COURAGE

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During the search of 18 May 1983, among the objects confiscated from the collection of Dan Petrescu and Thérèse Culianu-Petrescu were forty-five typed leaves of a manuscript representing an unusual literary project: the collective novel “Furrows Across the Baulks” revisited. The manuscript had four authors. In addition to Dan Petrescu, these were Luca Piţu, George Pruteanu, and Sorin Antohi. “Furrows Across the Baulks” revisited was a rewriting, in a satirical register, of a quite well-known proletkultist novel by the Hungarian writer István Horváth, translated into Romanian in 1953. The original title Furrows Across the Baulks had inspired the rereading of the collectivisation process in an ironic key by the four young intellectuals. The manuscript existed in a single copy, which passed from hand to hand with each of the four adding a chapter, so at the time of the search all material trace of the existence of this collective literary enterprise was lost. Regarding its confiscation, Dan Petrescu recalls: “At the same time they asked me about the novel [‘Furrows Across the Baulks’ revisited]. I said to them: ‘Why are you still looking for it? Because you’ve already got it.’ They had taken it from George Pruteanu. […] It didn’t exist in more than one manuscript. There were no copies. It passed from one to the next and each one added to it. They were also looking for letters in the search.” The Securitate had found out about the existence of this satirical novel at the end of 1982, when at the Young Writer colloquium in Buzău, Sorin Antohi read pages from the collective manuscript, imitating Ceaușescu’s voice when excerpts from Gheorghiu-Dej’s speeches were cited. According to the Securitate’s evaluation, in this novel “the policy of the Party regarding co-operativisation is ridiculed, […] with suggestive allusions to the higher leadership of the Party and of the state.” The public reading of the manuscript at this colloquium effectively meant its dissemination at national level, and what might just about have been tolerated at local level became dangerous when it came to have an influence on others.

A feuilleton in three parts, published in the magazine Intervju on 31 July, 14 and 28 August 1987, shows the extent of censorship in Yugoslavia in different fields of artistic production. It contains a chronological overview of banned publications (books, newspapers, brochures, postcards) in the period 1963-1987, banned movies in the period 1951-1985, theatrical productions in the period 1946-1982, as well as concerts and phonorecords from 1971-1972. According to the authors, the list is based on the records of the Federal Public Prosecutor’s Office and newspaper documentation. The authors note that none of the sources were complete, and why it is possible that some of banns were left out, either because the list included a work that was initially banned but then later, by a of a higher court, had the ban lifted. Along with the title of work, the rationale for the ban is also cited. The list is structured by years and, inter alia, shows that most publications were banned in the early 1970s (1970 – 9, 1971 – 19, 1972 – 28, 1973 – 8, 1974 – 15, 1975 – 4) and in the mid-1980s (1984 – 17, 1985 – 7, 1986 – 9, 1987 – 7). The document is available for research and copying.

Marko Lopušina, co-author of the feuilleton, has systematically researched censorship practices in the former Yugoslavia and published two books on that subject: Crna knjiga - cenzura u Jugoslaviji 1945-91. [Black Book – censorship in Yugoslavia 1945-91] published in 1991, and Crna knjiga – cenzura u Srbiji 1945-2015. [Black book – censorship in Serbia 1945-2015], published in 2015.

Most specialists and fans of rock music in Romania agree that three albums marked the history of this musical genre under communism: (1) Muguri de fluier (Flute buds) of 1974, an LP by the Timișoara-based band Phoenix; (2) Zalmoxe of 1979, the album by the Bucharest-based band Sfinx, which underwent tedious a three-year process of protracted censorship until its release, although it was named after the famous god of the Dacians, the ancestors of the Romanians who under Ceaușescu’s regime took prominence over the Romans in the myth of common descent; and (3) Cantafabule of 1975 by the same Phoenix. Together with Sfinx, Phoenix was among the most innovative rock bands in communist Romania, and is credited with developing the so-called ethno-rock style. This represented an original synthesis of lyrics inspired from ancestral traditions and pre-Christian folklore with modern sounds specific to progressive and psychedelic rock. More than a decade after their debut, already at the height of their musical career, Phoenix created during the winter of 1974–1975 what remains to this day their masterpiece: the double LP entitled Cantafabule (erroneously printed on the front cover as “Cantofabule”). The lyrics were the work of two very talented poets from Timișoara, Andrei Ujică and Şerban Foarță, who had also collaborated with Phoenix to create their previous hit, Muguri de Fluier. This album, however, was far less oriented towards local sources of inspiration than the previous one, which had highlighted autochthonous pre-modern traditions. For the new album, the two poets took inspiration from Western medieval bestiaries and authored a universal story about a series of mythological creatures, some small and rather innocent, such as the unicorn or the scarab, and others vicious and dangerous, such as the asp and the basilisk. Towards the end of the rock poem, which has fourteen parts, all these fantastic creatures enter into a fierce conflict with each other, which leads to a new beginning.  Accordingly, the last piece of the album is dedicated to the fantastic bird of rebirth and eternal return, the phoenix, which gave its name to the band.  Phoenix toured entire Romania to stage concerts with this rock poem. During concerts, the members of the band dressed in special costumes to interpret these fantastic animals and used volunteer students to complete the entire gallery of mythological creatures, which were also represented on the cover of the album. Cantafabule was a best-seller of that time, as it seems that half a million copies were sold, according to the estimations of the members of the band. It is from this album that the phrase came which rock fans and the eternal admirers of this band use to greet one another: Fie să renască (Be it reborn). Two years after the release of the album, all the members of the group (except for one) managed to clandestinely cross the border, so all pieces by Phoenix were banned in communist Romania. Yet, the band survived in the collective memory of its fans, while its albums, which became extremely expensive items on the black market, continued to disseminate their music among younger generations who did not have the chance to attend its concerts. The last of the Phoenix albums produced under communism, Cantafabule represents to this day a great achievement due to its original blend of ancestral lyrics and modern music, a genuine masterpiece of rock in Romania.    

The photography made by Tomasz Sikorski documented Edward Dwurnik’s painting action Wykonanie portretów psychologicznych studentów D.S. „Babilon” (Making of psychological portraits of the students from ‘Babylon’ Dormitory) at the Mospan Gallery. The action took place on May 31, 1976. Between 6 PM and 9 PM, Edward Dwurnik painted 28 images of the students living in the dormitory which the Mospan Gallery was associated with. The portraits were made by acrylic paints on the one huge canvas. The canvas was at the end cut into 28 pieces so every participant of the action could take his or her psychological image with his or her name and surname. Dwurnik’s performance was an exceptional event at the Mospan Gallery, one of a few that were addressed directly to the students from the ‘Babylon’ Dormitory of the Warsaw University of Technology.

Ewa Partum was one of the pioneers of the art in the public space in Poland. From the beginning she was interested in the new means of artistic expression, new genres, such as mail art, performance art, photography; also very early she started to create the installations beyond a gallery space. The installation Legalność przestrzeni (Legality of the Space) was constructed in 1971 in the Freedom square in Łódź – the city where the artist was living those days. Partum gathered and put in the one place the collection of dozens of street signs and boards indicating ban of something. The meaning of the gesture was clear: the artist let see the limits of the public spaces and regulations regarding the use of this space in the Polish People’s Republic. The space of the street, at first glance freely accessible and egalitarian, turned out to be severely restricted and under surveillance. The Legality of the Space was an important piece especially in the context of the apparent openness and liberty of the first years of Edward Gierek rules in Poland. The photography of the installation came from the archive of the Artum Foundation.

The photography from the Tomasz Sikorski collection presents Clothes – a piece from the cycle Self-tautologies – Nothing about Myself created by Jerzy Treliński in the 1970s. On the photo, there are two women walking the street in Zielona Góra city in 1975. First of them has the dress, while the second – the vest with prints ‘Treliński’. The prints on the clothes were made from the same typographical pattern.
Treliński as an artist is for the whole his life associated with the Łódź neo-avantgarde milieu. He combined within his works the inspiration form the conceptualism and Russian constructivism. In the Self-tautologies cycle, he created a lot of objects, from books, posters, and postcards, to clothes and flags, to pencil graffiti and everyday-life objects. All of the items were marked by the creator’s surname, always made as the same graphic sign. That way, signaling his presence, Treliński did not reveal anything about himself, while the sign of his individuality became the commentary to the social reality.

Source:
Łukasz Guzek, Najbardziej radykalne postawy w ruchu galerii konceptualnych lat siedemdziesiątych. Galeria 80x140 Jerzego Trelińskiego i Galeria A4 Andrzeja Pierzgalskiego [The Most Radical Attitudes Within The Movement Of 'Conceptual Galleries' In The 70s. Jerzy Trelinski's Gallery 80x140 And Andrzej Pierzgalski's Gallery A4], „Sztuka i Dokumentacja”, nr 4/2011, s. 49-68.

The photo showed Zofia Kulik and Przemysław Kwiek during their presentation on the documentation of the artistic initiatives. The presentation took place in the Student Center for Artistic Communities Dziekanka as a part of the exhibition and theoretical session Dokumentacja i autodokumentacja w sztuce (Documentation and Self-Documentation in Art), March 5-6, 1979. The photographer Tomasz Sikorski was also the organizer of the event as a co-director of the P.O. Box 17 Gallery. The participants of the event, besides Kulik and Kwiek, were Peter van Beveren, Andrzej Jórczak, Tomasz Konart, Jerzy Olek, Jerzy Onuch, Andrzej Partum, Andrzej Paruzel, Józef Robakowski, and Tomasz Sikorski.