alternative forms of education
alternative lifestyles and resistance of the everydays
conscientious objectors critical science
emigration/exile environmental protection
fine arts folk culture
human rights movements
literature and literary criticism media arts
minority movements music national movements party dissidents
peace movements philosophical/theoretical movements
samizdat and tamizdat
scientific criticism social movements
student movement surveillance
survivors of persecutions under authoritarian/totalitarian regimes
theatre and performing arts
applied arts objects
cartoons & caricatures
graphics grey literature
legal and/or financial documentation manuscripts memorabilia
other other artworks
sculptures video recordings voice recordings
The Zagreb Gymnasium private collection consists of memorabilia from the 1985-89 period. The school was then named as the Educational Centre for Languages, and two of its classes, which retained the classical curriculum, were considered a peculiarity. It was highly exceptional at the time, because in the framework of the secondary school reform implemented by Stipe Šuvar in 1975-76, which promoted so-called “directed education,” all gymnasia in Croatia were transformed into some manner of vocational schools with the aim of preparing the students for the labour market. From the communist perspective, the classical education was deemed unnecessary petty bourgeois elitism, which prepared select students for the university and enhanced class inequality.
This ad-hoc collection mainly consists of documents separated from the fond of judicial files concerning persons subject to political repression during the communist regime, currently held in the Archive of the Intelligence and Security Service of the Republic of Moldova (formerly the KGB Archive). It focuses on the case of Zaharia Doncev, a Moldavian worker who expressed his opposition to the Soviet regime in May 1955 by writing and distributing four “anti-Soviet” leaflets at the Chișinău railway station and in the surrounding area. Doncev’s case represents the first recorded instance of a nationally oriented oppositional message in the Moldavian Soviet Socialist Republic (MSSR) in the post-Stalinist period. This case should be linked to the early context of Khrushchev’s Thaw and to the impact of the partial liberalisation of the regime on certain Soviet citizens.
Zbigniew Dłubak collection consists of photographs, sketches, and notes, and was one of the first collections to be digitalized, catalogued, and managed by the Archeology of Photography Foundation. The objective of the Foundation was twofold. Firstly, the Foundation aimed to present the heritage of one of the most prominent Polish visual artist working in the socialist time without oversimplifying and putting him into official – dissent culture dichotomy, but to show his place in the wider context of European visual arts. Secondly, the Foundation digitalized and presented various parts of Dłubak’s collection using newest methods of archival preservation and created a fully researchable content. Part of the photographs included in the Dłubak's collection was never shown before to a wider public and was kept in the Dłubak’s private archive.
Zbigniew Galicki collection consists of several thousand negatives taken in the 1980s. Since 1982 every Thursday at 7 PM Galicki photographed holy masses and people participating in them, but also various meetings, lectures, performances that took place after church services. Many important key oppositon leaders can be found in these pictures. According to priest Jancarz, the pictures are black and white because of the colours of the reality.
Zbigniew Libera is one of the most renown Polish visual artists. He is considered to be the key figure of the Polish „critical art” of the 1990s and a pioneer of video art, which he had created since the early 1980s. Libera’s archive comprises materials from his childhood and youth (until 1991). These include notes, drawings, documents, photographs and video recordings, as well as his early edited works from the time when he participated in the Pitch-in Culture artistic milieu in Łódź.