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1. The experimental sector of a culture is as developed as the non-experimental sector allows it to be.
2. Culture is a machine cloning the social-political environment where it is supposed to function.
3. A conservative society is reflected in a conservative culture, and the amount of freedom in the two systems is relatively equal.
4. Cultural and technological experiments are closely connected.
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The aesthetics of poverty. A history of the moving image in Romanian art has to start with the production of Super 8 mm and 16 mm film. Private ownership of such equipment was exceptional. If my information is correct, there were only two cases: Constantin Flondor and Doru Tulcan from the group “Sigma” in Timisoara, and Ion Grigorescu in Bucuresti. The latter offered his skills as a cameraman to some of his colleagues: Geta Bratescu, Stefan Kancsura, Eugenia Pop. Exceptions to this early production format were Wanda Mihuleac and Alexandru Chira, who were able to organize the production of films on 35 mm, with professional equipment and assistance. Apart from Flondor, Tulcan, and Grigorescu, no-one was able to establish a sustained and direct contact with the relevant technology, and therefore to go beyond the mediated transcription of ideas into a closer questioning of the medium itself.
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Motivations and failures. Experimental film production in Romania was motivated by an increasing interest in the human body, and a new approach to the relationship with nature. The first motivation is one which has played a role in the history of experimental films (video) internationally, whereas the second, developing under the influence of Conceptual art, is actually more closely connected to the Romanian tradition of landscape painting.
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