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ALEXANDRU TZIGARA-SAMURCAŞ

Born on April 4th 1872 in Bucharest in a family of small boyars, he goes to high school in Bucharest. In 1892 he is appointed custodian of the Antiquities Museum headed by Grigore Tocilescu. In 1893 he goes to study in Germany, at the München University, with King Carol’s support and Al. Odobescu’s advices; he studies art history there. He comes back to Romania and resigns from the Antiquity Museum in order to continue his studies in France and then, again, Germany, with an interest in museography. He studies with Wilhelm von Bode, a reformer of Berlin museums.
After finishing his studies he is appointed librarian and then director of the Carol I Foundation and professor in the Art History and Aesthetics Department of the Belle Arte School in Bucharest.
On October 1st 1906, Al. Tzigara Samurcaş is appointed director of the Museum of Ethnography, National Art, Decorative Art and Industrial Art renamed, in 1915, the National Art Museum Carol I. The new museum was temporarily hosted in the building of the former state coin factory on 3, Kiseleff Avenue, on the same spot where the palace of prince Mavrogheni used to be. From the beginning, Al. Tzigara-Samurcaş bases his museum on modern, scientific bases. His acquisitions considerably increase the collections, the main attraction being the house of Antonie Mogoş from Ceauru (Gorj) exhibited inside the museum.
A never-ending fight begins for acquiring the necessary funds to raise a new building (the current building of the museum). The plans where made in collaboration with the architect N. Ghica-Budeşti. To this purpose, he writes numerous newspaper articles that will be later gathered in his book “Romanian Museography” (1936). On June 30th, 1912 the foundation of the new building was laid. The construction was many times interrupted, so the building was only ready in 1941.
As long as he was director of the Museum, Al. Tzigara-Samurcaş lead a prodigious activity in connection with his other preoccupations: director of the Carol I Fundation and professor of art history and aesthetics in Cernăuţi. He writes articles on various topics, academic books, among which the ones on popular art are very important, holds conferences on the radio or at the Athenaeum, participates in international congresses and exhibitions. Al.Tzigara-Samurcaş becomes an important name in his field.
The situation becomes worse after the Second World War when the communist authorities dismiss him from the position of Museum director. In old age, sick and overly humiliated, the Father of the Museum on the Boulevard dies on April 1st, 1952.

MARTOR nr. 24/2019 // Politics of Memory: the Collecting, Storage, Ownership and Selective Disclosure of Archival Material






A apărut numărul 24/2019 al revistei MARTOR, „Politics of Memory: the Collecting, Storage, Ownership and Selective Disclosure of Archival Material”, volum coordonat de Corina Iosif, Bogdan Iancu și Iris Șerban. Tema numărului din acest an cuprinde 14 studii ce se opresc asupra arhivei percepută dintr-o triplă perspectivă: ca un loc de memorie (în continuarea direcției propuse de istoricul francez Pierre Nora în 1997), ca un act procesual şi drept o structură instituţională integrată unui anumit context politic, social şi cultural. Volumul se încheie cu trei recenzii a unor titluri de referință în domeniu.
Revista se găsește online integral la adresa: http://martor.muzeultaranuluiroman.ro/

Prețul: 26,25 lei.

CUPRINS:


Corina Iosif, Bogdan Iancu
Introduction. Inside and Outside the Archive: the Uses of Archives and Archival Practice

I. In the Beginning Was the Archive: Storing as Production of Memory
Mădălina Vârtejanu-Joubert
Débuts de la photographie, débuts de l’archive photographique : Bonfils au Harvard Semitic Museum

Viviana Iacob
Looking for Bauh: Negatives and Prints in the Romanian Peasant Museum Image Archive

Alexandru Iorga
Archives as Ruins: Means of Understanding the Future in an Era of Wrecks

II. Archives: the Purposes of Remembering, the Purposes of Forgetting
Maria Cristache
The “Socialist Modernism” Platform: Online Archives and Knowledge Production in Central and Eastern Europe

Inis Shkreli
Communist Politics of Archives: The Case of the Ethnomusicology Archive at the Institute of Folk Culture in Tirana

Astrid Cambose
“Whose Property Are My Letters?” Inside Monica Lovinescu and Virgil Ierunca’s Archive

Raluca Mateoc
The Aliyah of 1949: Unpublished Migration Requests of Jews from Romania as Vehicles of Memory

III. People and the Never-Ending Archive
Claudia Câmpeanu, Mara Mărăcinescu
Sounding Out the Personal Archive

Iris Șerban, Ioana Popescu, Andra Tarara
The Little White/Black Book of the Ethnological Archive of the Museum of the Romanian Peasant. 2009-2019

Rucsandra Pop, Alexandru Iorga
Making the Documents Speak - A Creative Exploration of the Mihai Pop Fonds

IV. The Archive as Artistic Language
Iosif Király
When Document Becomes Art and Art Becomes Document. Several Art Projects Based on Photographic Collections or Archives

Szilárd Miklós
The Passenger Retrospective of the Minerva Press Photo Archive: Publishing of a Research Infrastructure

V. Fieldnotes and Dialogues
Ionuț Mareș
“Now is the time to include the films produced by the Alexandru Sahia documentary studio in our conversations about the communist past.” An interview with Adina Brădeanu

Călina Bârzu
Reclaiming the Visual Archive of the Furniture Factory in Iași

VI. Book Reviews

Alexandra Urdea, From Storeroom to Stage: Romanian Attire and the Politics of Folklore, New York and Oxford: Berghahn Publishers, 2018, 210 p.
(reviewed by Călin Cotoi)

Inge Daniels, What Are Exhibitions For? An Anthropological Approach, London and Oxford: Bloomsbury Academic, 2019, 256 p.
(reviewed by Gabriela Nicolescu)

Sahia Vintage 5: Ephemeral Film - An Argument for a More Inclusive Film History
(reviewed by Andra Petrescu)






 




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