The Scriptum.cz web archive provides access to various non-commercial and online Czech exile and samizdat periodicals. This is a unique collection of works that are often not accessible anywhere and are constantly being refilled.

(24 Augustus - 23 September, 2007, curator: István Juszuf Antal) The first and only exhibition focusing on the history of Hungarian performance art. The preliminary research was supported by Artpool, and during the exhibition, several recordings of the video archive were projected.

The Tošo Dabac Archive has organized the Tošo Dabac Archive's Photography Days for many years. The event was first held in 2007 on the centenary of the birth of Tošo Dabac. The exhibitions History of the TD Archive, 1940 to 2007 and Tošo Dabac - A Different View presented the Archive’s considerable artistic and exhibition activities in the 1980s and the hitherto unknown component of this body of works, akin to the poetics of the New Objectivity movement. Since 2010, thematic exhibitions of Tošo Dabac’s photography became the central attraction of the Photography Days: Rijeka Chronicles, Portraits of Artists, Streets (Faces) of Zagreb, Capturing Motion, A-Z / The Architecture of Zagreb, Text and the City and Tošo Dabac in the Frame: Photographic Coverage of the Coastline. The exhibitions aim to show the less known photographs from his extremely rich artistic oeuvre.

Since the launch of the event, seventy-two lectures and presentations were held, hosting a number of prominent photography historians and art photographers from Croatia and abroad. There were more than forty photography workshops conducted by Croatian and international photographers and museologists. Workshop participants are of all ages, including elementary and secondary school pupilsand university students, for whom this is an opportunity to gain theoretical and practical knowledge of different photographic modes and expressions.

In the course of the GAMA (Gateway to Archives of Media Art) project, nineteen institutions from twelve European countries—a consortium consisting of archives, distributors, media art centres, research institutes, universities, and two private enterprises—created the GAMA web portal that united eight European media-art databases, with the financial help of the eContentplus program of the European Commission.

The first step in the working process was technical and content analysis of the database structure of the participating archives, together with analysis of metadata and the included works. Based on this, the GAMA database was created. During the process it became clear that the existing metadata structure models (including Europeana) do not cover the needs of this collection of media art works.

The eight archives (distributors, festivals, media centres) built their respective databases on differing priorities, so a new, united metadata scheme had to be created suited especially for media art. The vocabulary (keywords, genres) describing the content of the archives was also quite different, so a unified list was created. This vocabulary was used to develop the search functions. The detailed search, articulated as work–event–resource, was based on the metadata analysis, and became a determining element of the database structure and the list of genres as well.

One could search for authors, titles, dates, archives, genres and keywords. On the result page for each individual piece one can find the description of the work, production date, authors and contributors with CVs, additional information, images, and videos. An image-based search (for similar-looking works) function is also available by clicking on any image. The automatic speech recognition module makes searching possible in the audio channels of the works, and a character recognition module can search the subtitles of the videos.

Textual resources are also available in the database. The informational texts available in the Media Wiki guides visitors through a given theme, much like a guided tour in a museum, selecting items from different archives, and involving multiple database items. The GAMA Media Wiki functions the same way as Wikipedia, using the same software with additional functions attached—like embedding videos or querying metadata from the database.

The portal premiered at the Ars Electronica festival in 2009, where participating archives presented characteristic works from their collections. The consortium also held a workshop on strategies of archiving media art. It is a pity that, due to financial reasons, this complex, integrated database is no longer available online.

Oral History of Homosexuality in Croatia was published in December 2007 by the Domino Association. The volume was a result of an extensive research project that documented gay and lesbian personal stories about their private and public lives in Croatia. Before Oral History, little or no written sources had existed about gays and lesbians, so the aim of the research was to fill this gap and also provide these marginalized communities a platform to retell their historical and social experiences from their own point of view. Many researchers, activists and volunteers worked on the research and publication, with Karmen Ratković, Amir Hodžić and Nataša Bijelić formulating the methodology, while Gordan Bosanac and Zvonimir Dobrović coordinated the whole project and edited the subsequent published volume. On over 250 large-format pages, the book provides a selection of minimally edited and thematically sorted interviews with twenty-five people who had had homosexual experiences of some sort in their lives. Some among them had lived their gay or lesbian identities since early adolescence; others had only sporadically engaged in same-sex sexual and romantic relations; and some lived in heterosexual marriages publicly, while having homosexual relations privately. The oldest interviewees were born in 1945, and the youngest one in 1976. Therefore, their autobiographical accounts cover the span from the early 1960s up until the early 2000s. The interviews, in audio-recorded format on CDs, as well as their transcripts, are part of the History of Homosexuality in Croatia Collection, and are kept at the Domino Association’s premises. The original audio recordings are not available to the public or to researchers because the interviews were conducted with the proviso that they would be used for this project specifically, with the final outcome of a published volume. However, Domino will consider the possibility of making them accessible to researches sometime in the future, but the names of the respondents will remain anonymous. The first part of the publication consists of sections entitled “Identity,” “Coming Out,” “Intimacy,” and “Sex.” These tell the personal stories about first sexual encounters, falling in love, constructing one’s own gender/sexual identity and eschewing heteronormativity. The second part deals much more with the “The Public/Political Sphere,” while the third bears the title “Historical Reader.” The focus here is on power relations in the community, homophobia, discrimination, political events, practices of institutional exclusion, and media representation. The personal accounts include memories of, for instance, same-sex sexual experiences while in compulsory military service in the Yugoslav People’s Army (even with senior officers); police raids in spaces where gays socialized in the 1970s and 1980s, i.e. in Zagreb bars such as Bacchus; experiences with health-care workers in the context of the widespread medicalization of homosexuality. Respondents also reminisced about the “gay trials” from the 1950s; the subsequently more progressive social climate, with the 1980s as a time of diminishing homophobia, a gradual shift in media discourse and emergent strategies of socially affirming public visibility, and the first gay and lesbian organizations. The volume contains a high number of illustrations, among which 56 scanned documents such as covers of books about homosexuality, fliers and other materials printed by the first lesbian and gay organizations, and press articles on homosexuality from the popular magazines in the 1980s such as Start, Danas and Polet. In 2016, with the financial support of the Erste Foundation, the book was translated into English by Dean Vuletic (Dobrović, Zvonimir and Gordan Bosanac, eds. 2016. An Oral History of Homosexuality in Croatia. Zagreb: Domino).

The documents that constitute the Victor Frunză Collection were donated by Victor Frunză to INMER. The completion of a full inventory and the opening of the collection for research took place in January 2008. The donation of this collection was possible due to the efforts of the Institute, headed at that time by Dinu Zamfirescu. His purpose was to identify collections of the Romanian exile community in order to make them available for researchers. The Victor Frunză Collection is an important source of documentation for understanding and writing the history of the post-war Romanian exile community and equally for illustrating the situation of Romania under the communist regime.

Andrei Pandele’s first major exhibition, organised at the National Theatre by the Order of Romanian Architects with the support of the National Museum of Contemporary Art, had a significant influence on his later trajectory and an unexpected public impact. “I had an exhibition in 2007–2008 that almost changed my life,” he states. “The title was ‘Forbidden Photographs and Personal Images.’ There were 256 enlargements made, 50x75 cm, of which 194 were exhibited on the third floor of the National Theatre, in six rooms totalling 1,642 m². The exhibition was on public display from 20 December 2007 to 20 March 2008. On the last two days there was a queue at the entrance, and in the rooms a record number of visitors recorded by the National Museum of Contemporary Art. Some of the media considered it the cultural event of the year.” On another occasion, Andrei Pandele has said about the same exhibition: “I had impressions written by various categories of people. Some absolutely shocking. For example, I’d never seen children writing comments before. Well, this time there were at least five or ten. One comment went something like this: ‘I’m Nelu, I’m eight years old. We liked it. I’m writing, Mum is crying.’ A comment of a different sort was: ‘My childhood on the walls.’ The third sort went: ‘Shame on you. You have denigrated your country! We wanted something good.’ Unsigned” (Adevărul, 2008). Indeed the photographs presented publicly in the exhibition “Forbidden photographs and personal images” and published the same year in a volume of the same title, are records of everyday life in the last years of communism in Romania that are shocking for those who did not experience those years and very affecting for those who lived through those times of crisis. They reflect the absurdity of the everyday mutilated by shortage, the arbitrariness of the destruction of Bucharest, the reduction of human life to a quasi-animal existence. Almost two decades after the Revolution of 1989, the photographs in the exhibition reminded visitors not only of the inhuman nature of the Ceaușescu regime, but also of Romania’s difficult emergence from communism.

The republication of the 1981 volume and the publication of the recorded dialogue material of Macskarádió (Cat Radio) with the attachment of the original audio material on CD, was undertaken in 2007 by Péter Egyed. The new publication omitted the generic subtitle “fantastic stories.” The volume was on the one hand dedicated to the person of István Darkó, and on the other to the support of Egyed's view that Hungarian literature from Transylvania was richer than it might appear. Darkó's creation constitutes literature also from the point of view of self-awareness. He took the acting habit very seriously. This meant for him not only that he played a role on the stage, but that he was an actor in everyday life, too, who played himself or the better István Darkó. In the volume, in the text titled “A színész” (The actor) he clarified his acting/writer role, that is his intellectual relations to perception/opinion/interference/action. "I don't know, if the readers, among whom there are certainly radio listeners, too" he wrote, "noticed that in the programmes of Macskarádió (Cat radio) (I am thinking of live broadcasts or reporting from the scene), when a kind of silence sets in... his presence is zizzing there. […] This MAN doesn't say a word, observes us, sees each of our screw-ups, sees the ambiguous flashes in our eyes, he jumps on our fierce thoughts right away like a panther… so we should take good care, please! […] For him it is no big deal to realise the spider’s web adhering to our heads."

On the 40^th anniversary of the Declaration on the Name and Status of the Croatian Literary Language, the Croatian State Archives (HDA) organised an exhibition in March 2007. At the exhibition, about one hundred original documents from the HDA collections regarding the publication of the Declaration on the name and status of the Croatian literary language were presented to the public for the first time (collections of the Central Committee of the League of Communists of Croatia, Croatian Parliament and Matica hrvatska). The exhibition was set on 16 panels in the HDA atrium and was opened on March 15, 2007 by Božo Biškupić, the Croatian Minister of Culture, with the presence of public and prominent figures of Croatian cultural life.

The Declaration on the Name and Status of the Croatian Literary Language was published on March 17, 1967, in the weekly Telegram after the text was formulated in Matica hrvatska and after it was signed by numerous Croatian intellectuals and eighteen Croatian scholarly and cultural institutions. The publication of a document claiming the equal status of the Croatian language in the Yugoslav federation instantly turned into a paramount political event. The exhibition was set up on the basis of original documents issued by the authorities, socio-political organizations, whereby the author of the exhibition, archivist Marina Škalić, sought to "demonstrate the way in which political violence at all republic levels was conducted during March and April of 1967" ("40^th Anniversary of the Declaration on the Name and Status of the Croatian Language ", https://www.culturenet.hr/default.aspx?id=13591). According to Škalić, the violent political reaction against the Declaration, its spirit and meaning, along with the various methods of political suppression and the disempowerment of its initiators and signatories, was supposed to shut down any idea of Croatian national emancipation immediately. The campaign against the Declaration and its signatories, directed by the League of Communists, was conducted through all official forums and institutions, and in the media.

Vons.cz is a unique digital collection of archive materials related to the VONS association, which aimed to track and publish cases of political prisoners and other people persecuted for political reasons. All digitized archives are accessible on the web.