“After the reaction of the state apparatus, Slobodan Tišma cancelled his public art practice and, together with Čedomir Drča, created several works and staged several performances that focused deeply on the death of utopian projects and the end of modernism. It was interesting that after the state’s reaction most of the artists, sooner or later, reduced their presence within the cultural scene, some amongst them stopped working or started to symbolically respond to the new situations that surrounded them. There were works like Invisible Art, Invisible Band and Invisible Artist that were part of a time-based performance called The End that took place between 1972 and 1977. During this period Slobodan Tišma and Čedomir Drča drank American Coca-Cola and Russian kvass every day with friends in front of a local store. This performance presented an ideological and political dimension for the desired autonomy of art; declaring the avantgarde’s artistic acknowledgment of the defeat of art in the battle with the ideological state apparatus.” (The Continuous Art Class, 2005, p. 19 – 20).This took place during rehearsal breaks of the bands they formed during these years. There is very little photo documentation of this period both because photography was expensive and because the participants themselves did not give too much importance to these performances. One of the few photographs from this period is in the possession of Čedomir Drča, and it depicts him wearing a T-shirt with the inscription The End.
The collection consists of three photographed copies of the periodical Auseklis (October-November 1987; January 1988; April 1988). It is not at present exhibited in the display of the Museum of the Occupation of Latvia in its temporary location, but it will be shown in the permanent exhibition after the renovation of the museum's permanent building. The Auseklis review is a brilliant example of what the focus of public interest and discussion was in the early years of the development of the pro-independence movement.
Ferdinand Peroutka, who represented the democratic past of Czechoslovakia, and mainly the First Czechoslovak Republic, became the director of the Czechoslovak section of Radio Free Europe (RFE) in New York on 6 April 1950. The Czechoslovak service of the RFE began its regular broadcasting from Munich on 1 May 1951 with the famous phrase “This is the voice of Free Czechoslovakia, Radio Free Europe.” One of the first speakers was also Ferdinand Peroutka, who stated, besides other things: “One magazine would mean little in a country where freedom reigns. But one free magazine, one radio station in a dictatorial regime – that is a revolution, because such a system is based on the fact that only the government can speak and nobody can answer back, that anyone can be charged, but nobody can defend themselves. However, once even a fraction of freedom enters that rigid and artificial system, from anywhere, once it is again possible to set argument against argument, once it is no longer possible to act without criticism, once there is a place to call untruths into question, then this whole proud system quavers.”
The Literary Archives of the Museum of Czech Literature possesses a mimeograph copy of the typescript of this speech.
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