Dadaism

Luni, 9 martie 2009, de la ora 12. 00, Institutul Cultural Român organizează o conferinţă de presă pe tema itinerării internaţionale a expoziţiei Culorile Avangardei. Participă Theodor Paleologu, ministrul Culturii, Horia-Roman Patapievici, preşedintele Institutului

Institutul Cultural Român din Varşovia, împreună cu Galeria „Zachęta din Varşovia, Fundaţia ProHelvetia şi Cabaret Voltaire, cu sprijinul Muzeului Literaturii Române din Bucureşti, au organizat o expoziţie dedicată prezenţei româneşti în avangarda artistică

Cu ocazia expoziţiei Dada Est? Românii de la Cabaret Voltaire, deschisă la centrul de artă Färgfabriken din Stockholm, Institutul Cultural Român de la Stockholm organizează la sediul său sâmbătă, 20 octombrie, ora 12. 00, o dezbatere despre poezia vizuală de

Jurnalul Naţional, 24 noiembrie 2009 Autor: Costin Anghel Cântecul românesc s-a făcut auzit serile trecute în inima Timocului sârbesc, la Bor. România a trimis la fraţii ei mai mici pe unul dintre cei mai de seamă interpreţi ai ţării, pe maestrul Tudor Gheorghe.

1922-1928. The Beginnings. Magazines and Manifestos. The Intellectual International. The Theorizing Machines. 75 HP – the New Start of the Romanian Avant-garde. Integralism and Synthesis. Synchronism and Internationalism The first avant-garde magazines and manifestos

The year 1900. Europe's countries are divided on the question: does the 20th century begin in 1900 or in 1901? Some opt for 1900, by virtue of the change in the figure of the hundreds. Others are partisans of 1901, for reasons of more sophisticated arithmetic. Particular

The early-20th-century major Romanian art is not a block, but a very particular construction of intertwined cultural layers. One could not affirm that the most fertile and valuable Modern cultural period of this country was characterized by a certain, homogenous Romanian

In a holographic note drawn up in Romanian in the third person, Brâncuşi speaks about himself as about someone else and makes an important remark in connection with his relationship with materials. Turned down in 1910, he exhibited fully carved stone and marble for the

Women artists (originally women-painters) became a reality in Romanian culture only by the turn of the 20th century. Barely having an artistic tradition of the western kind (that is, academic), the national cultural milieu in the 19th century was rather deprived of a professionally

In the nineteenth century, and also in the inner-war period, Romania had one of Europe's largest Jewish communities. Between the wars, its Jewish population was the third largest in Europe both in absolute terms (after Poland and the USSR) and as a proportion of the