The collection is a private documentary collection of documents concerning one of the most successful Hungarian American advocacy organizations in the field of minority and human rights. Founded in 1976 by second-generation Hungarian American intellectuals and professionals and referred to until 1984 as the CHRR–Committee for Human Rights in Romania, HHRF addressed the advocacy on behalf of Hungarian minorities in Central and Eastern Europe.
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This ad-hoc collection mainly consists of documents separated from the fonds of judicial files concerning persons subject to political repression during the communist regime which is currently stored in the Archive of the Intelligence and Security Service of the Republic of Moldova (formerly the KGB Archive). It focuses on the case of Arsenie Platon, a person of peasant background and an aspiring poet, who was tried and convicted in 1961 for displaying nationalist views and for conducting “anti-Soviet agitation and propaganda” among his friends and acquaintances. Platon’s “anti-Soviet” opinions were mostly expressed in a series of poems and short proclamations in which he criticised ethnic discrimination against the Moldavians and called for the overthrow of Soviet power. This case is emblematic for less widely known forms of grassroots cultural opposition, falling under the same broad category as the cases of Gheorghe Muruziuc and Zaharia Doncev. Platon’s file includes no further information about his fate after the end of his prison term.
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Chișinău Bulevardul Ștefan cel Mare și Sfînt 166, Moldova 2004
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Baász Imre hagyatéka tökéletes példa arra a progresszív gondolkodására, innovatív művészeti megoldásokra, munkavégzésre és dinamikus együttműködésre, amely az 1970-es, 1980-as évek Romániájában jellemezte a politikai és kulturális ellenállást. A nyolcvanas években a progresszív kezdeményezések és folyamatok eltávolodtak Bukaresttől, amely egészen odáig az újító művészeti gondolkodás központjául szolgált. Ebben a fordított centrum–periféria kapcsolatban a periféria rejtett, a hatalmi erők számára sokszor elérhetetlen és ellenőrizhetetlen közege sokkal több szabadságot, láthatatlanságot kínált. A Marosvásárhelyi Művészek (MaMű) csoportja az egyik példája a csoportos, haladó szellemiségben végzett munkának. Ők vezették be az erdélyi művészeti formanyelvbe elsőként a koncept artot, a mail artot, illetve az akcióművészetet. Annak dacára, hogy Baász Imre sosem volt a MaMű csoport hivatalos tagja, osztozott ars poeticájukban. Sepsiszentgyörgyi munkássága a MaMű csoport kezdeményeinek meghosszabbításaként is értelmezhető.
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Sfantu Gheorghe, Sfântu Gheorghe, Romania
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Imre Baász: Bar breaker [A rácstörő/ Spărgătorul de gratii], linocut, 1976
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Imre Baász: File [Dosszié/Dosar], 1973, aquatinta, 45.1x34 cm
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Imre Baász: Step by step [Lépésről lépésre], 1983, mail art
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Imre Baász: The Burial of the Suitcase [A bőrönd elásása], 1979, performance
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Imre Baász: The Chances of Survival [A megmaradás esélyei/Șansele supraviețuirii], 1981, installation
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Migrating Birds [Vándormadarak/Păsări călătoare], 1984, silkscreen print
The CNSAS Online Collection (CNSAS – Romanian acronym for the National Council for the Study of the Securitate Archives) illustrates how the communist secret police, the Securitate, conceptualised: (1) oppositional groups and individuals in communist Romania; (2) the forms in which this opposition manifested against the party-state; and (3) the transnational support it received from the exile community and foreign organisations. It also encompasses an impressive amount of invaluable information about the inner mechanisms of the Securitate, its institutional development and relationship with the Communist Party, the use of repression against any form of opposition, and the use of surveillance to avoid the development of oppositional groups and networks during its over forty years of functioning. In brief, this collection offers a comprehensive image of the means and methods used by the communist secret police, the Securitate, to deal with the anti-communist opposition between 1948 and 1989, and the response it received from oppositional groups and individuals.
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București Strada Matei Basarab 55, Romania 030167
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The Censored Theatre and Cinema Ad-hoc Collection at CNSAS (the Romanian acronym for the National Council for the Study of the Securitate Archives – Consiliul Național pentru Studierea Arhivelor Securității) illustrates how the Archives of the former Romanian secret police, the Securitate, recorded the intervention of censorship to hinder the development of cultural opposition in Romanian theatre and cinema during the communist regime. The documents of the collection show that despite the gradual strengthening of political control over the cultural sphere beginning with the late 1960s, Romanian directors and actors managed on several occasion to bypass censorship. As a result their artistic work running counter to the official cannon, which reinforced socialist realism after the Theses of July 1971, reached a large audience, albeit only for a short period. This collection highlights the case of one of the few Romanian directors banned by the communist regime, Lucian Pintilie. His biography epitomises the destiny of a Romanian artist whose refusal to reach any compromise with the political authorities contributed to his marginalisation in Romanian cultural life while at the same time his work was acclaimed abroad.
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București Strada Matei Basarab 55, Romania 030167
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