COURAGE

connecting collections

The Casual Passer-By Collection by the Bosnian-Herzegovinian conceptual artist Braco Dimitrijević consists of eight photographs and two posters (portraits) created in Zagreb and Belgrade in 1971. The photographs and posters (portraits) were the foundation of his three performances from the "Casual Passer-by" series staged in Yugoslavia. They were subversive performances in which the author hung portraits of chance passers-by in public spaces, otherwise intended for executives, in this way questioning established forms of communication in the public space of a socialist state.

Catholic newspapers published underground were a well-organised and conceptually grounded form of samizdat. The collection consists of two underground publications: Lietuvos Katalikų Bažnyčios Kronika (The Chronicle of the Catholic Church in Lithuania) and Rūpintojėlis (The Sorrowing Christ). The Chronicle was the longest-surviving samizdat publication in Soviet Lithuania, providing alternative news to that coming from Soviet institutions. It was initiated by a group of Catholic priests; while Rūpintojėlis was a publication from the Catholic community that became known for being intellectual and cultivated.
The collection is made up of several sources: the Lithuanian Special Archives, which holds issues of the Chronicle of the Catholic Church in Lithuania and Rūpintojėlis confiscated during KGB searches; and the internet page http://www.lkbkronika.lt/ containing digitalised issues of the Chronicle, with comments and introductions.

The Censored Theatre and Cinema Ad-hoc Collection at CNSAS (the Romanian acronym for the National Council for the Study of the Securitate Archives – Consiliul Național pentru Studierea Arhivelor Securității) illustrates how the Archives of the former Romanian secret police, the Securitate, recorded the intervention of censorship to hinder the development of cultural opposition in Romanian theatre and cinema during the communist regime. The documents of the collection show that despite the gradual strengthening of political control over the cultural sphere beginning with the late 1960s, Romanian directors and actors managed on several occasion to bypass censorship. As a result their artistic work running counter to the official cannon, which reinforced socialist realism after the Theses of July 1971, reached a large audience, albeit only for a short period. This collection highlights the case of one of the few Romanian directors banned by the communist regime, Lucian Pintilie. His biography epitomises the destiny of a Romanian artist whose refusal to reach any compromise with the political authorities contributed to his marginalisation in Romanian cultural life while at the same time his work was acclaimed abroad.

The Central Press Supervision Authority files, stored at the Security Services Archive in Prague, contain materials documenting the control of press and newly issued publications in Czechoslovakia from 1953 to 1968. Examples of censorship with extensive transcriptions from ‘defective’ literary works are very valuable as they include unknown information on the ways authors and editors negotiated with the censors, reveal the origins of the works, provide information on the alterations that were imposed and the existence of text variants, and they even cover prominent authors’ previously unknown works.