JUST ANOTHER BRICK IN THE WALL: Models for Artistic Production in Romania

In the last few years, Romanian artists like Dan Perjovschi, Adrian Ghenie, Ion Grigorescu, Mircea Cantor, Ciprian Muresan and a few others, have been received enthusiastically on the international art scene, with major exhibitions in important museums and art centers, and/or commercial success in galleries. International interest in the Romanian art scene, which for most western curators and art professionals who visit the country only entails appointments with individual artists or speaking to particular gallerists, has increased exponentially too. But a survey of the activity on the local level, or an analysis of the strategies used to develop the local context, has not yet been made outside the country.

Romania, despite some successes of individual artists in the international market, suffers from the lack of a public interested in contemporary art, the lack of internal state, or independent, institutions that fund artistic production, and an inexistent market willing to sustain the local art activity. Such a context makes it extremely difficult for any artistic initiative to take root, so it is no surprise that most of those that do last more than a couple of years operate entirely on an international commercial basis. Nevertheless, they are not the only models that exist… So, in writing this, I would like to offer the reader a few practical questions that frame this exhibition and the topic, maybe even widening the relevance of such an exercise beyond the geographic area of the exhibition.

Just Another Brick in the Wall functions as a space for the examination of the art system in Romania: what is it composed of, how does it work, who are the main players, how are they connected, what are the power structures and how do alternatives form, what models currently exist that try to shape and change the scene, what impact does criticism have, and what needs to be done for the system to be improved and made functional?

The title of the exhibitions comes from the Pink Floyd song off the band’s 1979 album. A strong protest song, it was originally written against what was perceived as the mind- controlling system of British education. Roger Waters, who wrote the song, said in 2009, “The song is meant to be a rebellion against errant government, against people who have power over you, who are wrong.» But it can very well apply to the art system, with the wall representing the system itself, seemingly solid and unbreakable, composed of elements that connected together reinforce it, that once removed or damaged, fundamentally subvert the structure, possibly leading to its collapse. The art system is a network of many people collaborating to create the work of art – but in Romania, where this wall is not completely formed and collaboration is still not a generally utilized strategy, can small subversions actually lead to the need for reconstruction? Indeed, the question remains: what is the impact that small subversions actually have, especially if these small subversions reach a limited public?

Through a variety of installations, videos, performances and mixed media explorations, the show presents the multifaceted art scene in Romania that the West doesn't often see, and that is currently helping to develop into something resembling a system.