49.

    Dana Constantin, “Două sculpturi puse pe malul Begăi acum 30 de ani, în Timiṣoara, înlăturate cu buldozerul” [Two Sculptures Installed on the Banks of the Bega 30 Years Ago in Timiṣoara Bulldozed]. Opinia Timiṣoarei, 7 October 2014. https://www.opiniatimisoarei.ro. Available at: https://www.opiniatimisoarei.ro/doua-sculpturi-puse-pe-malul-begai-acum-30-de-ani-la-timisoara-inlaturate-cu-buldozerul-cine-n-a-avut-loc-de-ele-si-unde-au-ajuns-foto/07/10/2014 (30 November 2019) (Constantin 2014).

  50. 50.

    Ioniṭă, “Două simpozioane de sculptură din Banat,” 143.

  51. 51.

    Ibidem.

  52. 52.

    Idem, 144.

  53. 53.

    My translation from Coriolan Babeti, “Art critical comments on Timiṣoara’s Sculpture Landscape”. 1984. Published online by the National Museum of Contemporary Art Bucharest: 18. http://taberedesculptura.mnac.ro/. Available at: http://taberedesculptura.mnac.ro/index_html_files/79.pdf (15 October 2019) (Babeti 1984).

  54. 54.

    Ioniṭă, “Două simpozioane de sculptură din Banat,” 144.

  55. 55.

    Ileana Pintilie, “Punctele Cardinale ale Miṣcării Artistice Timiṣorene,” Tradiṭie ṣi Postmodernitate: 200 de ani de artă plastic in Banat (Timiṣoara: Graphite Publishing House, 2012), 51 (Pintilie 2012).

  56. 56.

    See for example Alexandra Titu, Experiment in Arta Românească dupa 1960 (Bucureṣti: Ed. Meridiane, 2003) (Titu 2003); Magda Cârneci, Artele Plastice in România 1945–1989 (Bucharest: Editura Meridiane, 2013) (Cârneci 2013); Mihail Neamṭu, “The Seasons of Life.”

  57. 57.

    Gabriela Cristea and Simina Radu-Bucurenci, “Raising the Cross: Exorcising Romania’s Communist Past in Museums, Memorials and Monuments”, in Past for the Eyes: Cinema and Museums in Representing Communism in Eastern Europe after 1989, eds. Oksana Sarkisova and Péter Apor (Budapest: Central European University Press, 2008), 275–305 (Cristea and Bucurenci 2008).

  58. 58.

    Ibidem.

  59. 59.

    Stelu Ṣerban, “Crossing the Border in the Museographic Discourse: Ideology and Marketization,” Revue Études Sud-Est Européennes LVII (2019): 71 (Ṣerban 2019).

  60. 60.

    Mihail Neamṭu presents a similar argument about the theologian Dumitru Stăniloae’s religious nationalism in “Between the Gospel and the Nation: An Introduction to Dumitru Stăniloae’s Ethno-Theology,” in New Europe College Yearbook 2005–2006 (Bucharest: New Europe College, 2009), 255 (Neamṭu 2009).

  61. 61.

    Stelu Ṣerban, “Crossing the Border in the Museographic Discourse”, 68.

  62. 62.

    Ana Codrea-Rado, “Making Art in Communist Romania,” The Paris Review, 15 December 2017. https://www.theparisreview.org. Available at: https://www.theparisreview.org/blog/2017/12/15/making-art-communist-romania (14 February 2020).

  63. 63.

    Ion Grumeza, Dacia Land of Transylvania, Cornerstone of Ancient Eastern Europe (Lanham: Hamilton Books, 2009), 69.

  64. 64.

    Lucian Boia (Istorie si mit in constiinta romaneasca, 1997), quoted in Mihail Nejneru, Continuities and Changes of Europe in Romanian National Discourse, Mater Thesis in European Affairs (Lund: Lund University, 2017).

  65. 65.

    Claudia Nezelschi, “Liviu Glodeanu’s Zamolxis, at the Confluence of Music, Mathematic and Theology,” Artes 11 (2011): 29–34.

  66. 66.

    Ana Codrea-Rado, “Making Art in Communist Romania.”

  67. 67.

    Ibidem.

  68. 68.

    Ibidem.

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    Maria Alina Asavei

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Asavei, M.A. (2020). On the Varieties of Cultural Resistance During Romanian Late Communism. In: Art, Religion and Resistance in (Post-)Communist Romania. Modernity, Memory and Identity in South-East Europe. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-56255-7_2

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  • DOI: https://doi.org/10.1007/978-3-030-56255-7_2

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  • Publisher Name: Palgrave Macmillan, Cham

  • Print ISBN: 978-3-030-56254-0

  • Online ISBN: 978-3-030-56255-7

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