The collection documents the work of Croatian historian and political émigré Nikola Čolak (1914-1996). In 1966, he belonged to a group of academics and thinkers from Zadar, who officially sought to break the Communist Party's monopoly on truth by establishing the first journal not controlled by the Party. After the suppression of this initiative, Čolak was forced into exile in Italy. The so-called Movement of Independent Intellectuals represented the first attempt to create a formal cultural opposition circle not only in Croatia, but in Yugoslavia as a whole, which is recorded through this collection.
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Zagreb Trg Marka Marulića 21, Croatia 10000
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Čolak, Nikola. Struggle goes on: independent Yugoslav intellectuals are not surrendering, in Italian, 1966. Manuscript
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Čolak, Nikola. Communist Yugoslavia: between the dissent of intellectuals and the state-right of Croatia, in Italian, 1978. Manuscript
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Čolak, Nikola. Mihajlo Mihajlov and the meaning of his political struggle, in Croatian, 1966. Manuscript
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Čolak, Nikola. Truth about Yugoslavia, in Croatian, 1970. Manuscript
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Čolak, Nikola. Yugoslavia and united Europe, in Italian, 1970. Manuscript
The film and television work of the unconventional screenplay writer and director Nikša Fulgosi (1919-1996) is a component of the cultural heritage, which in a peculiar way testifies to the culture of dissent in the period of socialism in Croatia and Yugoslavia. Many of Fulgosi's film works remained unfinished or were "put in the vault" after their completion because the censors considered them unfit for the public. Fulgosi made the first television documentary series about sex for the Zagreb Radio Television in the late 1970s, which was only partially aired.
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Zagreb Savska cesta 131, Croatia 10000
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Fulgosi, Nikša, dir. A Hundred Beauties per Day, 1971. Film
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Fulgosi, Nikša, dir. Little Jole, 1955. Film
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Fulgosi, Nikša, dir. Romantic Problems of Pepek Gumbas and Marijeta Buble, 1970s.TV series
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Fulgosi, Nikša. Screenplay for the movie “The Late Handshake," 1965. Typescript
The No Art Collection is a part of the Anti-Museum founded by Vladimir Dodig Trokut. It consists of characteristic avant-garde and post-avant-garde artefacts. The Anti-Museum’s No Art Collection was established during the many years of Trokut’s activity as a member of the informal cultural opposition, which was supported by prominent individuals and public personalities, such as artists and politicians like Koča Popović and Jure Kaštelan.
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Zagreb Ulica Nikole Tomašića, Croatia 10000
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Ferenc Bodor’s
Nomad Dossiers is a collection representing a unique component of cultural opposition in Eastern Europe: materials related to ethno-folk revival and its Hungarian manifestation, the so-called “dance-house movement”. This collection also contains material regarding the Studio of Young Folk Artists, which was formed in the 1970s. Communist authorities considered the movement to be suspicious. They feared that it might increase nationalism among young people and, furthermore, that it might generate a powerful rival to the official youth organization.
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Budapest Miklós tér 1, Hungary 1033
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Această colecție ad-hoc cuprinde un șir de materiale de arhivă referitoare la activitatea formației muzicale Noroc (cunoscută în mod oficial sub numele de Ansamblul Vocal-Instrumental Noroc). Acest grup de tineri muzicieni și-a atins apogeul popularității în perioada anilor 1968-1970. Noroc a reprezentat unul dintre cele mai importante exemple ale stilurilor muzicale moderne și ale subculturii alternative a tineretului nu numai în interiorul RSS Moldovenești, ci și la nivelul întregii Uniuni Sovietice. Membrii săi practicau un gen original de muzică, combinând elemente folclorice locale și anumite influențe occidentale (mai ales din sfera jazz-ului, rock-ului și beat-ului). Din cauza caracterului „subversiv” al muzicii lor, formația a fost desființată de autoritățile sovietice moldovenești în septembrie 1970. Materialele din această colecție au fost selectate din cadrul Fondului nr.51 (Fondul Comitetului Central al Partidului Comunist din Moldova), care se păstrează în prezent la Arhiva Organizațiilor Social-Politice a Republicii Moldova (AOSPRM). Aceste documente reflectă apariția unei subculturi de tineret cu impact de masă în URSS, la sfârșitul anilor 1960, precum și constrângerile ideologice pe care regimul le-a aplicat în cazul unor asemenea manifestări ale unui stil de viață alternativ.
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Chișinău Strada 31 August 1989 82, Moldova 2012
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