алтернативен начин на живот и съпротива в всекидневието алтернативни форми на образование
движение за защита на човешките права
движения за мир
женско движение защита на околната среда
изобразително изкуство критична наука
литература и литературна критика
малцинствени движения медии
младежка култура музика надзор, наблюдение народна култура
научна критика национални движения
отказ от военна служба
оцелели след преследвания при авторитарни / тоталитарни режими партийни дисиденти
самиздат и тамиздат социални движения
театър и сценични изкуства
филм философски / теоретични движения
цензура ъндърграунд култура
други други произведения на изкуството
картини лична документация
правна и / или финансова документация приложно изкуство
публикации ръкописи сива литература
снимки техническо оборудване
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.
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.
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.
The Art Collections of the Museum of Czech Literature contain works of art connected with the literary field (illustrations, visual works by writers, graphics, etc.). The collection has been built from inheritances; a number of works by officially non-approved artists from the period before 1989 are present here.
Artists’ Archives gather private collections of artists, documenting the most significant phenomena in post-1945 Polish art, including those which opposed the system or were criticised by the authorities. Many of these, are the work of creators and milieus engaged in the critique of the authorities and the cultural mainstream of Polish People's Republic. The Archives, designed as an integral part of the new Museum of Modern Art in Warsaw, collects artzines, manifestos, private and official letters, as well as documentation of artistic activities. Its collection is being digitised and published via Internet portal. The unveiling of every new collection is treated as an exhibition marked by a series of panels and meetings.