Bár a szerkesztőség még több számra való anyagot készített közlésre elő, a ’régi’ Mozgó Világ utolsó – kinyomtatása után betiltott, bezúzott – lapszáma az 1983 decemberi volt.

Valójában búcsúzó gesztus s egyben mementó volt ez, melyet a szerkesztők szinte teljes egészében Bibó István kiadatlan kéziratos tanulmányának s a róla rendezett történész vitának szenteltek.

A szám elején Illyés Gyula és Egyed Péter versei állnak, mintegy mottóként. (Az 1983 áprilisában elhunyt Illyés volt egyik versével a Mozgó Világ címadója – így kettős tisztelgés volt emléke előtt, hogy a búcsúszám élén két versét közölték.)

Ezután Bibó István nagyívű tanulmánya: Az európai társadalom fejlődése teszi ki a lapszám túlnyomó részét. Az erősen antimarxista eszmetörténeti művet Bibó 1971-72-ben mondta hangszalagra, majd leírt szöveget halála után fia, ifj. Bibó István javította és rendezte sajtó alá.

’Európa, társadalom, fejlődés’ címmel ezt egy kerekasztal-beszélgetés követi a Bibó-tanulmányról Ágh Attila, Németh G. Béla, Szabad György és Szücs Jenő történészek részvételével. Végül Ludassy Mária filozófus reflexióját közli a lap ’Krisztus és Condorcet. Hozzászólás Bibó István humanista utópiájához’ címmel.

több

Hely:
- Szentendre , Magyarország
Források nyelve:
- Magyar
Alkotó:
- Kulin, Ferenc
Alkotás ideje:
- 1983
Kapcsolódó gyűjtemény:
- "Mozgó Világ": egy betiltott újság gyűjteménye

"Rewolta" magazine no. 3 / 1989

"Rewolta" was an anarchist magazine published in Warsaw by Piotr Rymarczyk and Piotr Salwowski (initially also by Adam Ryć) since 1989. Paper was associated with the Alternative Society Movement and Anarchist Intercity organization (Międzymiastówka Anarchistyczna), however it was substantially different from the Tricity’s RSA. Besides addressing the issues of anarchist, anarcho-syndicalist, and anti-war nature, it also discussed women’s rights, homosexuality, animal rights or vegetarianism – the problems which were not obvious part of freedom discourse for the elder activists of anarchistic movement.

The 3^rd issue of “Rewolta” from December 1989 is distinguished by an attractive cover with the portrait of Piotr Kropotkin. Inside one can find texts about e.g. anarchism in USSR, Black Cross activities, having sex in prison, critiques of parliamentary democracy and a biography of Edward Abramowski. Broad thematic scope, brilliance and brave style of “Rewolta’s” authors made this magazine one of the most interesting anarchistic publications of the time of transformation.

több

Hely:
- Warszawa Nowy Świat 69, Poland 00
Források nyelve:
- Lengyel
Alkotás ideje:
- 1989
Kapcsolódó gyűjtemény:
- Barbara Fatyga Archive

"Spartakus" nr 6/7 1989

"Spartakus" was a newspaper of the Federal Trade Union “Freedom” (Zawodowy Związek Federacyjny “Wolność”), founded in Tricity by Zbigniew Stybel – one of the key members of the anarchistic Alternative Society Movement. The Federal Trade Union “Freedom” was founded under state socialism and was the first anarchistic trade union after war. Initially its activity was limited to helping conscientious objectorsdoing civilian service instead of mandatory military training based on conscription. Stybel, who stayed out of the anarchistic centre, noticed that people who managed to get a replacement service, were usual made to do very hard and humiliating jobs. Based on this realization, he had an idea to establish a trade union as an organization which could help people in such situation. With time the activities of FTU “Freedom” were broadened to offering help in other work environments.

Unlike other anarchist magazines (like “A Capella”), the “Spartakus” did not have the typical qualities of alternative youth magazines. The editorial board was not eager to use counter-cultural visual extravaganza, and the thematic scope concerned mostly workers’ situation and broader socio-political issues. The magazine’s main goal was to sustain communication between the union and people needing its intervention. Such profile of a newspaper was exceptional in the third-circuit press at the turn of the 1980s and 1990s.

több

Hely:
- Warszawa Nowy Świat 69, Poland 00
Források nyelve:
- Lengyel
Alkotás ideje:
- 1989
Kapcsolódó gyűjtemény:
- Barbara Fatyga Archive

"The Evening Spectacle", photos, 1987

The Centre of Theatre Practices concentrates on volatile activities as spectacles and performances and on the education of young artists, therefore we can observe the artistic value of Gardzienice, while looking at photographs and video recordings of Gardzienice's theatre actions. Some of the photographs were donated to the Zbigniew Raszewski Theatre Institute - others are in the possession of Gardzienice, and are accessible on the website and in the Theatre's Archive.
The photographs witness the process of introducing avant-garde theatre into Polish village landscape and the creation of paralel artistic sphere during the final stage of state socialism.

több

Hely:
- Gardzienice, Poland 21-050
Alkotás ideje:
- 1987
Kapcsolódó gyűjtemény:
- Theatre Gardzienice Collection

"Trembling Machines, Fuming Chimneys...", 1986. Video

Machines Trembling, Chimneys Smoking... (Maszyny drżące, kominy dymiące...) is a film that concludes both the activities of The Attic — the informal meeting place and the site of parties, exhibitions, and festivals — and the Pitch-In Culture, which gave in to atrophy not long afterwards, torn apart by conflicting aesthetics and ambitions. The Attic was shut down by its owner Włodzimierz Adamiak in 1986, while 1987 is usually indicated as the end of the Pitch-In Culture.

The film was shot by Józef Robakowski in collaboration with Witold Krymarys, two neo-avant-garde multimedia artists from Łódź, specialised in photography, film, and video art. The film shows the happening organised by Łódź Kaliska, i.e. Marek Janiak, Adam Rzepecki, Andrzej “Makary” Wielogórski, and Andrzej Kwietniewski, with whom Robakowski did not share the views on the meaning of the Pitch-In Culture (the founder of the Exchange Gallery used this term to cover the entire independent art movement of the 1980s) or on the aesthetics, in which he often referred to the legacy of the great avant-garde, rejected in turn by the members of Łódź Kaliska. This provoked a conflict regarding the authorship of the film: was it the camera operators (Robakowski and Krymarys) or the Łódź Kaliska members, who performed in front of the cameras. In 1988 Robakowski re-edited the original recording, slowed it down, changed the colours, added Witold Lutosławski’s music, and titled the picture Party mit Lutosławski. It is also worth noting that the film featured many other persons, apart from those already mentioned, i.a. Jacek Jóźwiak, Paweł Kwiek, Zofia Łuczko, Dariusz Kędziora, Jarosław Bogusiak, Andrzej Janaszewski, Zygmunt Rytka, Zbigniew Bińczyk, and Andrzej Wielogórski, the cousin of “Makary”.

Paradoxically, the conflict illustrates the creative contribution of the filmmakers who participated in the events not only by recording them but also actively created them. “The expressive, if not dramatic, scenes clearly surpassed the original intentions of the filmmakers, whose initial idea was to edit a video clip in natural surroundings (i.e. on a city boulevard and inside The Attic, an extremely important spot for the artistic milieu) for a song, which was popular in Łódź at that time” wrote a critic, Jolanta Ciesielska. The artists initiated actions in the City of Łódź, in the streets and in the “Balaton” bar, and proceeded with a party at The Attic. By means of pitch-in they gathered funds for vodka and potatoes, as a snack, which well reflected a slightly poor and slightly decadent atmosphere of The Attic. In the finale of the film, the relative of “Makary” is heard saying his famous remark that “art requires sacrifice”. In that he refers to having his late father’s accordion, damaged by the artists. In the context of a farewell party for The Attic, the phrase seems to capture well the spirit of artistic underground with its “economic world turned upside down” (as Pierre Bourdieu put it in the Rules of Art)

The film is 17 minutes long, and it was first presented in 1987 during a video film festival in students’ gallery Dziekanka in Warsaw.

Sources:
Marek Janiak (ed.), "Kultura Zrzuty", Warszawa 1989.
Łódź Kaliska (ed. & elab.), "Bóg zazdrości nam pomyłek", Łódź 1999.
Jolanta Ciesielska, "Videoperformance", in: Piotr Krajewski i Violetta Kutlubasis-Krajewska, "Ukryta dekada. Polska sztuka wideo 1985-1995", Wrocław 2010.

több

Hely:
- Łódź , Polska
Források nyelve:
- Lengyel
Alkotó:
Alkotás ideje:
- 1986
Kapcsolódó gyűjtemény:
- Pitch-In Culture Archive

'Knights of the Rounde Table', by Christoph Hein

The 'Knights of the Rounde Table' is an anachronistic drama in three acts by Christoph Hein. The author noted that in this play, he did not want to stage GDR history but rather reinterpret anew something old. Hein sought to present a transformed version of the Round Table’s virtuous knights, who were now in a later stage of their lives and had realised that they had not lived up to their earlier ideals. The political connotation of the script could not be ignored, as it was clearly an allegory for the GDR’s political elites.

At first, most theatres declined to stage it, and it was only in 1988 that the theatre in Dresden showed interest to stage the play. Censors at the local level did not always share the same opinions of the central authorities, and the censors in Dresden disagreed with those in Berlin whether the play should be staged or not. However, despite the fact that the authorities in Berlin allowed the play to be staged, parts of the script were censored and performances were documented by the Stasi.

The play lost significance in the new political environment post-1989, and it was seldomly staged. The material preserved in the 'Theatre in‘der Wende’ collection held currently by the Archive of Performing Arts at the Academy of Arts in Berlin includes flyers, posters, and theatre programmes from various theatres where the play was eventually performed.

több

Hely:
- Berlin, Germany
Források nyelve:
- Német
Alkotó:
- Hein, Christoph
Alkotás ideje:
- 1987
Kapcsolódó gyűjtemény:
- Theatre 'in der Wende' Collection

'Ramka' [Illegal Printing Tool], 1981. Object

Demszky Gábornak a Vera és Donald Blinken Nyílt Társadalom Archívumban letétben elhelyezett gyűjteménye a szamizdat folyóiratok és könyvek mellett tárgyi emlékeket is tartalmaz. A lengyel ellenzéki mozgalom tagjaitól megtanult eljárás kelléke, valamint e technika tárgyi emléke a ramka, azaz a fakeretre erősített szitaszövet.

több

Hely:
- Budapest, Hungary
Alkotó:
- Demszky, Gábor
Alkotás ideje:
- 1981
Kapcsolódó gyűjtemény:
- A Vera és Donald Blinken Nyílt Társadalom Archívum szamizdatgyűjteményei

'Sociology' Journal, 1971. Manuscript

A Szociológia volt az MTA Szociológiai Intézetének hivatalos lapja (1972–1990). Ez volt az első, teljesen szociológiai folyóirat Magyarországon, mely új fejezet nyitott a tudomány hazai történetében. Bár az orthodox kommunista vezetők által indított konzervatív ideológiai kampány változásokat hozott a szerkesztőségben, a lap 1990-ig folyamatosan megjelent. Az 1972-es első szám kézirata, illetve a hozzá tartozó 1971-es levéltári dokumentumok betekintést engednek a lap indulásának történetébe. Az első számnak többek között olyan szerzői voltak, mint Ferge Zsuzsa ("A társadalmi struktúra és az iskolarendszer közötti néhány összefüggés"), Kemény István ("A magyar munkásosztály rétegződése"), Szelényi Iván ("Lakásrenszer és társadalmi struktúra") stb.

több

Hely:
- Budapest Széchenyi István tér 9, Hungary 1051
Források nyelve:
- Magyar
Alkotó:
- Kemény, István
- Szelényi, Iván
Alkotás ideje:
- 1971
Kapcsolódó gyűjtemény:
- Magyar Tudományos Akadémia Szociológiai Intézetének gyűjteménye

'The Construction', by Heiner Müller

During the 1960s, the SED (the communist party in power in East Germany) regime engaged in covering the gap of contemporary socialist theatre performance on GDR stages. Consequently, in 1963 the German Theatre (Deutscher Theater) in Berlin commissioned Heiner Müller to stage the novel Spur der Steine by Erik Neutsch. Müller’s critical adaptation of the novel as Der Bau (The Construction), which departed significantly from the original novel, was met by fierce criticism from the SED. Following seven revisions of the play, Müller was still unable to stage his work. It was only in September 1980 when the adaptation found significant success with the Volksbühne Theater in Berlin under the guidance of director Fritz Marquardt. However, censors forced the creators to change the play’s title and the names of the characters.

The controversy around the performance was linked to the play’s subtle critique of the GDR shown as detached from reality, dominated by a rigid bureaucracy, with citizens alienated by socialism, and the overemphasising of ‘development’ and ‘modernisation’. The play was greeted with praise by audiences, although the East and West German media reacted differently. West German press generally responded that the themes touched on in the play should have discussed years earlier, whereas the GDR press thought that the delay from real events was appropriate, such as discussion around the erection of the Berlin Wall in 1961. The subtle staging of the political event, such as the construction of the Berlin Wall, created space for debate within the play’s audience. The play was staged twenty-nine times within a year of the opening night, and further performances were organised throughout the GDR. However, the fall of the GDR also meant the end for the play, which was staged only another two times, and only alongside other plays of Heiner Müller.

Currently, documents related to the play are preserved as part of the Theatre Performance Documentation collection of the Archives of Performing Arts of the Academy of Arts in Berlin.

több

Hely:
- Berlin (Ost)
Források nyelve:
- Német
Alkotó:
- Müller, Heiner
Alkotás ideje:
- 1965
Kapcsolódó gyűjtemény:
- Theatre Performance Documentation

A Bookshop Window in Communist Romania in the 1980s. Photo

The photograph features the window of a 1980s bookshop in the centre of Braşov, Romania. What is striking is the presence of only two titles, specifically two classics of Romanian literature, by the poet Mihai Eminescu and the prose writer Ion Creangă. No book written by a foreign author can be seen on display. The author of the photograph intended to capture ironically the scarcity of the reading offer which the Romanian book consumer had to face during communism. The picture also suggests the isolation caused by the cultural policy of the Romanian communist regime after 1971. This cultural policy was intended to eliminate any Western influence upon Romanian art and literature, while promoting only local authors and artists. Also, this cultural policy led to the emergence of the so-called protochronism, a cultural movement developed in Romania during the 1970s and 1980s that exaggerated the achievements of Romanian culture and presented them as “anticipating” Western ones (Verdery 1991, 174–175). The photograph is a document which also reminds us of book market practices in Romania at the time. In the 1980s, when someone wanted a certain book, they were forced also to buy other books that were not on demand, such as those which can be seen in abundance in this photograph. In fact, bookstores forced their clients to buy whole cardboard boxes of books, even though they were interested in only one book in the package.

több

Hely:
- Brașov, Romania
Alkotás ideje:
- 1989
Kapcsolódó gyűjtemény:
- Braşov - Oraşul Memorabil Collection