The diary was kept by Sirje Kiin during several weeks in the autumn of 1980. It was written right after collecting signatures for the letter from 40 intellectuals, in which Kiin participated as the main collector of signatures. The diary was born out of the need to reflect on the circumstances in which the letter was written, and expresses strong emotions towards the surroundings and the context in which it happened. Out of fear that her home might be searched by the KGB, Kiin travelled to her parents' house in the town of Viljandi to write, where she left the diary for safekeeping.
Some extracts from the diary were used in the book 40 kirja lugu (The Story of the Letter of the 40 Intellectuals) by Kiin, Rein Ruutsoo and Andres Tarand in 1990.
In the autumn of 2015, Kiin offered her diary to the prestigious Estonian literary journal Looming for publication, but it was turned down by the editor-in-chief because it was too political to be published in a cultural magazine. Finally, in November 2015, the weekly newspaper Eesti Ekspress printed extracts from the diary, under the title '40 kiri hirmutab veel 35 aastat hiljemgi' (The Letter of the 40 Intellectuals still Scares after 35 Years).
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Lake County, Madison, United States of America 57042
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One of the first performances from the "Causal Passer-by" cycle (after those in Zagreb) was the one in Belgrade in 1971, in which the poster (portrait) ˝Casual passer-by I met at 2:29 p.m.“ was used. The poster (portrait) was placed on the façade of the Jugoexport building on Belgrade’s central square (today's Kolarčeva 1). It is safe to assume that the reaction of Belgrade's citizens was similar to that of the citizens of Zagreb - confusion and suspicion concerning the identity of the depicted figures.
It was a subversive performance in a public area, otherwise intended for officials, where the artist hung portraits of random passers-by and in that way questioned the established forms of communication in the public space of a socialist state.
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The performance presented on Marshal Tito Square (today's Republic of Croatia Square) in Zagreb in 1971 was, together with the performance on Republic Square (today's Ban Jelačić Square), the first work from the "Casual Passer-by" cycle. The poster (portrait) ˝Casual passer-by I met at 12:15 p.m.˝ was used for the performance. This poster (portrait) and two photographs of the event are owned by the Museum of Contemporary Art and are part of its permanent display. This performance aroused both the interest and confusion of Zagreb’s citizens, just as the one on Republic Square did.
It was a subversive performance in a public area, otherwise intended for officials, where the artist hung portraits of random passers-by and in that way questioned the established forms of communication in the public space of a socialist state.
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Zagreb Trg maršala Tita, Croatia 10000
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The performances presented on Republic Square (today's Ban Jelačić Square) in Zagreb in 1971 are the first work from the "Casual Passer-by" cycle. Another performance was done separately on Marshal Tito Square (today's Republic of Croatia Square) on the same day, when a large poster (portrait) of a random passer-by was mounted. Three large posters (portraits) showing photographs of an older man, an older woman and a young girl were hung on Republic Square. The posters (portraits) aroused great interest and confusion among the passers-by waiting for a tram.
It was a subversive performance in a public area, otherwise intended for officials, where the artist hung portraits of random passers-by and in that way questioned the established forms of communication in the public space of a socialist state.
The Museum of Contemporary Art in Zagreb owns five photographs on one background that testify to this event - called the "Casual passers-by I met at 1:15, 4:23, 6:11 p.m.".
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Zagreb Trg bana Josipa Jelačića, Croatia 10000
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Modris Tenisons’ troupe worked in Kaunas Musical Theatre for only two years, between 1970 and 1972. During this short time, it received many invitations from cultural institutions in other Soviet republics. It is obvious from the documents in the collection that people’s opinions of the performances by the troupe were always high, and theatre managers received many letters about the good and interesting pieces that held the attention of audiences in various places. But the situation changed in the middle of 1972, after the self-immolation of Romas Kalanta and youth protests in Kaunas. In a resolution by the theatre's council, Tenisons and his troupe are accused of leading an un-Soviet way of life. The document makes a reference to the minister of culture Lionginas Šepetys, and says that the troupe had not found its place in the theatre company, and it disseminated strange ideas of bourgeois ideology. Thus, in a very short period of time, we can see a sharp change in opinions about the troupe expressed by theatre managers .
The document is the last in the collection. After its dismissal from Kaunas Musical Theatre, no more documents were produced about Tenison's troupe.
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Kaunas Laisvės alėja 91, Lithuania 44297
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