alternative forms of education
alternative lifestyles and resistance of the everydays
avant-garde, neo-avant-garde
censorship
conscientious objectors critical science
democratic opposition
emigration/exile environmental protection
ethnic movements
film
fine arts folk culture
human rights movements
independent journalism
literature and literary criticism media arts
minority movements music national movements party dissidents
peace movements philosophical/theoretical movements
popular culture
religious activism
samizdat and tamizdat
scientific criticism social movements
student movement surveillance
survivors of persecutions under authoritarian/totalitarian regimes
theatre and performing arts
underground culture
visual arts
women's movement
youth culture
applied arts objects
artifacts
cartoons & caricatures
clothing equipment
film
furniture
graphics grey literature
legal and/or financial documentation manuscripts memorabilia
music recordings
other other artworks
paintings
photos publications
sculptures video recordings voice recordings
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.
Zsuzsanna Erdélyi’s collection was the outcome of an unanticipated event in socialist Hungary. The ethnographer and her colleague Sándor Bálint created a collection of objects pertaining to Catholic folk practices in the mid-1970s with the public support of Cardinal László Lékai and the Catholic press. The survival of a significant number of private religious objects during the communist era demonstratd that many citizens lived active spiritual lives and cultivated the heritage of their parents and grandparents, despite the government prohibition against religion.
The items in Rudolf Sikora’s personal collection are important because of the value they acquired through their connection between the original artistic happenings and the meaning they were given in relation to normalisation-era policies. Their reference to the avant-garde were seen as oppositional, and this fact influenced Sikora’s further activities as well as the entire group of artists commenting on and creating works with similar themes, such as environmental issues. The collection was created gradually since 1970, particularly from the time of a so-called Open atelier in his appartement on Tehelná street in Bratislava (19 December 1970). Although the pieces in his personal collection are only a fraction of his artistic production, for the majority of this was recently acquired by the Slovak national gallery, they still have significant value.
The aim of the C³ video archive is the complete compilation, preservation, cataloguing, archiving and digital transfer of Hungarian video art. Primarily, it was visual artists who began to experiment with this difficult-to-access (due to state control) medium in the second half of the 1970s. Their endeavours were not institutionally supported, with the exception of a few independent workshops. The archive aims to preserve these technologically unstable materials (earlier considered radical approaches to the moving image) in digital format, and, based on research, to make them available in their historical and international context.
