COURAGE

seotud kollektsioonid

Movie Thursday (Filmski četvrtak) was launched in 2013 for the popularization and promotion of the film archival materials stored in the Croatian Cinematheque. Film projections are held once a month.

Within the projections from the National Collection of the Croatian Film Archive, four short films of Nikša Fulgosi were presented: Privatni rat građanina iks [The Private War of Citizen X] (1962, 10 min), Drugarstvo na putu [Camaraderie on the road] (1963, 13 min), Ravnodušnost na ulicama [Indifference on the Streets] (1963., 11 min) and Put nije samo vaš [The Road Isn’t Just Yours] (1963, 13 min).

In some of his films, Nikša Fulgosi submitted subversive or explicit political messages that might be related to cultural opposition. Although the main purpose of the films was education of the wider population, Fulgosi made sarcastic observations about social everyday life.

The program was prepared by the film archivist Mladen Burić, and the review after the screening was presented by Željko Luketić, film critic, publicist and screenwriter.

On 10 October 2017 the collection was increased with Laszlo Ocsovszky’s collection, who is a retired journalist, son-in-law of Gyuláné Szentirmai, the Galyasi’s last caregiver. The volume of his collection is about four archival boxes, which includes the Galyasi’s literary work, correspondence, personal and official documents and photos.

On May 5, 2017, the COURAGE project of the Croatian Institute of History, together with the Croatian State Archives and the National and University Library, organised the academic workshop entitled “From Obscurity To Visibility: Croatian Emigrant Communities (1945―1990) in the Collections of Cultural Heritage and Scholarly Institutions.” The primary goal of the workshop was to introduce the scientific community and the broader public to the emigrant collections in the cultural and educational institutions of the Republic of Croatia. The COURAGE project team from Croatia wanted to raise awareness of the importance of this unexplored heritage and to spark the interest of researchers in this issue. Martina Jurčić, a librarian at the Croatian Institute of History Library, also attended the workshop and talked about the Jere Jareb Collection, which is kept in the Institute’s library. She spoke of the history and content of the collection, as well as the storage problems confronted by the Institute’s library. Jurčić also outlined the most important details from the biography of historian Jere Jareb.

On the occasion of the exhibition “Apprenticeship among arts: Sorin Costina collector,” organized by ARCUB, a volume was launched that analyses both the profile of the Bucharest exhibition of works selected from the Sorin Costina collection and the specific character of the complete art collection owned by Sorin Costina. The editor-coordinator of the volume is Erwin Kessler, one of the most well-known Romanian aestheticians and curators, and has a title corresponding to that of the exhibition. It was published in a Romanian–English bilingual edition by the Vellant publishing house in 2017.

Of the specific character of the collection, Erwin Kessler writes: “Through the ambitious profile of his collection and its scope in relation to the cultural geography of Romanian art, not to mention the number of pieces (which approaches 1,000, bringing together painting, sculpture, ceramic, and drawing), the Sorin Costina collection stands out as the most consistent, significant, and representative collection of Romanian art of the 1970 to 1990s. It is a sort of (reified) treatise on the Romanian art of the period after the prescription of socialist realism, a codex of Romanian art created outside (but not so much opposing as ignoring) the dogmas of official art, in which may be recognized almost all the names that made up (then) and make up (now too) the canon of Romanian contemporary art.” The volume also includes a postface by Sorin Costina and a catalogue of the Sorin Costina Collection by Carola Chişiu, together with high-quality reproductions of the most representative pieces in the collection.

Péter Halász’s archive was opened to researchers in 2017. On this occasion, an exhibition and roundtable were organized about the avantgarde writer, director, and actor’s works showing documents from the HP archive. The archive is based on Péter Halász’s so-called newspaper-theater performances, titled “Power Money Fame Beauty Love,” which was composed in the Kamra Theater in Budapest in 1994. The actors read the page-proofs of one of the main daily newspapers, Népszabadság (People’s Freedom), the night before publication. Inspired by the news, they created a play which was shown only once, the following evening, when the readers received the paper. 28 performances were created in this manner. In 2003, the undergraduates of the University of Theater and Film Arts of Budapest collected the articles, playbooks, reviews, and video records about the plays and based on these documents they made short films, as well. The whole documentation of this project was given to Artpool. This became the HP archive.