“Kowalnia” is the popular name of professor Grzegorz Kowalski's Studio of Audiovisual Space at the Academy of Fine Arts in Warsaw. Kowalski, a creator of installations and performer, has been its leader since 1984, drawing from the modernist tradition in which he was educated, and the communal, countercultural experiences of his own artistic activity. The studio gained popularity in the 1990s as a forge of the stars of the art world and of some of the most controversial figures in Polish “critical art”. The archive, maintained by the Museum of Modern Art in Warsaw, includes photo and video documentation of the studio's activity, as well as its manifestos, exhibition catalogues and issues of a zine published by students.
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Warszawa Pańska 3, Poland
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Lazar Stojanović (1944-2017), film director, journalist and intellectual, was one of the most famous cultural dissidents of socialist Yugoslavia. His film “Plastic Jesus” (1971) was declared as anti-communist and anti-state propaganda and led to Stojanović’s three year imprisonment. The collection represents Stojanović’s personal compilation gathered over the previous decades and consists of books, newspapers, posters, catalogues and video materials/films.
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Lexoviny is a collection of cartoon comics by the Slovak tramp artist Lexo. It was released in several volumes by the Tramp association Severka [Trampské združenie Severka].
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The Kropyvnytskyi archive is a private collection of documents related to the activities of the Kyiv Art Institute in the second half of the 1920s. The institute's rector, Ivan Vrona, appointed Marian Kropyvnytskyi an assistant for the research office of the experimental visual arts, headed by the avant-garde painter Kazimir Malevich. Kropyvnytskyi served as Malevich's personal assistant in 1928-1930. The archive contains minutes of meetings, Kropyvnytskyi's notes of Malevich's lectures, and copies of Malevich's unpublished lectures. Since the archive of the Institute was destroyed, the Kropyvnytskyi collection is probably the only collection that contains documents about the Institute's history in the interwar period.
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Kyiv Khreschatyk Street 15, Ukraine
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The Mihai Stănescu collection illustrates the portfolio of the most corrosive critic of the communist regime in Romania to come from the community of cartoonists. In the last decades of the Romanian communist regime, cartoons were an efficient weapon of social and political criticism, and Mihai Stănescu was one of the most daring and most well-known exponents of this type of critical discourse.
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București Bulevardul Mihail Kogălniceanu 36-46, Romania 050107
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