The members of Orfeo built a semi-detached house in Pilisborosjenő (15 kilometers from Budapest) between 1972 and 1974, when they wanted to improve the conditions under which they worked. The first house became the home of the actors of the Orfeo Studio. The Orfeo Group constructed a commune, while also holding theatrical and musical performances and creating artwork and photos. The creation of a collection on their work is the result of ordinary activities and an alternative, opposition-cultural lifestyle, which was, in turn, embodied in a house and objects. The inner spaces, the furniture in the house, and the uses of the furniture themselves are artistic works. The houses were spaces of the alternative theatre work and alternative lifestyle of Orfeo, which was condemned by the state authorities as violating the norms and morals of social coexistence.
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Pilisborosjenő, Hungary 2097
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Materials of the Original Videojournal collection constitute hundreds of hours of uncut videos that captured fragments of alternative culture, dissent movements and news reports about developments in Czechoslovakia in the late 1980s. Samizdat audiovisual magazine was founded in 1987 at the instigation of Václav Havel. The Original Videojournal aesthetic and style remotely resembled television news in state media. This established form of news allowed it to target a wide audience while at the same time criticising the restricted view of the official media.
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Na Hřebenech II 1132/4, 140 70 Praha 4, Czech Republic
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Photographic collection of European Solidarity Centre documents the most important political events from the 1970s and 1980s in Northern Poland. They are a testimonial of suppression, fight and victory, but they also tell little histories: of alternative lifestyles and artistic sensibility. The still-growing archive resources contain over 63.000 items.
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The Pitch-In Culture was a unique phenomenon of Polish cultural landscape of the 1980s. This informal community brought together radical, critical, and progressive artists from two different generations: the former members of the Zero-61 group and the Film Form Workshop, who had begun their activities back in the 1960s and their younger colleagues, who were breaking up with conceptualism and the ethos of the avant-garde. The nihilistic, anarchistic, neo-Dada circle of the Pitch-In Culture distanced itself both from the state-supported art and from the so-called “church” art created by artists related to the political opposition. The Pitch-In Culture Collection presents artists, their works, manifestos and texts, as well as the documentation of exhibitions and artistic performances.
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Punk in Polish People's Republic began in 1978 and it quickly gained popularity in Warsaw, as well as in other cities. In its initial phase, the movement maintained close ties with student clubs and galleries, where performance art, mail art, and concrete poetry flourished at the time. The collection of a punk photographer Anna Dąbrowska-Lyons includes zines, photographs, and newspaper clippings from the years 1978 to ca. 1982. The most interesting of these materials were featured in the album titled Polski punk (Polish Punk) published in 1999. The album documents the first wave of punk in Warsaw, while also presenting original, artistic photographs, collages, and graphics which blend the Western influence of punk and the new wave with the poetry of futurism, Dada, and conceptual theories of the 1970s.
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London, United Kingdom
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Warszawa, Warsaw, Poland
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