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Art, Religion and Resistance in (Post-)Communist RomaniaArt as Resistance to the “Religious Affair” and Consumerist Religion in Post-Communist Romania

Art, Religion and Resistance in (Post-)Communist Romania: Art as Resistance to the “Religious... [The chapter engages with political art and religion in post-communist Romania. The younger generation of Romanian contemporary artists employed the “religious” thematic clusters and tropes in their work, yet, for different ends and on different grounds than the Neo-Orthodox artists. They also employ the thematic clusters and the repertoires of religion and spirituality in order to challenge it (or at least to challenge “institutionalized religion” or the so-called religious affair in Romania). Thus, the all-too-familiar Byzantine icons, crosses, as well as other religious symbols and visual memorabilia are employed in defamiliarized contexts and approaches. Contemporary artists deploy traditional religious imagery as rhetorical devices featured in the “secular agora” for their political-ethical potentialities.] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Art, Religion and Resistance in (Post-)Communist RomaniaArt as Resistance to the “Religious Affair” and Consumerist Religion in Post-Communist Romania

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Publisher
Springer International Publishing
Copyright
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2020
ISBN
978-3-030-56254-0
Pages
249 –283
DOI
10.1007/978-3-030-56255-7_9
Publisher site
See Chapter on Publisher Site

Abstract

[The chapter engages with political art and religion in post-communist Romania. The younger generation of Romanian contemporary artists employed the “religious” thematic clusters and tropes in their work, yet, for different ends and on different grounds than the Neo-Orthodox artists. They also employ the thematic clusters and the repertoires of religion and spirituality in order to challenge it (or at least to challenge “institutionalized religion” or the so-called religious affair in Romania). Thus, the all-too-familiar Byzantine icons, crosses, as well as other religious symbols and visual memorabilia are employed in defamiliarized contexts and approaches. Contemporary artists deploy traditional religious imagery as rhetorical devices featured in the “secular agora” for their political-ethical potentialities.]

Published: Oct 23, 2020

Keywords: Artistic critique of institutionalized religion; Post-communist Romania; Religious trope employed in art; Religious imagery as rhetorical devices; Religious consumerism; Neoliberal theology

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