WORK SHEET WEEK 10-NEW

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Arts Humanities

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Dec 6, 2023

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WORK SHEET WEEK 10 Contemporary Art in Romania NB: Answer the questions below using your class notes, the Powerpoint Presentation, and the Class Reader. 1. Julius Kóller often uses question marks. What’s the point to this practice? 2. Why was Koller was interested in ping pong and in tennis courts? 3. Rudolf Sikora is a good example of how we always need to distinguish between an action or performance and its documentation. Do you agree? 4. Name two major urban art centers in Romania (cities). 5. Paul Neágu created edible sculptures. What principle of traditional art production does this violate? 6. In what way does Paul Neagu’s manifesto on "Palpable Art” go beyond Duchamp’s fight against what he called “retinalism”? 7. What do you make of Neagu’s interest in “cellular bodies”? 8. Can you give example of how Geta Bratescu in her work combines conceptual impulses with tactility and an interest in materials? 9. What explains the unusual angles in the photographs of Dan Grigorescu's work "The Electoral Meeting"? Do you remember other such unusual camera angles in his work?
10. What characterized the working conditions for artists in Romania during the first decade of Ceauşescu's rule? How did things change during the 1980s? 11. Grigorescu often photographed himself in day-to-day private situations (washing himself; ironing; in pyjamas, ect.). What does this tell us about his approach to art making? Please also refer to the interview with Grigorescu (see Powerpoint for the URL). 12. What is Grigorescu wearing in the photo-series Prison (1976)? Can we say that his “uniform” speaks to two important concerns that his work addresses? 13. Watch the film showing Dan Grigorescu's 1977 performance Boxing (see the Powerpoint for URL). How does this work function, possibly, as a humorous reference to Cold War logic. Which works by Slovak artist Julius Koller can it be referred to in this regard? 14. Can you explain the title of Bratescu's work Medea’s Hypostases ? Why might the artist have developed an interest in the contradictory figure of Medea? 15. In the action Towards White , Bratescu gradually makes her studio white. Please think of other instances in her work where “white” plays a role, and what its significance might be. 16. Can you relate Bratescu’s performance The Hands ((see the Powerpoint for URL) to Neagu’s “Manifesto of Palpable Art”? What do they have in common? 17. Can you briefly summarize the three stages of Ana Lupaş' Solemn Process (1964- 2003)? What might the expression "solemn process" refer to? 2
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