REMEMBRANCE IN TIME - Index of

190
Remembrance in Time
As a matter of fact, from the start of Socialism period the conditions for implementing
Art synthesis have been laid down in numerous party documents. In a Decree by the
Council of Ministers and its Regulations of 1949, the question about the need of
ideologically aesthetical and culture state policy was put. 10 In 1948, the UBA establishes
a permanent Art Council, in charge of ordering and designing pieces of art and regulating
the ideologically aesthetic side of the works 11 . In the beginning, when the councils for
Art and Culture with the Regional People’s Councils were founded, there was no clearly
planned concept of the mechanisms of ordering, design, acceptance and control of pieces
of monumental arts because of the fast pace necessary for their accomplishment. 12 That is
why monumental works produced at the time when Art Councils made their first steps,
were not concerned with any thematic plans.
In Decree 142 by the Council of Ministers of 1959, the Committee for Architecture and
Public Works and the Ministry for Education and Culture are pointed out as the bodies to
annually designate the new buildings for producing Mural and Monumental art works.
The instructions by the Council of Ministers have been underestimated by the Committee
for Architecture and Public Works through a certain decrease in ordering activities. That
has led to limitations on funds for planning, designing and producing Monumental art
works which causes chaos in organizing stages through which each piece of art should
pass. Subsidies for Monumental art have been reduced and redirected mostly to
construction for finishing works. For the discontinuation of that practice, edicts have
been made more particular and improved in the Regulations for Application of Territory-
residential Organization, in the section on Architectural and Art Design. In the
Regulations on Capital Construction, it is pointed out that with all buildings, regardless to
their purpose, it is mandatory to allocate funds as much as 1.5-5 % of the total value for
producing Mural-monumental art even in the preliminary construction financial
documents. Those funds are to be used by the Ministry for Construction and Architecture
and by the Committee for Art and Culture. The percentage determined might be increased
in cases when a unique look for the building is to be searched for. Those particular cases
should be accomplished only with a decision by the Ministry for Construction and
Architecture. Through the Act on Territory organization financial matters concerning
subsidizing durable pieces of Art are to be arranged. In preliminary financial documents
on capital construction, there is also a provision for funds for producing durable pieces of
Art in that architectural environment, and those funds amount to a percentage of the total
value of the newly constructed building. That percentage value should be calculated with
respect to the character of the site. Those legal edicts are supposed to arrange the
architectural environment, as well as infrastructure projects, such as squares, motorways,
etc. The State Commission for Design and Production should coordinate with the author
spending general budget funds which are to finance the building construction. The UBA
and UAB have been also entitled to arrange funding for Monumental art with capital
construction sites, as well as the fees to the authors of those Art works.
The State Commission with UBA and UAB is appointed to be the one and only body of
competence to evaluate artistically and determine the amount of remuneration for
monumental art works. It is to be managed by the chairperson of the Committee for Art
and Culture.
Sites of national importance should be funded by the Committee for Art and Culture.
That is stipulated in the Regulations on Durable Monumental Arts. 13 In 1975, a National
Programme and Conception for the future development of Monumental Arts was