Are there significant differences between the nineties and the present decade concerning the general attitudes towards the memory and legacy of the past and the strategies of recording and preserving the present in Romanian contemporary art? Are they submitted to a diachronic historical reading, especially since post-communist times are exemplary manifestations of postmodern synchronicity and co-existence? How should we instantiate them, to what particular motivations they respond, what can they tell us about the critical tendencies in recent Romanian art?
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