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Editorials

Interview with Milena Grigore

Tell us a few words about the beginning of your artistic career.I graduated from the National University of Arts, Bucharest, Romania, in 2012, under the guidance of Professor C. Atodiresei and of Assistant Professor A. Rădvan. In November 2012 I had my first solo show, "The Mother without hands", as part of the "Oxigen" event, organized by A. Rădvan and D. Șandor.Why painting and not something else?I chose painting, but I made also sculptures, even large format ones. I didn`t plan to limit myself to painting, I am open to exploring any form of making art.What style do you think suits you best? Is there an artist or an artistic movement that have influenced you in your art?I have several reference points, such as Romanesque Art, German Expressionism, Italian Transavanguardia, but the most important one, which I keep coming back to, is Pablo Picasso.What is your favorite theme? What inspires you the most?I keep returning since few years to the theme of alienation, of despair, of pain of living and loneliness. I didn`t aim to explore a specific theme, I just followed my thoughts and I am often inspired by poetry, especially by Emily Dickinson, Edgar Lee Masters, and Eugenio Montale.Are you using several painting techniques or are you faithful just to one? Did you happen to come back to a painting or go all the way with a theme set from the beginning?I am in a continuous search

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Interview with Alina Gurban

Tell us a few words about the beginning of your artistic career.I have always been attracted to visual art. I was very young and I remember that my mother had an art album with Claude Monet`s works. As a child I was flipping through it and felt that I could reproduce those works. I remember the painting "Poppy field" when I was outlining on my own paper starting with the drawing of the child in the middle of the poppy field. I remember that it was not a reproduction, I drew a personal interpretation. I did not know at that time what attracts me, I knew only that I like it.A change that I did not decide it myself, maybe fate decided, was when my parents went to Russia. I was only in primary school when I had to confront with Russian rigor and perseverance in art. I graduated there the school of fine arts for children. You could come to attend the school only as an extracurricular activity. I was attending the art school three days a week and had the following courses in order: drawing in pencil and charcoal, painting and art history. I remember the teacher explaining the reproduction of contrast between light and shadow and many others things about which I will not talk so not to increase the extent of the response to this question. Yuri was professor of art history, Tatiana of drawing and Marina of painting.After I was in Russia the fate decided once again. My parents had to g

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Again, Art with Message: The Exhibition Ironical Trans(a)gressions of the Artists Miruna Hasegan and Daniela Frumuseanu

Finding out that the title of Miruna Hasegan's PhD thesis, submitted in 2005, had been Ideals and Aesthetical Ideas and making the connection with this exhibition's title, Ironical Trans(a)gressions, in which she exhibits along with Daniela Frumuseanu, I remembered the theory of the sociologist and aesthetician Theodor Adorno (1903-1969), one of the most brilliant representatives of Frankfurt School, founder of music sociology. The most difficult, he says, is to demonstrate the ideological nature of instrumental music, this being relatively easy to detect for the other artistic fields - literature, plastic arts, opera. And, yet, demon-strates he, Bach' music, for instance, expresses the ideology of the triumphant bourgeoisie, while, as he appreciates in his youth, Schönberg' atonal music would represent the equiva-lent of ideology disappearing, with music. The same way abstract art would also be, at its turn, non-ideological. At the same time, Adorno attacks Stravinski' music, for instance, as being outdated - a position firmly rejected by Schönberg himself, who appreciated the great Russian composer's music. Later on, Adorno changed his theory, by stating that the lack of ideology was another form of ideology. Of course, this aspect is even more obvious with plastic arts, where both abstract art and a painting dedicated to landscape, to still life, to the nude in an

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