Colecţia reflectă activitatea arhitectului Gheorghe Leahu, cunoscut pentru acuarelele sale, care reprezintă străzi şi monumente din Bucureşti, distruse de politica de “sistematizare urbană” a regimului Ceauşescu. Colecţia Gheorghe Leahu cuprinde acuarele, schiţe, manuscrise, corespondenţă, fotografii, precum şi o bibliotecă de specialitate.
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București Bulevardul Libertății 12, Romania 030167
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Colecția privată a lui Sorin Costina ilustrează arta plastică care s-a sustras canoanelor estetice oficiale ale regimului comunist din România. Colecția este cu atât mai valoroasă cu cât artiștii reprezentați în această colecție, care au fost marginali în ultimele două decenii ale comunismului, atunci când controlul ideologic a devenit din ce în ce mai strict, au primit după 1989 recunoașterea valorii lor pe plan național și internațional.
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Brad Strada Liceului 8, Romania 335200
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The collection of the banned journal “
Mozgó Világ” (World in Move), emerging out of a retrospective exhibition, provides unique insight into the stormy history that started to unfold in the 1970s as the outcome of the decision of young writers, artists, and scholars to regain their right to radically criticize the regime, to organize their own groups, and to engage in some overt conflicts, if needed.
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Szentendre , Magyarország
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The archive comprises of artworks, documents and the library of Pál Deim, an outstanding representative of Hungarian neo-avantgarde art emerging in the sixties. Deim was active in a great variety of genres, was co-founder of a number of art institutions and, alongside other members of his generation, challenged the socialist realist aesthetic principles of the Kádár regime.
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Szentendre , Magyarország
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Launched as part of the cultural politics of the time, the Studio was founded in 1958, as the youth section of the Art Fund, as an institution to further the professional integration of recently graduated visual artists. The studio was dependent on the mother institution financially and bureaucratically, but it enjoyed partial autonomy through its elected board members. A unique rule – the upper age limit of 35 years – ensured the continuous revitalization of membership. Beginning in the 1970s, autodidacts were also admitted as members, which made it possible to integrate outsiders into the official artistic milieu, thus breaking the hegemony of the academy. This also meant an expansion of the accepted ways of working. The collection, which contains primarily the works of former members, illustrates the conflicts of artistic autonomy and centralized cultural politics so typical of the era.
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Budapest Rottenbiller utca 35, Hungary 1077
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