COURAGE

seotud kollektsioonid

See plakat on üks esimesi käsitsi tehtud materjale, mida kasutati 1987. aasta sügisel algsetes protestiaktsioonides. Tollased protestid olid ettevaatlikud režiimi võimaliku vastulöögi tõttu ega sisaldanud selgeid poliitilisi avaldusi ega nõudeid.

Jätkuva kloorireostuse aastaid Ruses, samuti kohalike võimude tegevuse nähtavate tulemuste puudumist koostöös Rumeenia võimudega tõlgendasid kohalikud mõnikord kui sihilikku tegevust nende kodulinna vastu. Selles mõttes ei ole üleskutse lõpetada „ökoloogiline genotsiid“ dramaatiline liialdus, vaid pigem kodanike meeleheite väljendus.

Horvaatia Kevad on parim näide kultuuriopositsioonist kommunistliku režiimi perioodil Horvaatias. Üliõpilased olid oluline osa sellest reformiliikumisest ja nõudsid reforme väga otsustavalt. Nad alustasid streiki Zagrebi ülikoolis (ehk Horvaatia Ülikoolis) ja kutsusid sellega ühinema kogu avalikkust. Nende sõnumeid levitati lendlehtedel ja plakatitel, mida pandi üles ülikooli ja muudesse avalikesse kohtadesse. Kogus on palju selliseid näiteid ja meistriteoseks on üks suur plakat, mis kutsub „üldstreigile Horvaatia Ülikoolis“. Plakat konfiskeeriti ja anti üle Zagrebi prokuratuuri (detsembris 1971). Avalikkusele jäi see plakat tundmatuks.

Iljko Karaman võttis seadust rikkudes selle dokumendi prokuratuurist ja säilitas seda oma koduses kogus, mis jõudis 1992. aastal Horvaatia Riigiarhiivi. Materjal on kättesaadav uurimiseks ja kopeerimiseks.

1990 (1994), (set of three books in a paper case).
The bookwork focuses on the topic “Freedom/Oppression: Central European Artists in Response.” In 1989, when the Soviet Union lost control over the Eastern Bloc countries, in the Visual Art Research Studio of Arizona State University three Hungarian artists selected with the help of Artpool began to work on the project. Peter Forgács, György Galántai, and poet György Petri were invited to Arizona to collaborate with the staff of the Studios, and as the fruit of their labors, the bookwork was produced in 1994 in 225 numbered and signed copies.

Since the 1960s, Ivan Manolov Petkov – Turkata, who was a civil engineer by profession began drawing as an amateur painter. His paintings are in the style of the dramatic and grotesque visions of the world typical of the works of Pieter Brueghel the Younger (also known as Hell Brueghel) and Hieronymus Bosch as well as of Paul Delvaux and Salvador Dalí. The varieties of surrealism were forbidden since they were particularly dangerous for the regime with the ridiculing of the utopias. At that time, the knowledge that Marxism was an utopia was already present in Bulgaria. The works of Ivan Petkov – Turkata were not allowed to participate in art exhibitions but in 1977 he managed to make an independent exhibition in the hall of Sofstroyproekt – the institute where he worked as an engineering technologist. The exhibition was closed down prematurely.

The State Security put him under surveillance by the code name "The Painter" and kept a record with "materials" – slanders with the purpose of "preventing, neutralizing the enemy activity". Investigated by the State Security, interrogated, eavesdropped and kept under observation, Ivan Petkov ceased making public statements against the regime and began expressing his opinion of the "people's power" through his paintings.

Despite the regular interrogations, denunciations and warnings, Ivan Petkov created influential paintings-metaphors in which his criticism of the regime was surreptitiously expressed. The paintings "Anthropological Excavator" (1981) and "Lobotomy" (1983) are one of his large-scale metaphors of socialism – socialism as antihuman, disabling regime (after lobotomy, man becomes mentally and emotionally paralysed).

Ivan Petkov used mainly oil-paints on canvas or wood but also water-colours and mixed techniques. He experimented with sculpture and decorative art. The painting "Anthropological Excavator" which was property of the painter's inheritors was part of Petkov's independent exhibition "Surrealism in Time of Socialism" (2015, curator Krasimir Iliev) at the Loran Gallery during which it was bought by Angel Gatev.