Moștenirea lui Baász Imre este dovada gândirii progresiste și a cooperației dinamice în lumea artistică, în timpul opresiunii politico-culturale. În anii ’80, gândirea și ideile progresiste s-au îndepărtat de capitala București, care până atunci funcționa ca un centru perpetuu. Acest model centru–periferie inversat a oferit mai multă libertate prin posibilitatea anonimității. Un exemplu important pentru grupurile maghiare susținând gândirea progresistă artistică în epoca respectivă este Grupul MaMű din Târgu-Mureș, care a încurajat tinerii artiști să experimenteze noile metode occidentale, precum și concept art, mail art, action art și limbajul stilistic abstract, în general. Baász Imre nu a fost membru oficial al Grupului MaMű, dar a promovat aceleași idei, având țeluri comune. Opera lui, așadar, poate fi considerată ca o prelungire a activității Grupului MaMű.
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Sfantu Gheorghe, Sfântu Gheorghe, Romania
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Imre Baász: Bar breaker [A rácstörő/ Spărgătorul de gratii], linocut, 1976
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Imre Baász: File [Dosszié/Dosar], 1973, aquatinta, 45.1x34 cm
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Imre Baász: Step by step [Lépésről lépésre], 1983, mail art
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Imre Baász: The Burial of the Suitcase [A bőrönd elásása], 1979, performance
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Imre Baász: The Chances of Survival [A megmaradás esélyei/Șansele supraviețuirii], 1981, installation
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Migrating Birds [Vándormadarak/Păsări călătoare], 1984, silkscreen print
Benedikt Rejt Gallery and its collection were founded in the 1960s with the aim of collecting contemporary tendencies in visual arts. The gallery kept buying works by progressive artists even after 1968. The Benedikt Rejt Gallery owns a unique collection of constructivist pieces.
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Pivovarská 29, 440 01 Louny, Czech Republic
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This ad-hoc collection consists of the work of Binka Zhelyazkova, an emblematic Bulgarian cinema director, as it is preserved in the Bulgarian National Film Archive, plus related materials. Zhelyazkova was among the first generation of professional Bulgarian cinematographers and one of the first female directors not only in Bulgaria, but in general. The collections informs not only about the work of this notable director but gives also insight into the development of Bulgarian cinema throughout the entire period of state socialism.
The collection comprises the films of Binka Zhelyazkova as well as extensive written materials (film documentation, reviews in the press etc.) and photographs. It outlines the contradictory and dramatic cultural situation in Bulgaria in the second half of the 20th century. The materials exemplify the pressure exerted on artists as well as of their opportunities of resistance and evasion, of maintaing personal and political integrity, and of creating socially engaged, vanguard cinema.
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Sofia ulitsa Gen. Yosif V. Gurko 36, Bulgaria 1000
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The Casual Passer-By Collection by the Bosnian-Herzegovinian conceptual artist Braco Dimitrijević consists of eight photographs and two posters (portraits) created in Zagreb and Belgrade in 1971. The photographs and posters (portraits) were the foundation of his three performances from the "Casual Passer-by" series staged in Yugoslavia. They were subversive performances in which the author hung portraits of chance passers-by in public spaces, otherwise intended for executives, in this way questioning established forms of communication in the public space of a socialist state.
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Zagreb Avenija Dubrovnik 17, Croatia 10000
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Zsuzsanna Erdélyi’s collection was the outcome of an unanticipated event in socialist Hungary. The ethnographer and her colleague Sándor Bálint created a collection of objects pertaining to Catholic folk practices in the mid-1970s with the public support of Cardinal László Lékai and the Catholic press. The survival of a significant number of private religious objects during the communist era demonstratd that many citizens lived active spiritual lives and cultivated the heritage of their parents and grandparents, despite the government prohibition against religion.
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