The collection contains Vilnius University Party Committee documents (reports, protocols, resolutions) about the activities of four professors and scholars in the Department of Lithuanian Literature (1958-1959). Four teachers and researchers in the department, Vanda Zaborskaitė, Irena Kostkevičiūtė, Meilė Lukšienė and Aurelija Rabačiauskaitė, were accused by Party activists and the Party Committee of anti-Marxism, taking a 'bourgeois' approach to Lithuanian literature, and idealising Lithuanian history. They were severely criticised at Party Committee meetings. All four were eventually expelled from the university.
- Vilnius Gedimino prospektas 12, Lithuania 01103
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The Ukrainian Museum-Archives in Cleveland, OH has in its possession an OST-Arbeiter patch that belonged to Iwan Shuljak, the live in caretaker of the building where the museum is now located. This item is part of a vast collection brought to Cleveland from Deported Persons Camps in Germany. The materials include not only personal items such as the OST-patch, work papers, correspondences, journals and other publications, but also hitherto unseen memoirs that describe a relatively unknown chapter of European history—the experiences of Ukrainian refugees during and after WWII.
Shuljak was a fixture of the Ukrainian Museum-Archives, living in a spare room on the second floor of the museum. He sat on the porch reading, cleared the snow in winter, cut the grass in spring and summer, in order to show that someone cared for the UMA and its staggering collection of memorabilia, documents, books and artifacts. A lifelong bachelor, Shuljak was born in 1911 to a family of farmers, he lived through collectivization, the famine, as well as brutal arrests and interrogations from being designated a “class enemy.” He carried scars for his entire life where a Checkist had cracked his skull with a revolver, depriving him of hearing in his right ear. Once the Terror subsided, he was released to work on the railroad. After the Nazis invaded the USSR in 1941, Shuljak, along with 2 million other Ukrainians, was taken to work in the German economy. Shuljak’s experiences are important, as they show why diaspora communities were often staunchly anti-Soviet in their outlook and why they expended so much energy and effort in documenting and preserving their heritage.
Shuljak’s blue and white OST patch identifying him as a forced laborer is now part of the UMA’s permanent collection. Stateless when he moved to the US, he never became an American citizen, nor was he a citizen of Ukraine. With the help of the Ukrainian community in Cleveland, who lobbied on his behalf to expedite the process, he became a Ukrainian citizen at the age of 95 and finally made it home.
- Cleveland Kenilworth Avenue 1202, United States of America 44113
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Gábor Klaniczay’s collection of vinyl LPs consists of albums released in the 1970s and 1980s, CDs, and tapes of concerts of music by Hungarian New Wave bands.These records include some pirated discs, for example, Patti Smith’s Canine Teardrop (1982). This is an important item in Klaniczay’s music collection. He acquired it thanks to his trips abroad and his connections. This LP was banned in Hungary.
After a three year long rehearsal period, the performance One Day in the Life of Ignac Golob by the theatre company Coccolemocco premiered in 1977. Preparations for the performance took so long, among other things, due to problems with the rehearsal space, which was finally found in the premises of the Society of Amateurs in Culture and Arts Vinko Jeđut. 25 people participated in the show, most of them from the Faculty of Humanities and Social Sciences. Branko Matan wrote the libretto, Branko Brezovec was in charge of the direction, Tihomir Milovac made the props, Božo Kovačević provided the voice for Ignac, while Mladen Blaić provided the voices for other puppets. The main backbone of the performance were gigantic three-meter tall puppets, designed and made by Jadranka Fatur.
The performance follows the life of a factory worker, Ignac Golob, through a series of images from his everyday life: Ignac at Work, Ignac at Home, Ignac in a Shop, Ignac and the Sun, ... and finally Ignac and Death. The text by Branko Matan was subtitled "morality play on contemporary life," and engages in a dialogue with the book by Wilhelm Reich, Listen, Little Man! The theme of the "little man", unconsciously concealed in all of us, signifies "that model of ‘non-freedom’ which is the only one still needed by the crazed mass production of consumption" (cited from the program booklet), both in capitalism and socialism. Socialism failed to deal with the contradictions and deceptions of banality of everyday life before which the "little man" Ignac Golob, a factory worker, is helpless and ineffective, but primarily lacks responsibility. His diagnosis of the world is "Let it be what needs to be!"
The performance questions the idealized image of Yugoslav socialist society and through the portrait of the "little man" Ignac Golob and its co-responsibility for the social conditions of the society he lives in, it comes to the diagnosis spoken up by an actor on stage: “(...) if an individual lets the world come out of him, then nobody has a chance anymore.” The performance talks about the responsibility of the little man for “the death of all our languages”.
Gordana Vnuk cut the newspaper articles about the show and stored them in her collection, along with the program booklet, tickets for the show, and other documentation related to One Day in the Life of Ignac Golob.
“After the reaction of the state apparatus, Slobodan Tišma cancelled his public art practice and, together with Čedomir Drča, created several works and staged several performances that focused deeply on the death of utopian projects and the end of modernism. It was interesting that after the state’s reaction most of the artists, sooner or later, reduced their presence within the cultural scene, some amongst them stopped working or started to symbolically respond to the new situations that surrounded them. There were works like Invisible Art, Invisible Band and Invisible Artist that were part of a time-based performance called The End that took place between 1972 and 1977. During this period Slobodan Tišma and Čedomir Drča drank American Coca-Cola and Russian kvass every day with friends in front of a local store. This performance presented an ideological and political dimension for the desired autonomy of art; declaring the avantgarde’s artistic acknowledgment of the defeat of art in the battle with the ideological state apparatus.” (The Continuous Art Class, 2005, p. 19 – 20).This took place during rehearsal breaks of the bands they formed during these years. There is very little photo documentation of this period both because photography was expensive and because the participants themselves did not give too much importance to these performances. One of the few photographs from this period is in the possession of Čedomir Drča, and it depicts him wearing a T-shirt with the inscription The End.