Her career flourished in 2009 when she joined the European Solidarity Centre as the Head of the Archive and Exhibition Department at the European Solidarity Centre (ECS) in Gdansk. She has been involved in the institution's organisation since its beginning and has played a very important part in shaping its archival resources. She has been overseeing the process of acquisition, organization and archiving of the items collected by the European Solidarity Centre, mainly material heritage objects and photographs.
Her engagement in presenting the history of democratic opposition is commonly appreciated by artists and activists from socialist times. She gets frequently invited to join local art competition juries or to discuss the history of Gdansk’s dissidence in the media. She is able to talk for hours about the precious collection of ECS.
- Gdańsk, Poland
Tomislav Krznar (Zagreb, 1979) is assistant professor in the Sub-Department of Philosophy and Sociology at the Faculty of Teacher Education, University of Zagreb. He graduated with a degree in philosophy and religious studies at the Faculty of Philosophy of the Society of Jesus in Zagreb (2004), and he also completed the Peace Studies alternative education program at the Centre for Peace Studies in Zagreb (2007). He received his Ph.D. in philosophy in 2010 at the Faculty of Humanities and Social Sciences in Zagreb. From 2010 to 2012,. he served as secretary of the Croatian Philosophical Society, and since 2012 he has held the post of chairman of the board for archives at the Croatian Philosophical Society. He is a member of the editorial boards of the journals Filozofska istraživanja and Synthesis Philosophica and publishing council the Filozofska istraživanja imprint. He is furthermore a member of the Croatian Philosophical Society, Croatian Bioethics Society and Matrix Croatica.
- Zagreb, Croatia
Simultaneously, since the late 1960s, they regularly documented the artistic life of Poland, focusing on ephemeral phenomena.
Kulik’s father was a colonel in the propaganda department of the communist Armed Forces of the Polish People's Republic. She grew up in an isolated military enclave in the city of Warsaw. As a teenager she took extracurricular sculpting classes in one of Warsaw's cultural centres. There she met sculptor Przemysław Kwiek.
She studied at the Faculty of Sculpture at the Warsaw Academy of Fine Arts. She found herself in the studios of Oskar Hansen and Jerzy Jarnuszkiewicz, whose didactic and theoretical activities had transformed into a multigenerational tradition, which to this day remains important for a number of outstanding Polish artists. Przemysław Kwiek has also come through both of these studios.
In 1987 Zofia Kulik concluded her artistic collaboration with Kwiek and started her own, independent artistic project. She abandoned the open form and performative actions. Her work became, in a way, the exact reversal of notions and ideas that had represented her activities as a duo. Instead, she began to create “closed forms”, such as photographic collages, which were static objects, “closed” to any interference by others while visually mimicking the ordered, hierarchical, organised, and ornamental patterns of cathedrals, altars, oriental carpets, and paintings of kings. Her works were created using a technique of multiple film exposure. They were composed of hundreds of photographs of symbols of totalitarian and military violence, as well as male human bodies twisted in a peculiar alphabet of gestures (e.g. The Gorgeousness of the Self). These works gained substantial recognition in the 1990s and were interpreted i.a. from the perspective of feminist theories.
- warszawski zachodni, Dąbrowa, Poland 05-092
Ferenc Kulin (1943–) is a literary historian, critic, and politician, and was the chief editor of the journal “World in Move.” He received his MA degree in Hungarian and Russian language and literature from Loránd Eötvös University (ELTE) Budapest in 1968. From 1970 to 2007, he worked as an educator of the Literary History Department of ELTE. From 1999 he was appointed as chair, and then from 2005 to 2008 as dean of the Gáspár Károli Reformed Church University (KGRE), Budapest.
From 1970 to 1990, he worked as an editor of literary periodicals: Irodalomtörténet, Jelenlét, Mozgó Világ, and Magyar Napló. He joined the editorial staff of “World in Move” (Mozgó Világ) in 1974 as a columnist and deputy chief editor, and from 1981 to 1983 he became the chief editor, until he was replaced in mid-September. In 1989–1990, he was the chief editor of Magyar Napló (Hungarian Diary).From 1970 to 1988 he was a member of the Hungarian Socialist Workers’ Party (MSZMP). Then he joined the Hungarian Democratic Forum (MDF), of which he soon became a member of the presidium and the president (1989–1996). From 1990 to 1993 he was elected as chairman of the Cultural, Educational, Scientific, and Media Committee of the Hungarian Parliament. He was elected as an MP three times (MDF: 1990–1994, 1994–1996; MDNP: 1996–2005). In 2000 he was also elected vice president of the Hungarian Democratic People’s Party (MDNP)
- Budapest, Hungary
Zvonimir Kulundžić (Osijek, 16 January 1911 - Zagreb, 27 December 1994) was a writer/publicist, bibliographer, journalist and historian. He graduated from the Classics Gymnasium in Osijek, and as a young man he began to write dramas. At the beginning of the 1930s, his talents in writing earned the respect of certain famous writers, who described it as “uncompromising in revealing negative relationships in society". However, as he did not want to accept compromises and change his writing, he was unable to get his work published or performed in the theatres of monarchist Yugoslavia. He turned to journalism in 1933, and after that he worked for numerous journals and magazines. In Osijek in 1936, he launched his magazine Hrvatski narodni glas (Croatian People's Voice), but it was shut down after only four issues. Soon he moved to Belgrade, where he worked as a proof-reader at the State Printing House. After the beginning of the war in Yugoslavia in 1941, he remained in Belgrade until he joined the Partisans in 1944.
After the war, he returned to Belgrade, where he was assigned to the Central Committee of the Confederation of Trade Unions of Yugoslavia, with the task of establishing a publishing department, which soon became the publishing company Rad. There he worked an editor-in-chief until the end of 1947, when he moved to Zagreb to work in another publishing company (Nakladni zavod Hrvatske).
In the 1950s, he dedicated himself to bibliology (the academic study of books), and in 1951 he published Knjiga o knjizi (A Book About the Book) (Zagreb: Školska knjiga, 1951), which achieved immense success and became a textbook for universities and vocational schools (for librarians, graphic artists, etc.). In 1958, he left the institution and became an independent writer and publisher who earned a living from his writing. He was successful to an extent because many of his books sold out very quickly, even those published on his own (samizdats). He researched the history of development of books on Croatian soil. Though philologists regularly neglected him as a relevant author, his hypothesis about Kosinj as the first printing centre in the South Slavic area in the late 15th century (Kosinj: kolijevka štamparstva slavenskoga juga [Kosinj: The Cradle of the South Slavic Typography], Zagreb: self-published, 1960) gained respect over the years. He wrote studies on prominent Croatian writers (Mihovil Pavlek-Miškina, Slavko Kolar, Miroslav Krleža) and politicians (Antun and Stjepan Radić) as well as on political life and corruption in the Kingdom of Yugoslavia (Politika i korupcija u kraljevskoj Jugoslaviji [Politics and Corruption in Royal Yugoslavia], Zagreb: Stvarnost, 1968).
He was an uncompromising polemicist. He shook the literary scene with the book Razgovor neugodni naroda književnoga (An Unpleasant Discussion of Literary People) (Zagreb: self-published, 1952) as well as the book Tragedija hrvatske historiografije (The Tragedy of Croatian Historiography) (Zagreb: self-published, 1970) which led to one of the most controversial debates in Croatian historiography. The book criticised institutional historiography which, in his opinion, was published in accordance with the authorities. He thought that Croatian historians were methodologically conservative and that they avoided elaborating certain important themes from Croatian national history or even falsified it. The manuscript of the book Tajne i kompleksi Miroslava Krleže: koje su ključ za razumijevanje pretežnog dijela njegova opusa (The Secrets and Complexes of Miroslav Krleža, Which are the Key to Understanding the Overwhelming Majority of His Works) (Ljubljana: Emonica, 1988) was confiscated because in it Kulundžić dealt with controversies and discussions between Slavko Kolar and Miroslav Krleža, who was the former principal literary authority in Yugoslavia and a friend of Josip Broz Tito.
Kulundžić's writing was full of dark satire and social accusations. He dealt with numerous topics from Croatian literature and history, and in doing so, he put forth many theses and conclusions that were quite different and often contrary to those advocated by institutional literature and historiography. That is why he often participated in open conflicts with institutional literature and historiography. Due to his non-conformist character, his disagreements with the existing situation, and above all his refusal to ingratiate himself to those in power, poet Boro Pavlović called him “Quercus croaticus incorruptibilis et indelebilis” (Croatian oak, incorruptible and indestructible).
In the foreword to the first book of his collected works, Sabrana djela (Zagreb: self-published, 1977), Kulundžic said that tried not to allow himself to think of a career that would force him to be cautious and to do just what the others wanted him to do. The mainstream was always something strange and far away from him, so he could behave quite comfortably in his actions because he felt that he had nothing to lose, that nobody could bring him down from a position he did not have. He said that he was the horse on the outside for his entire life.
- Općina Osijek, Osijek, Croatia
- Zagreb, Croatia