Recent and Radical: Excess, Absence, and Erasure in the Museum of Recent Art

Inaugurated in 2018, the Museum of Recent Art (MARe) in Bucharest has rapidly become one of the leading contemporary art institutions in Romania. Rivaling state-financed museums, MARe’s approach to exhibiting contemporaneity is dialectical, exchanging the conventional, chronologically determined mus...

Descripción completa

Guardado en:

Detalles Bibliográficos
Autor principal:	Smaranda Ciubotaru
Formato:	article
Lenguaje:	EN FR
Publicado:	National Museum of the Romanian Peasant 2021
Materias:	postsocialism nationalization museology dialectical contemporaneity decorative art Ethnology. Social and cultural anthropology GN301-674
Acceso en línea:	https://doaj.org/article/55b576aea4464bfcbcf7a69a7c169c31
Etiquetas:	Agregar Etiqueta Sin Etiquetas, Sea el primero en etiquetar este registro!

id	oai:doaj.org-article:55b576aea4464bfcbcf7a69a7c169c31
record_format	dspace
spelling	oai:doaj.org-article:55b576aea4464bfcbcf7a69a7c169c312021-11-22T13:45:14ZRecent and Radical: Excess, Absence, and Erasure in the Museum of Recent Art1224-62712734-8350https://doaj.org/article/55b576aea4464bfcbcf7a69a7c169c312021-11-01T00:00:00Zhttp://martor.muzeultaranuluiroman.ro/archive/martor-26-2021/2021_06/https://doaj.org/toc/1224-6271https://doaj.org/toc/2734-8350Inaugurated in 2018, the Museum of Recent Art (MARe) in Bucharest has rapidly become one of the leading contemporary art institutions in Romania. Rivaling state-financed museums, MARe’s approach to exhibiting contemporaneity is dialectical, exchanging the conventional, chronologically determined museological method for anachronism. This approach provides a framework through which the perpetual theoretical correspondence between past, present, and future artistic practices is facilitated. Focusing on art that circumvented the official visual discourses of the communist regime and on art that emerged after the Romanian Revolution of 1989, MARe’s novel museological method has, however, been impaired by the museum’s failure to fully account for the country’s totalitarian history. The absence of context, an unethical silence that can be seen as a symptom of Romania’s unresolved tension towards its communist past, underpins both the conception of the museum’s building and that of its permanent collection. Impeding discussions of nationalization, coercive state mechanisms, and the imposition of Socialist Realism, MARe further limits the emergence of art historical narratives by reaffirming the traditional, hierarchical superiority attributed to fine art forms.Smaranda CiubotaruNational Museum of the Romanian Peasantarticlepostsocialismnationalizationmuseologydialectical contemporaneitydecorative artEthnology. Social and cultural anthropologyGN301-674ENFRMartor, Vol 26, Pp 93-113 (2021)
institution	DOAJ
collection	DOAJ
language	EN FR
topic	postsocialism nationalization museology dialectical contemporaneity decorative art Ethnology. Social and cultural anthropology GN301-674
spellingShingle	postsocialism nationalization museology dialectical contemporaneity decorative art Ethnology. Social and cultural anthropology GN301-674 Smaranda Ciubotaru Recent and Radical: Excess, Absence, and Erasure in the Museum of Recent Art
description	Inaugurated in 2018, the Museum of Recent Art (MARe) in Bucharest has rapidly become one of the leading contemporary art institutions in Romania. Rivaling state-financed museums, MARe’s approach to exhibiting contemporaneity is dialectical, exchanging the conventional, chronologically determined museological method for anachronism. This approach provides a framework through which the perpetual theoretical correspondence between past, present, and future artistic practices is facilitated. Focusing on art that circumvented the official visual discourses of the communist regime and on art that emerged after the Romanian Revolution of 1989, MARe’s novel museological method has, however, been impaired by the museum’s failure to fully account for the country’s totalitarian history. The absence of context, an unethical silence that can be seen as a symptom of Romania’s unresolved tension towards its communist past, underpins both the conception of the museum’s building and that of its permanent collection. Impeding discussions of nationalization, coercive state mechanisms, and the imposition of Socialist Realism, MARe further limits the emergence of art historical narratives by reaffirming the traditional, hierarchical superiority attributed to fine art forms.
format	article
author	Smaranda Ciubotaru
author_facet	Smaranda Ciubotaru
author_sort	Smaranda Ciubotaru
title	Recent and Radical: Excess, Absence, and Erasure in the Museum of Recent Art
title_short	Recent and Radical: Excess, Absence, and Erasure in the Museum of Recent Art
title_full	Recent and Radical: Excess, Absence, and Erasure in the Museum of Recent Art
title_fullStr	Recent and Radical: Excess, Absence, and Erasure in the Museum of Recent Art
title_full_unstemmed	Recent and Radical: Excess, Absence, and Erasure in the Museum of Recent Art
title_sort	recent and radical: excess, absence, and erasure in the museum of recent art
publisher	National Museum of the Romanian Peasant
publishDate	2021
url	https://doaj.org/article/55b576aea4464bfcbcf7a69a7c169c31
work_keys_str_mv	AT smarandaciubotaru recentandradicalexcessabsenceanderasureinthemuseumofrecentart
_version_	1718417553171152896

Recent and Radical: Excess, Absence, and Erasure in the Museum of Recent Art

Ejemplares similares