Geographical mobility has become a norm of contemporary art. This article examines the spatial dynamics of artists as they face the challenges presented by peripheral territory in visual arts, putting their mobility and flexibility to the test. Whether staying anchored in a geographical area or moving abroad depends on the dominant scheme within the world of art. The globalization of contemporary art promotes the formation and recognition of “hypermobile” artists, but it can also lead to local strategies of withdrawal.
collective history. The 300 pages contain a lucid inquiry of
the self, in its exemplary artistic becoming.
Key-words: memory, becoming, theater, actor
As a child, I saw Dionisie Vitcu for the first time in 1970. He was
playing in “The Catechists from Humuleşti” (dramatization after Ion
Creangă by Ion Mironescu, directed by Dan Alecsandrescu), and then in
“Tango in Nice” (by Mircea Radu Iacoban, directed by Victor Tudor Popa).
So, I have been following his artistictrajectory for over 50 years, initially
with an unexplained fascination, as a spectator
perspective, as Switzerland is known for its combination of a high female labour
market participation and a high proportion of female part-time workers. Until
December 2018, the paper was viewed 500 times and downloaded 209 times.
The article “From the Periphery to the International Scene. ArtisticTrajectories in the
Trial of Mobility”, published in 2017 in the excellent special issue on artistic work,
demonstrates that also qualitative articles – if they are inventive and relevant – are
of international interest and widely read. Isabell