The photo presented Ewa Partum making her performance Stupid Woman in the Dziekanka Workshop, November 20, 1981. The performance was acknowledged as one of the essential pieces of women's art or even feminist art in Poland. Ewa Partum was one of the prominent female artists of the neo-avant-garde in the time of late socialism in Poland, alongside with Natalia LL, Maria Pinińska-Bereś, Izabella Gustowska, Teresa Murak, Zofia Kulik, and Barbara Konopka. Partum exercised the performativity of gender many times, conducting in her works deconstruction of the femininity and features associated with it. The question of gender and femininity was the subject of the Stupid Woman performance as well. On the picture taken by Tomasz Sikorski, naked Ewa Partum is performing with only chains of lights on her body.
These early personal relicts from the Family Collection of Árpád Göncz reflect the love of books and literature of a young couple, their traditional tastes, and the inventive talent of the graphic designer, who most likely was influenced by similar self-made decorations of the Hungarian boy scout movement, and the traditional typographers (Imre Kner, Károly Koós, Erdélyi Szépmíves Céh, etc.).
On the attached photos, some parts of the rich family library of the Göncz couple can be seen in the ex-president’s residence on Vérhalom Square, Budapest.
Urbs Paterna was the manuscript newspaper compiled by activists from Noor-Tartu (Young-Tartu). Its first issue bore the name Kodulinna Teataja (Journal of the Hometown). Urbs Paterna was reproduced manually in a few copies, and not all issues have been preserved. These rare copies were passed from hand to hand. In this way, Noor-Tartu also avoided the censor.
This number is the third, and dates from 11 April 1980. This and other numbers do not contain any opposition content, only articles about culture, poetry, and discussions about the movement. It is not known whether the authorities reacted in any way to this issue, for at that time the movement could act relatively freely, and without major restrictions.
Like the entire collection, this particular copy of the newspaper belongs to the core group of Noor-Tartu. It has not attracted wider attention, which is the intention of the current holder of the collection. Only Indrek Riigor briefly mentioned the newspaper in his BA thesis. It is possible that it will be used for research after the collection is given to an institution.
An explanatory letter from Daina Lasmane, the director of the Dole History Museum, to an official at the Latvian SSR Ministry of Culture about the First River Daugava Festival was written in 1979. It alludes to some accusations against the organisers of the festival, but also the fact that the authorities did not want to voice any official accusations, which was rather typical in the 1970s and 1980s, when repressions against cultural personalities were often covert, or were based on the belief that a reprimand was enough to correct the behaviour of the people involved.
- Dolesmuiža, Latvia 2121
- Lasmane, Daina
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During the general assembly of the Central Committee of the Czechoslovak Communist Party held from 14 to 17 November 1968, the following principle was confirmed: “Press, broadcast, and television are in the first place the instruments of the enforcement of party and state policy [...] When the employees of the mass media are not loyal to the fundamental interests of the state and of socialism, and to their own organisation’s policies, it is necessary to draw organisational and individual consequences.” The November resolution became the first official authorization of the “normalization” policy.The selected section of the SÚTI fund/collection monitors the gradual adoption of this “new orientation” of individual mass media and gives concrete examples of insufficiently following the “normalization” path. The section contains the set of very detailed assessments of the articles and reports published by official mass media. By this means, the collection points out another dimension of censorship, which was aimed not only at forms of open opposition, but concentrated also on continual “purges” of mass media from the “sediments” of unsatisfactory political involvement, ignorance of certain political events, lax approach to processed topics or, in Slovak case especially, inappropriate nationalistic tendencies or excessive influence of the Catholic Church.