Ghosts from the land that time forgot: Race against time to save secret black-and-white archive of doomed country

Inainte de a reda articolul din Daily Mail despre colecţia de fotografii Costică Acsinte ţin să îl felicit pe Cezar Popescu pentru acest proiect şi mai ales pentru mediatizarea lui. L-a urcat pe  Costică Acsinte acolo unde doar visam. Trebuie precizat însă că această colecţia a fost valorificată de-a lungul  prin mai multe expoziţii. De prima expoziţie din colecţia Acsinte s-a ocupat doamna Gabriela Druchs care a colaborat atunci cu fotograful Laurenţiu Zupcu.  In mai 2001, m-am ocupat personal de expoziţia ,,Amintiri din Slobozia de altădată,, care valorifica circa 100 de imagini realizate din acest fond de fotograful Coca Cristian. Citez din textul semnat de mine în pliantul expoziţiei ,, expoziţia este ,, o fereastră deschisă spre anii interbelici, când sub ochii negustorilor, patronilor, calfelor şi ţăranilor târgul începe să capete trăsături modern, specifice orăşelelor de provincie, unde stilurile arhitectonice se amestecă la fel ca şi preocupările oamenilor,,.

Din păcate, cu toată bunăvoinţa celor doi destoinici fotografi profesionişti, prelucrarea plăcuţelor a fost aproape abandonată. S-au prelucrat doar fotografiile pe suport de hârtie din albumul inedit al primului război mondial, din care a rezultat o expoziţie impresionantă. Şi, înţeleg din articolul de mai jos că Cezar Popescu a lucrat voluntar.  Nu se poate aşa ceva! Astfel de lucruri  ce implică drept de autor şi copyright nu se fac pe voluntariat, ci pe contracte serioase. Şi conducerea muzeului ar fi trebuit să ştie asta. Dacă prelucrau doar 100 de imagini pe an, în 12 ani ar fi fost 1200 de imagini care intrau în fondul de documentare şi care ar fi putut fi prelucrate şi cercetate tematic şi prezentate într-o formă mult mai elaborate publicului.

Photographs of Romanian life in the 20th century discovered in a few boxes in the back of a county museum
They are the life’s work of Romanian photographer, Costică Acsinte, and have not been seen since his death in 1984
Cezar Popescu is seeking to preserve and digitise the damaged images, even as they are destroyed before his eyes
The images offer a history-in-pictures of the troubled Eastern European nation

By Kate Lyons

PUBLISHED: 01:22 GMT, 11 February 2014 | UPDATED: 21:46 GMT, 12 February 2014

It is a world on the brink of disappearing. But the discovery of a few boxes in a storage room of a county museum in Romania may mean that at least a record of the vanishing Romanian culture will survive.

The boxes of photographic plates provide a history in pictures of the nation; a record of a people and a culture that some feared would vanish without a trace.

The long-lost plates, perhaps the most thorough visual history of Romania, are the life’s work of photographer, Costică Acsinte.

Acsinte photographed the Eastern European country from 1925 through to his death in 1984 – spanning Romania’s foray into the Second World War and the subsequent Communist rule that devastated the population and exhausted the economy.

The collection disappeared from public view after Acsinte’s death in 1984, until Cezar Popescu, 38, discovered it was sitting in a back room of Lalomita County Museum – exposed to the elements and even the occasional curious farm animal – and convinced the museum to let him preserve and digitise the plates.

Popescu began the enormous task in November last year, and since then has digitised 1,000 plates, with an estimated 4,000 to go.

The black-and-white photographs are beautiful but poignant, depicting a culture that has almost vanished in the wake of modernity.

‘I’ve seen buildings from Slobozia that are no longer, the buildings [don’t] exist anymore and you can see them in Costică’s photographs,’ Popescu told MailOnline..

In the images, Popescu says he also gets a brief, black-and-white glimpse of customs that have since died out, such as the tradition of taking family photos at a funeral.

‘This is a custom not used anymore, here in Romania at least,’ he said.

The images are ultimately, though, a portrait of the Romanian people through a tumultuous century, featuring images of children playing in the snow, men drinking together, families at work, as well as weddings, lavish funerals, market scenes, and dances.

‘You can see really important people, like [Nicolae] Malaxa, who was a really important factory owner in Bucharest, or you can see just people – kids in schools or [Acsinte’s] colleagues, his friends, all sorts of subjects. They are very beautiful,’ said Popescu.

This striking collection is incredibly significant because it offers a glimpse of Romanian life during a period when the nation was closed off from the world.

Romania disappeared from global view for much of the twentieth century, after they were placed under the control of the USSR following the Second World War.

Romania suffered greatly under Soviet occupation. Thousands of leaders, intellectuals and dissidents were interred in prison camps, tortured, or executed. As a largely rural nation, Romania was ill-prepared for the industrialisation insisted upon by the USSR and an unknown number of people, estimated to be tens of thousands, were killed during the period of agricultural collectivisation that followed the end of the war.

In order to pay back Romania’s significant foreign debt, Nicolae Ceausescu, President of Romania from 1967 until 1989, imposed harsh economic policies and draconian laws that crippled the nation.

Though the foreign debt was paid back in 1989, and Ceausescu was overthrown in the same year, the Romanian economy has still not recovered and much of the nation continues to suffer from abject poverty.

Popescu says he does not know what he will uncover as he works through the collection. He has already discovered royalty in the boxes – with photographs of both Queen Marie and King Carol II.

‘Maybe when I finish scanning the whole plates, who knows what treasure I will find?’ he said.

‘Any bit of fact that can make history clearer, that can enlighten an obscure event is important… I’d be glad to find out that Costică Acsinte’s photographs play such a role. I’m sure that one day, a historian will find the archive as interesting as I do,’ he said.

Popescu knew the name of Costică Acsintefrom when he was a child and his father, also a photographer, worked with one of Acsinte’s sons. So when he saw some of Acsinte’s photographs on postcards, he began searching for his collection.

He discovered that after Acsinte’s death, the collection was acquired by the Ialomita County Museum and sat unopened in a back storage room.

This picture (left) is one of Popescu’s favourites. It depicts a hunter with a brace of Great Bustard, a bird that is now almost extinct in Romania, taken on April 16, 1938. The images also record fashions throughout the 20th century and feature such images as this woman in polka dots (right) and a neat hat

Romania’s children: Both of these toddlers smile happily for the camera, one holding a little bag, the other very warmly clothed in jumper, gloves and elaborate hat

The laborious restoration process takes between 15 and 30 minutes for each plate, depending on what condition it is in. For Popescu, it is a race against the clock, for even as he works to preserve them, the photographs are decaying before his eyes.

‘The plates are degrading one week after another, if I open a crate today and then I open it in a week I can see another crack in the gelatin, in the emulsion… Some of them are in quite bad shape. If they are not digitised right now maybe they will be lost forever,’ he said.

It is the urgency of the task that motivates Popescu, who does the restoration work on evenings and weekends, whenever his work as a website administrator and photographer allows him.

‘If I choose not to scan them, probably nobody will. Or they will when the plates are in quite an un-repairable state,’ he said. ‘I don’t want to lose the pictures because some of the photographs are quite beautiful.’

Popescu’s work is ‘all paid for from my pockets’, though he says that just last week he received two anonymous donations of 100 and 150 euros to help him with the project. He says his mystery benefactors were ‘generous people’ who must have seen the pictures online and decided to donate some money.

The money will be helpful he says to help him buy materials, such as metal box corners, which will ensure the plates can be stored properly in the long-term.

In an interesting twist, these photos which for many years have been seen by no one, and which depict a very traditional way of life, are now being seen by thousands around the world, online.

As he scans the images, Popescu shares them on the Costică Acsinte archive website, Facebook and Twitter page, and was excited last year when the images were published via Flickr.

In the long term, he says he will probably donate the whole archive to a library, but ‘right now I want to finish digitising them.’

Read more: http://www.dailymail.co.uk/news/article-2555487/Costica-Ascintes-incredible-photographs-Romania.html#ixzz2tUP2xQ3T
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3 thoughts on “Ghosts from the land that time forgot: Race against time to save secret black-and-white archive of doomed country

  1. Decretul nr. 321 din 18 iunie 1956 privind dreptul de autor stabilea o protectie de numai 5 ani de la publicare pentru fotografii si de 10 ani de la publicare pentru serii de fotografii. Presupunind ca Acstinte a fotografiat inclusiv in ziua in care a decedat, protectia asupra drepturilor de autor a expirat in ianuarie 1989, asa ca TOATE operele fotografice ale lui Costica Acsinte sint actualmente in domeniul public. Despre ce copyright discutam?

    • Legea la care faceţi referire era valabilă doar dacă găseaţi plăcuţele pe stradă. In condiţiile în care aceste placuţe fac parte din patrimoniul unui muzeu, ele intră sub incidenţa legilor care protejează patrimoniul cultural mobil şi în care sunt prevăzute inclusiv situaţia reproducerilor etc.
      Din păcate, deşi lucrez în acest muzeu, nu cunosc condiţiile în care aţi intrat în posesia lor. Relaţiile mele cu conducerea muzeului sunt proaste. Chiar dacă aţi lucrat ca voluntar, aşa cum spuneţi în articol, trebuia să se încheie cu dumneavoastră nişte acte în care se prevedeau drepturile şi obligaţiile părţilor. Dacă nu au procedat aşa, este foarte grav. In consecinţă, dvs. se poate să faceţi ce doriţi, dar nu în baza decretului de care spuneţi, ci în baza neglijenţei lor. Iar legea dreptului de autor aplicabilă în zilele noastre este Legea 8/1996, nu decretul la care faceţi pomenire. Să ştiţi că eu am negociat cu familia Acsinte (nişte oameni extraordinari) achiziţionarea albumului de fotografii din primul război mondial, care a devenit în urma achiziţionării proprietatea muzeului. Prin urmare plăcuţele sunt ale muzeului, nu ale nimănui.
      Eu apreciez munca dvs. pentru care trebuia să fiţi plătit, dar cu donatul către o bibliotecă, aşa cum spuneţi, nu cred că sunteţi îndreptăţit.

  2. Cu tot respectul, și decretul de care am amintit și legea de care a-ți pomenit nu au nici o legătură cu plăcuțele în sine, ci cu autorul unei opere (fie ea roman, cîntec, tablou, fotografie etc.). Iar în cazul nostru autorul plăcuțelor fotografice, al printurilor scoase după ele sau al imaginilor rezultate prin scanare este unul singur și anume Costică Acsinte. Faptul că MJI este proprietarul actual al plăcuțelor nu îi conferă nici un drept în materie de proprietate intelectuală, după cum nici eu nu devin proprietarul drepturilor de autor dacă mă apuc să cumpăr sau să primesc prin donație o carte scrisă de dumneavoastră.

    Însă vă mulțumesc pentru informația, nouă pentru mine, privind achiziția albumului. Dacă nu vă este cu supărare aș dori să detaliem puțin subiectul, mă interesează foarte mult (o să vă caut la muzeu, cît de curînd).

    Cu respect, Cezar

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