This paper focuses on photography of everyday life in late socialist Romania, analyzing the photographic production of artists and vernacular photographs from private scrapbooks and collections. On a theoretical level, it disentangles questions concerning the production of ideological images; the political dimension of the act of photographing/documenting everyday life; the relationship between photography and cultural memory; the question of the forbidden gaze and the 'reality' of the visual document.
The argument is that realism can be seen as a proclivity of certain kinds of photographs rather than inextricably associated with the medium of photography as such (the so-called 'indexical realism'). Supported by an in-depth analysis of visual sources and semi-structured interviews with visual artists active during those years, this paper highlights the relationship between photography and cultural hegemony and zooms in on the photograph's mnemonic abilities.