The modern collection of the Gallery of Szombathely eloquently exemplifies the complex relationship between official culture and the culture of dissent during the socialist period. The genealogy of the collection is inseparable from the conservation of the leftist counter-culture of the Horthy era, especially of the legacy of the left-wing painter Gyula Derkovits, who was born in Szombathely. The collection of artworks was based on the notion of “progress,” and it became increasingly intense in the 1970s, but it only partly followed the socialist canon. It also initiated the emergence of new and critical trends that were in opposition to the official culture politics.
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Szombathely Rákóczi Ferenc utca 12, Hungary 9700
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The photographies from the Tomislav Peternek collection at the Museum for Contemporary Art in Belgrade document scenes of significant historical protests and conflicts between people and the police in socialist Yugoslavia. In addition to the photographers outstanding faculties in aesthetic terms, the photographies are examples of the modernist current that have intersected with photographic socrealism. The photo from the series "Red University" [Crveni univerzitet] was part of a significant exhibition held at the Belgrade Youth Center [Domu omladine Beograda] right after the end of student protests in Belgrade in 1968 despite the high risk to be threatened by the authorities and the police.
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The Video Archive of the Academic Research Centre of the Academy of Fine Arts (VVP AVU) is the only Czech institution which specialises in video art and video documentation of Czechoslovak and Czech art, both prior to and after 1989.
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U Akademie 4, 170 22 Praha 7, Czech Republic
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Wojciech Zamecznik's collection represents the early stage of Polish school of poster design. Zamecznik himself has an interesting biography - ex-Auschwitz prisoner, active member of Association of Polish Artists and Designers, who created posters for artistic and political purposes. The collection shows the tension between the official language of socialist posters and private photographs, more intimate and portraying the everyday life.
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Warszawa Chłodna 20, Poland
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Zbigniew Dłubak collection consists of photographs, sketches, and notes, and was one of the first collections to be digitalized, catalogued, and managed by the Archeology of Photography Foundation. The objective of the Foundation was twofold. Firstly, the Foundation aimed to present the heritage of one of the most prominent Polish visual artist working in the socialist time without oversimplifying and putting him into official – dissent culture dichotomy, but to show his place in the wider context of European visual arts. Secondly, the Foundation digitalized and presented various parts of Dłubak’s collection using newest methods of archival preservation and created a fully researchable content. Part of the photographs included in the Dłubak's collection was never shown before to a wider public and was kept in the Dłubak’s private archive.
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Warszawa Chłodna 20, Poland
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