As a member of the Hungarian democratic opposition, Krassó György symbolically demonstrated against the communist regime: he gave Münnich Ferenc Street in Budapest its pre-Communist name, Nádor Street. (Münnich was a communist interior minister after the 1956 Revolution.)
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The photograph depicts a moment from the ecological protests against the chlorine pollution of Ruse in 1990. The organization committee of the protest decided to undertake drastic measures: to block the Danube Bridge between the towns of Ruse and Giurgiu (the so-called „Bridge of Friendship”) on the Romanian side of the river. A rock-concert was organized near the bridge. The photograph displays one of the artistic expressions of the protest: a three-stage drawing that foresees the future of the local population in terms of its physical condition if the pollution is to continue.
In 1988 local artists from Ruse initiated a special exhibition with their works of art called “Ecology 1988”. Their actions were in support of the protest activities of citizens in Ruse at that time. The drawing seen on the photograph is one of these pieces of art.
The photograph was donated by the “Bulgarian Photography” state enterprise to the "Contemporary History" Section of the Rousse Regional Museum of History in 1991. The professional photographers of the state-owned enterprise documented every important public event in the period of state-controlled media. Following the collapse of socialism, some of the materials from the Ruse branch of the enterprise were donated to the Rousse Regional Museum of History.
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Rousse Regional Museum of History
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Photographs of Promethean leaders were purchased by the Józef Piłsudski Institute in London from Mychailo Jeremijew, Ukrainian journalist, politician, and Promethean acitivist in 1969. They include the rare images of historical figures such as Symon Petliura, head of the Ukrainian People's Republic, Kekutsa Cholokashvili, leader of anti-Soviet guerilla units in Georgia, and Tadeusz Hołówko, Polish politician and victim of the Organization of Ukrainian Nationalists. Both Petliura and Cholokashvili are considered national heroes of Ukrainian and Georgian independence movements. Other photographs include Kalmuk, Azeri, Armenian, Turkmen, Kozak, and Ukrainian leaders and exiles who participated in the Promethean movement.
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London King Street 238-246 , United Kingdom
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The photography made by Tomasz Sikorski documented Edward Dwurnik’s painting action Wykonanie portretów psychologicznych studentów D.S. „Babilon” (Making of psychological portraits of the students from ‘Babylon’ Dormitory) at the Mospan Gallery. The action took place on May 31, 1976. Between 6 PM and 9 PM, Edward Dwurnik painted 28 images of the students living in the dormitory which the Mospan Gallery was associated with. The portraits were made by acrylic paints on the one huge canvas. The canvas was at the end cut into 28 pieces so every participant of the action could take his or her psychological image with his or her name and surname. Dwurnik’s performance was an exceptional event at the Mospan Gallery, one of a few that were addressed directly to the students from the ‘Babylon’ Dormitory of the Warsaw University of Technology.
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Ewa Partum was one of the pioneers of the art in the public space in Poland. From the beginning she was interested in the new means of artistic expression, new genres, such as mail art, performance art, photography; also very early she started to create the installations beyond a gallery space. The installation Legalność przestrzeni (Legality of the Space) was constructed in 1971 in the Freedom square in Łódź – the city where the artist was living those days. Partum gathered and put in the one place the collection of dozens of street signs and boards indicating ban of something. The meaning of the gesture was clear: the artist let see the limits of the public spaces and regulations regarding the use of this space in the Polish People’s Republic. The space of the street, at first glance freely accessible and egalitarian, turned out to be severely restricted and under surveillance. The Legality of the Space was an important piece especially in the context of the apparent openness and liberty of the first years of Edward Gierek rules in Poland. The photography of the installation came from the archive of the Artum Foundation.
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