Czech painter Emil Filla created the cycle “Slovak Folk Songs” – almost thirty large paintings - towards the end of his life, from 1948 to 1951. Most of them are property of the Benedikt Rejt Gallery. The paintings cover the topic of Slovakian folk songs using Chinese ink painting techniques. The topic of rebellion and sadness and the expressivity of the technique used was not appreciated by members of III. Krajské středisko Svazu československých výtvarných umělců (The Third Regional Centre of the Union of the Czechoslovak Visual Artists). In 1951, they forbid the exhibition of these paintings. The meeting of this committee is called the Filla Trial and illustrates the values of official artists in the 1950s.
(Robert Filliou 1976-os Poipoidromjának 1998-as rekonstrukciója a Szépművészeti Múzeum gyűjteményében)
A rekonstrukció alapját jelentő eredeti Poipodrom változatot Robert Filliou és építésztársa Joachim Pfeufer készítette el és mutatta be a budapesti Fiatal Művészek Klubjában 1976. szeptember 7-17. között. A poipoidrom 1963-as ideáját követően Filliou 1975-ben készítette el a Poipoidrom00 prototípusát, melynek a “reális téridejű” No1-es változata készült el Budapesten. Az elnevezés az afrikai dogonok népcsoportjának üdvözléséből, a “poipoi” kifejezésből származik – a kommunikáció jelentőségére utalva. Robert Filliou értelmezésében a Poipoidrom a kreativitás terét jelképező építmény: eredetileg fából, zsinegekből, palackokból, tojásokból áll össze, de akár épületkomplexummá is fejleszthető. A “permanens alkotás tereként” és egyben világmodellként definiált installáció FMK-ban bemutatott változata esetében az építményre többnyire különböző fotók, feliratok és tárgyak kerültek felfüggesztésre, melyek a közös tudáshoz és kommunikációhoz szolgáltatnak kereteket. A kiállítás után az installáció darabjai a Szépművészeti Múzeumba kerültek megőrzésre. Az Artpool 1998-ban a P60-ban rendezett Installáció Projekt alkalmából rekonstruálta a Budapesten bemutatott változatot. Kántor István ekkor egy performanszot is végrehajtott a rekonstruált Poipoidromban.http://www.artpool.hu/Fluxus/Filliou/Poipoi3hu.html
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The film was Stojanović’s graduate final project at the Academy for Theatre, Film, Radio and Television with the state-owned „Centar FRZ” producing the work. While being prepared for cinema and festival screenings, it received the attention of censors in 1972. As a consequence, the movie was banned before any public screening and led to Stojanović being brought to trial. The film remained banned until the end of 1990 in Yugoslavia, when it was eventually screened in Belgrade for the first time for a total of four months. In 1991, “Plastic Jesus” received the FIPRESCI award at the Montreal film festival. At present, in ex-Yugoslav societies the work is not well known although Stojanović is not alarmed by this, rather seeing the importance of the movie as much greater outside of ex-Yugoslavia. He screened the film several times at foreign, primarily American universities (Columbia and Stanford), where he also has held lectures. The movie was screened in the MoMA for seven days in 2016. For this occassion, the Yugoslav Film Archive produced a remasterd version.
Donald Tusk is a Polish politician who was engaged in "Solidarity" movement from its beginnings. During his studies at the University of Gdansk he co-organised Students' Solidarity Committee, which was a reaction to the murder of Stanislaw Pyjas by Security Services. After the strikes broke in Gdansk Shipyard in August 1980, he was one of the founders of the Independent Students’ Union. Tusk's activities in the early 1980s focused on copying and disseminating illegal press and literature. He was also engaged in organising help for people oppressed by the regime, especially students. Later he worked as a journalist in several newspapers related to "Solidarity". After 1989 he became an active politician and was regularly chosen to the Parliament, where he held the highest functions. Between 2003-2014 he was the chairman of the Civic Platform party and between 2007-2014 the Prime Minister of Poland. Since 2014 he has been acting as the President of the European Council of European Union.
Film Notation with Donald Tusk focuses on his everyday life and oppositional activities in the 1980s in Gdansk, especially on his work in the Altitude Service Cooperative "Swietlik", which was an organisation founded in 1983 by a group of students - activists from the Independent Students’ Union, gathered students in order to help them make money, what was often problematic in socialist economics. The organisation gathered young intellectuals, activists and Alpinists. In his Notation Tusk speaks about his experiences of being a part of such colourful group. He describes the influence of "Swietlik" on his later life.
The Film Notation of Donald Tusk was used in a documentary about he Altitude Service Cooperative "Swietlik" produced in 2010.
Halina Winiarska-Kiszkis, born in 1933, has been a theatre actress since 1953. During her long career she cooperated with the best Polish Theatres, e.g. in Nowa Huta, Zielona Gora, Rzeszow. Between 1966-2003 she worked in Wybrzeze Theatre in Gdansk. When the strikes broke in the Gdansk Shipyard in August 1980 she openly endorsed the protesters with her colleague actors. Soon they formed their own "Solidarity" union in the theatre. With other cultural workers she co-organised the occupation of the Provincial Office of Gdansk.
After the introduction of martial law on 13 December 1981 she was immediately arrested and kept in the internment camp in Strzebielinek, Bydgoszcz-Fordona and Goldap. After being released she still continued her oppositional activity, mainly in the field of culture, e.g. she co-organised the Weeks of Christian Culture in Gdansk's churches. In free Poland she was rewarded with many several distinctions (like "Gloria Artis" Silver Medal).
In the Notation Halina Winiarska-Kiszkis speaks about the time she spent in the internment camp. She shares her emotions and experiences of being humiliated. However, she also describes the prisoners' strategies of resistance, like mocking the guards and disobeying their orders.
Film Notation with Halina Winiarska-Kiszkis is a part of the first edition of a project "Solidarity. What is left" conducted by the European Solidarity Centre in Gdansk (with technical support of Video Studio Gdansk and financial donation from the National Centre for Culture, through the "Patriotism of Tomorrow" programme). In the same edition Halina's husband, Jerzy Kiszkis - also an actor, cultural activist, and dissident - was interviewed. Since 2008 there has been VII editions of the "Solidarity. What is left" initiative.