Martor. The Museum of the Romanian Peasant Anthropology Review最新文献_第6页

The Museum of the Unknown City. Part II 未知之城博物馆。第二部分

Martor. The Museum of the Romanian Peasant Anthropology Review Pub Date : 1900-01-01 DOI: 10.57225/martor.2021.26.10

C. Manolache

{"title":"The Museum of the Unknown City. Part II","authors":"C. Manolache","doi":"10.57225/martor.2021.26.10","DOIUrl":"https://doi.org/10.57225/martor.2021.26.10","url":null,"abstract":"\"The article discusses various projects (in the real world or on the social media) to do with creating a museum in and about the unknown town of Mizil. The “Museum of the Unknown Town” is the memory of a non-existent town. This is because most museums reconstruct worlds that have ceased to exist. They reinvent them as part of a utopic exercise applied to the past, despite the overwhelming amount of information that they have at their disposal and which they employ. However, knowledge is not the same as storage, but rather, to an extent that differs from case to case, it is also imagination, which enables innovation. The unpredictable connections between images and the texts of different personal experiences have the power not only to sensitise local visitors to the town’s history, but also to make them aware that they are a part of that history, that they can enrich it by cultivating and practising memory. The article argues that the communist past of the town and of Romania in general might be viewed in a more nuanced way, as opposed to the use of clichés and a uniform viewpoint. The author makes use of creative writing as his technique, drawing inspiration from hand-picked images.\"","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127990620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Lacquered History: Soviet Crafts and Problematic Memory of the Communist Past 上漆的历史:苏联工艺和共产主义过去的问题记忆

Martor. The Museum of the Romanian Peasant Anthropology Review Pub Date : 1900-01-01 DOI: 10.57225/martor.2021.26.03

E. Berezina

引用次数: 0

The COURAGE Registry: A Gateway to the Cultural Heritage of Eastern European Nonconformism 勇气登记:通往东欧不墨守成规文化遗产的门户

Martor. The Museum of the Romanian Peasant Anthropology Review Pub Date : 1900-01-01 DOI: 10.57225/martor.2021.26.09

Heléna Huhák, Lóránt Bódi

{"title":"The COURAGE Registry: A Gateway to the Cultural Heritage of Eastern European Nonconformism","authors":"Heléna Huhák, Lóránt Bódi","doi":"10.57225/martor.2021.26.09","DOIUrl":"https://doi.org/10.57225/martor.2021.26.09","url":null,"abstract":"The COURAGE Registry is a digital research tool that allows exploring the legacy of cultural opposition in former Eastern European socialist countries by cataloging and describing relevant collections on dissident culture across Eastern Europe and worldwide. The linked database reveals a great variety of nonconformist cultural practices that were formerly largely unknown and promotes comparative research of similar phenomena in Eastern European societies and cultures. The researchers on the project tended to treat visual sources as traces of the past equally as important as written documents. Images were not only illustrations of the given narratives but, in some cases, visual documents were the only sources that preserved the memory of the alternative or underground activity, while in other cases, it was the act of taking pictures that resulted in the confrontation with official cultural policy. This article aims to provide insight into the basic dilemmas and issues that the project faced dealing with images for the database through three examples. Firstly, we focus on the photo documentation of an exhibition of the Hungarian art group Inconnu that was made by the secret police following the destruction of the artworks. Secondly, we show how photos were also taken by official photographers who operated in the so-called “grey zone.” Finally, our third example refers to Fortepan, a unique public initiative that focuses on the digital preservation of private photographs created between 1900 and 1990.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125812307","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Recent and Radical: Excess, Absence, and Erasure in the Museum of Recent Art 最新的和激进的:过量，缺席，和抹去在最近的艺术博物馆

Martor. The Museum of the Romanian Peasant Anthropology Review Pub Date : 1900-01-01 DOI: 10.57225/martor.2021.26.06

Smaranda Ciubotaru

{"title":"Recent and Radical: Excess, Absence, and Erasure in the Museum of Recent Art","authors":"Smaranda Ciubotaru","doi":"10.57225/martor.2021.26.06","DOIUrl":"https://doi.org/10.57225/martor.2021.26.06","url":null,"abstract":"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.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"140 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115730029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Methodological Notes on Visual Ethics: “Choosing Not to Reveal” 视觉伦理的方法论注释:“选择不显露”

Martor. The Museum of the Romanian Peasant Anthropology Review Pub Date : 1900-01-01 DOI: 10.57225/martor.2021.26.12

Kinga Povedák

{"title":"Methodological Notes on Visual Ethics: “Choosing Not to Reveal”","authors":"Kinga Povedák","doi":"10.57225/martor.2021.26.12","DOIUrl":"https://doi.org/10.57225/martor.2021.26.12","url":null,"abstract":"In this paper, I present my ethical dilemma concerning a secret police case rich in surveillance images that I encountered during the course of my research in the Historical Archives of the Hungarian State Security (ÁBTL). After reading the operative file of a religious community under surveillance during the 1980s, I decided to approach the group, discuss the images and texts I had found about them, and involve them in the research process. However, the group expressed their explicit intention not to engage in the research process. Even though the guidelines and legal framework regarding the publishing of secret police archival materials would allow me to publish the images and the content of the ÁBTL dossier, I decided to respect the religious community’s intention and their refusal to collaborate. I therefore discuss issues of different ethical standards and accountability in the light of my “failed” ethnographic attempt and reflect on the ethical responsibility of the researcher. I present how the visual images of this particular case file were eventually included in an exhibition in what I see as an ethically appropriate solution to articulate issues of distrust in researchers as a legacy of surveillance and past secret police atrocities.","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"160 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115603152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Experiences of Socialism in Romanian Exhibitions: Ethical Implications of Display, Invisibility, and Engagement 罗马尼亚展览中的社会主义经验:展示、隐形和参与的伦理含义

Martor. The Museum of the Romanian Peasant Anthropology Review Pub Date : 1900-01-01 DOI: 10.57225/martor.2021.26.04

Maria Cristache

{"title":"Experiences of Socialism in Romanian Exhibitions: Ethical Implications of Display, Invisibility, and Engagement","authors":"Maria Cristache","doi":"10.57225/martor.2021.26.04","DOIUrl":"https://doi.org/10.57225/martor.2021.26.04","url":null,"abstract":"\"The representation of tangible and intangible heritage from the socialist period in Romania has increased and diversified since the House of the People opened for visitors in 1994. Permanent and temporary exhibitions focused on various aspects of life under socialism—from food, housing, and entertainment to the lifestyle of the Ceaușescu couple—have flourished especially in the 2010s. In this article, I examine the different ways in which exhibitions represent the socialist past by displaying objects linked to consumption, leisure, and domesticity and by organizing interactive experiences around the material culture and spaces associated with socialism. The main questions addressed are: Whose perspectives and experiences of the socialist period do these exhibitions represent? What are the direct and indirect ways in which these exhibitions make political commentaries? What are the ethical issues raised by the strong interactive component of some of these experiences? In order to answer these questions, I will look at four exhibitions opened after 2010: Casa Ceaușescu (Ceaușescu Mansion) and 80east in Bucharest, Muzeul Consumatorului Comunist (Museum of the Communist Consumer) in Timișoara, and Muzeul Traiului în Comunism (Museum of Living in Communism) in Brașov. My analysis is informed by research on the representation of socialism in museums since 1989, by reflections on the ethical responsibility of museums and on the political commentary they generate. Based on the analysis of the exhibitions and on interviews with the founders of these initiatives, I discuss the dimension of space and issues of representation, the interactive component as a source of authenticity and its relation with trust, and the political relevance and position of these exhibitions.\"","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"386 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116486058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The One-footed Roller Skater. A Visual Ethnography of Contemporary Cuba 单脚滑旱冰者。当代古巴的视觉民族志

Martor. The Museum of the Romanian Peasant Anthropology Review Pub Date : 1900-01-01 DOI: 10.57225/martor.2021.26.11

Mădălina Cristea

{"title":"The One-footed Roller Skater. A Visual Ethnography of Contemporary Cuba","authors":"Mădălina Cristea","doi":"10.57225/martor.2021.26.11","DOIUrl":"https://doi.org/10.57225/martor.2021.26.11","url":null,"abstract":"\"This article deals with scarcity of goods, consumption, and the ethics of photographing scarcity of goods in contemporary Cuba. It is based on a six-month ethnographic research conducted in 2015 and 2018 respectively and shows some of the photographs I took during these two visits. In the first part I discuss the scarcity and distribution of goods in and out of socialist environments, differences between capitalism and communism and non-traditional methods of consumption. How do desires of consumption impact people in contemporary communist Cuban society? What is the role of Cuban diaspora in sending so-called capitalist goods to Cuba? It also draws a connecting line between a state-controlled communist economy and specific forms of capitalist entrepreneurship, through the existence of a black market and the distribution of goods between people. The second part of the article questions my position in the field as an outsider who was gradually familiarized with the Cuban understanding of the world more generally, and of consumption specifically. How did locals react to photographs taken by foreigners like me? How can two children share one pair of roller skates and distribute their happiness? Making visible certain aspects of scarcity in contemporary communist Cuban society made me realize that photography has a profound ethical dimension.\"","PeriodicalId":324681,"journal":{"name":"Martor. The Museum of the Romanian Peasant Anthropology Review","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114402934","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Introduction. Visual Ethics after Communism 介绍。共产主义后的视觉伦理

Martor. The Museum of the Romanian Peasant Anthropology Review Pub Date : 1900-01-01 DOI: 10.57225/martor.2021.26.01

D. Crowley, J. Kapaló, G. Nicolescu

引用次数: 0

How to Look Natural in Photos: An interview with Beata Bartecka and Łukasz Rusznica 如何在照片中看起来自然:采访Beata Bartecka和Łukasz Rusznica

Martor. The Museum of the Romanian Peasant Anthropology Review Pub Date : 1900-01-01 DOI: 10.57225/martor.2021.26.13

D. Crowley

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The Hand at Work or How the KGB File Leaks in the Exhibition 工作中的手或克格勃文件如何在展览中泄露

Martor. The Museum of the Romanian Peasant Anthropology Review Pub Date : 1900-01-01 DOI: 10.57225/martor.2021.26.02

Tatiana Vagramenko, G. Nicolescu

引用次数: 0