The bequest of Imre Baász is proof of the progressiveness of his thinking, the innovativeness of his artwork, and the dynamic cooperation in which he engaged in times of political, cultural, and intellectual oppression. In the 1980s, the progressive, radical creative work was detached from the capital Bucharest, which served as the perpetual center. In this reversed centrum–periphery relationship, the periphery offered more freedom, and it ensured security and the possibility of invisibility. An important example from Transylvania of the micro-groupings which promoted progressive ideas and Western European styles and methods is the MaMű Association of Târgu-Mureș, which actively encouraged the practice of concept art, mail art, action art, and abstract artistic language in general. Imre Baász, though never an official member of the MaMű, shared their artistic view and language, and his work in the town of Sfântu Gheorghe can be considered as the prolongation of the Association’s work.
- Sfantu Gheorghe, Sfântu Gheorghe, Romania
Wyróżnione obiekty :
- Imre Baász: Bar breaker [A rácstörő/ Spărgătorul de gratii], linocut, 1976
- Imre Baász: File [Dosszié/Dosar], 1973, aquatinta, 45.1x34 cm
- Imre Baász: Step by step [Lépésről lépésre], 1983, mail art
- Imre Baász: The Burial of the Suitcase [A bőrönd elásása], 1979, performance
- Imre Baász: The Chances of Survival [A megmaradás esélyei/Șansele supraviețuirii], 1981, installation
- Migrating Birds [Vándormadarak/Păsări călătoare], 1984, silkscreen print
This ad-hoc collection consists of the work of Binka Zhelyazkova, an emblematic Bulgarian cinema director, as it is preserved in the Bulgarian National Film Archive, plus related materials. Zhelyazkova was among the first generation of professional Bulgarian cinematographers and one of the first female directors not only in Bulgaria, but in general. The collections informs not only about the work of this notable director but gives also insight into the development of Bulgarian cinema throughout the entire period of state socialism.The collection comprises the films of Binka Zhelyazkova as well as extensive written materials (film documentation, reviews in the press etc.) and photographs. It outlines the contradictory and dramatic cultural situation in Bulgaria in the second half of the 20th century. The materials exemplify the pressure exerted on artists as well as of their opportunities of resistance and evasion, of maintaing personal and political integrity, and of creating socially engaged, vanguard cinema.
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.
- București Strada Matei Basarab 55, Romania 030167
- Wyróżnione obiekty :
The Collections from the Centre for Czechoslovak Exile Studies contain many unique materials associated with the key figures of Czechoslovak exile. The collections contain archived materials that are related to exile not only in Europe but around the world, including Latin America and Australia.
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.