The Intersection between Art and Politics in Interwar Romania.

As Jürgen Habermas suggested, „the spirit and discipline of aesthetic modernity," which defined „various avant-garde movements... finally reached its climax in the Cabaret Voltaire of the dadaists and in surrealism." The surrealists' documents, declarations, actions, and manifestoes of the 1920s and 1930s point out to the apparently tireless crusade against public misinterpretations of their intent. On the other hand, there is little doubt that a political situation can exercise a given influence on avant-garde art in particular. While using primary and secondary sources, I look into the case of Gellu Naum just to illustrate the tensions between art and politics in the interwar Romania. [ABSTRACT FROM AUTHOR]