In itself a clear example of megalomaniac art and architecture that the excesses of dictatorship could birth in its quest for immortality, the largest building in Europe that Ceausescu built houses today MNAC or the Romanian National Museum of Contemporary Art – as well as the Romanian Parliament. Befitting such a location is the gargantuan painting that ironically for the viewer exemplifies the concept of the white-elephant and neo-classical aspirations in academic art, the building is so well-known for. Then some bits and bobs that show some promise and potential and some elaborate graffiti that leads up to a top terrace. The art housed here seem to have no clue of its purpose or Romanian creators, more than if you’re in, you’re officially a contemporary artist and probably a friend of the curators. No trace of Barladeanu if not Victor Fota. It so seem that the building is more powerful than anything that is housed inside or outside to bend and transform whatever that may be, into its appendage, and that includes the Parliament not just MNAC. This relationship is the one to explore and watch.
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