COURAGE

Свързване на колекции

From the outset, one of the main aims and preferred profiles of the Soros Foundation Hungary (HSF), was to provide support for contemporary Hungarian literature through the numerous grants and prizes offered for writers and literary scholars as well as the largescale system of support for book publishers, periodicals, and libraries following 1989–1990. The jubilary anthology of works by 58 writers, which enjoyed the support of the Foundation, was launched to mark the 10^th anniversary in order to represent the versatile values of this literary heritage, with a forward by novelist Miklós Mészöly and the title by Péter Esterházy: Ha minden jól megy / If Everything Goes Well on Its Way. It was published in 1994, more or less at the halftime of Soros Foundation Hungary’s support for Hungarian literature, by a new Budapest scholarly publisher, the Balassi Publishing House.

In fact, this special project of literary grants and other forms of support was originally intended to be but a modest experiment to determine whether an alternative patronage system based on private donations by George Soros could work more or less independently outside the prevailing system of communist cultural policy. The call for grant applications was announced, and in early 1985, an advisory board was formed of four devoted middle-aged experts: Miklós Almási, Mátyás Domokos, Ottó Orbán, and Endre Török, chaired by a widely respected senior poet and essayist, István Vas. It was quite clear from the outset that the process of selecting the grantees required considerable attention to detail, and results could only be achieved step by step. Therefore, most of the successful applicants were recruited from among authors who had not been banned or supported by the regime, but rather had simply been tolerated. Dissident writers, who by that time published their works mostly in samizdats, or writers who were more radically critical (such as intransigent poet György Petri) were repeatedly denied support by the party through the co-chairman of Soros Foundation Hungary, an apparatchik who represented the Hungarian Academy of Science. Still, some dissidents were able to secure support later, such as György Berkovits, Zsolt Csalog, János Kenedi, and Sándor Radnóti.

Photographs on fiber-based paper attached on wood panel, 90 × 110 cm

The final years of the early departed Tibor Hajas, his performances activated his body as a medium. Parallel to the live performances designed to the last detail, he made photo tableaus of performances in the studio or another closed space, without audience, in front of the camera of János Vető.

In these photographs, the artist appears in a homogenous white space, naked, in poses suggesting exposure. However, this is only the foundation of the composition: the artist charred and burned the emulsion of the developed negative, complementing the postures.

We see a double artistic expression here: on the one hand an intervention referring to the body, on the other hand a manipulation referring to the media. At the same time, they trigger the viewer both viscerally and allegorically (the latter effect is strengthened by the subtitle).

One of the most imposing rooms of the Memorial to the Revolution in Timişoara is dedicated to the tricolour flags that were in the street or in various institutions during the very tense days of December 1989. It houses some fifteen flags, all original. “They are flags that have, in a sense, been to war; people came out to demonstrations with them in the days from 15 to 22 December; some of them were shot at; some were discoloured by the weather on those days; they are important symbolic objects that had very important trajectories for the revolutionary movements of 1989, in those heated and bloody days in Timişoara,” says Gino Rado. The majority have a hole where the communist emblem was removed – the flag with a hole in the middle became one of the emblematic images of the Romanian Revolution of December 1989. Of all these flags, only one is of the Communist Party: it was taken down from the building of the Party Committee in Timişoara. They came to the Memorial as donations over a number of years, mostly in the period 1990–1994.

Greetings cards, cartoons, posters and covers of newspapers and journals made by Lithuania’s anti-Soviet partisans. These works show the reaction of the partisans to Soviet policy and the international situation. This card in particular demonstrates how the Lithuanian partisans saw and interpreted the international situation.