The project on construction of a sintered magnesia factory and protests by the local population in Omiš were covered extensively by several Croatian and wider Yugoslav newspapers (Borba, Večernje novosti, Večernji list, Vjesnik). Articles written by Vesna Kusin in the daily newspaper Vjesnik during that and subsequent years are particularly noteworthy. Along with demands for environmental protection, the public statements from the local population and newspaper articles also contained criticism of local and republic institutions, as well as the investor, Dalmacijacement, because of they “went behind [the people’s] back,ˮ i.e. bypassed “the principle of self-governmentˮ and the opinion of the local community in the decision-making process. An example of this is the article “Too few good reasons for sintered magnesia [‘Premalo argumenata za sintermagnezit’]ˮ published in Vjesnik on 23 June 1979. . In an interview in the newsmagazine Globus in 2015, she recall that at that time she “consistently travelled to Omiš, where the demonstrations occurred, and wrote a plethora of articles on this matter, and ultimately the plant wasn't builtˮ (Museums of Hrvatsko Zagorje, Media report 08.04.2015).
The documents are available for research and copying.
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Kustić's columns (about one-fifth of the total number) were released in the form of a book in 2009, covering his writings in Glas Koncila over nearly forty years from the 1960s to the beginning of this century. Kustić dealt with various topics in addition to religion and theology, and he often delved into socio-political themes. Kustić's writing and editing in Glas Koncila under constant surveillance by the Commission for Relations with Religious Communities of the Socialist Republic of Croatia.
For example, the communist authorities had banned Glas Koncila no. 21 of 22 October 1972, in which they singled out among other things Kustić's article under the headline “Seventeen Centuries of Sacred Defiance.” In this article, Kustić took the example of St. Pollio, who preferred death because he did not want to forsake Christianity before the Roman prefect Probus. Kustić pointed out in this context the following: "St. Pollio claimed in particular that there are just laws that Christians are obliged to obey, but that the same authority could issues decrees that are not righteous, laws that a believer cannot accept" (Kustić 1972: 1). The communist authorities suggested, although he did not write it literally, that with these allusions Kustić had, in fact, "invited citizens to disobey and disrespect of the Constitution and laws of the Socialist Federal Republic of Yugoslavia and Socialist Republic of Croatia" (Mikić 2016: 445).
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Zagreb Vlaška ulica 12, Croatia 10000
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The main sections of this novel contain a plethora of autobiographical elements from Kustić's personal life. For instance, it deals specifically with his marriage to an Orthodox woman, Marica Radenković, and also with his transition from Roman Catholicism to the Greek Catholic Church. This book was Kustić's first and only novel he wrote in his life, which in a wider context examined the life of Catholic believers in a socialist and atheistic society. Kustić demonstrated a religious world which managed to survive within a society that had undergone a socialist revolution.
He pointed out the military and educational system as specific places in which believers had to engage in a struggle against atheism, so the stories from this novel particularly refer to the collision between the religious and atheistic worldview in these social institutions of socialist Yugoslavia. Through his characters, he expresses optimism that the socialist project of society without religion had to fail. That is why one of Kustić's characters says: "I have long been convinced that this entire conflict between religion and atheism, Christianity and Marxism on our soil is pure historical confusion. There are fellow educators who do not see it, who even enjoy this conflict, who are ready to torture, as they do. They know, in fact, that the Church is indestructible, remembering all that we have learned de mortibus persecutorum" (Kustić 1973: 138).
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Zagreb Vlaška ulica 12, Croatia 10000
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The neo-avant-garde duo of Zofia Kulik and Przemysław Kwiek was frequently performing in Dziekanka in the 1970s and 1980s. In the space of Dziekanka, KwieKulik made performances, showed their art on exhibitions and presentations, took part in discussions and symposiums. As a good example of their activity in Dziekanka could serve the performance Festiwal Inteligencji i Kraty (Festival of Intelligence and Bars) from March 4, 1985. The attached photography showed the artists making the performance.
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A fénykép a Trabant zenekar pécsi koncertjén készült. A zenekarnak egyetlen kislemeze jelent meg a nyolcvanas években (Eszkimó asszony fázik, Hungaroton, 1984, SPS 70631), egyéb számaik kizárólag házilag másolt magnókazettákon terjedtek. A felvételek Xantus János hasonló című filmjéhez készültek. Xantus filmje a nyolcvanas évek magyar filmművészetében „új szenzibilitásnak” hívott, a neoavantgárd stílusjegyeket posztmodern iróniával ötvöző irányzat jellegzetes képviselője. Az irányzatra általában jellemző volt, hogy a korabeli budapesti new wave zenei színtér zenekarai szerepeltek bennük. A filmekben elhangzó daloknak külön jelentőséget biztosított, hogy a szóban forgó együtteseknek akkoriban nem jelenhetett meg saját hanglemezük. A kislemez kiadása óta a Trabantnak egyetlen hivatalos kiadványa se készült. Az Egyesült Államokban élő Lukin Gábor jogtulajdonos elzárkózik dalaik kiadásától. A képen Méhes Marietta énekesnő, Másik János billentyűs, valamint a basszusgitáron játszó Lukin Gábor látható.
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