alternativní vzdělávání
alternativní životní styly a každodenní/všední odpor
avantgarda, neo-avantgarda
cenzura
demokratická opozice
divadelní a performační umění
emigrace/exil
etnická hnutí
film filosofická/teoretická hnutí
folklorní kultura
hnutí menšin
hnutí na obranu lidských práv hudba kritická/nezávislá věda
kultura mladých
literatura a literární kritika media Arts
mírová hnutí
nezávislá žurnalistika
náboženské aktivity
národní hnutí ochrana životního prostředí
odpírači vojenské služby
populární kultura
přeživší perzekuce ze strany autoritativních/totalitních režimů
samizdat sledování, dohled sociální hnutí straničtí disidenti
studentská hnutí undergroundová kultura
vizuální umění
výtvarné umění
vědecká kritika
ženské hnutí
artefakt/umělý výrobek
film
fotografie
grafika
hudební nahrávky
jiné jiný umělecký předmět
kreslené vtipy, karikatury, komiksy
nábytek
oděvy
právní a/nebo finanční dokumentace publikace předměty užitého umění rukopisy
sochy suvenýry video nahrávky vybavení
výtvarné umělecké dílo zvukové nahrávky šedá literatura
Artlist je online databáze, která mapuje vývoj moderního a současného českého výtvarného umění od druhé poloviny 20. století. Artlist je unikátní projekt, který umožňuje bezplatně a online vyhledávat autory a jejich díla, a to včetně životopisu a katalogu umělce a podrobného popisu jeho díla.
The Andrei Partoş–Radio Vacanţa-Costineşti Private Collection includes photographs, publications, and various documents regarding a seasonal radio station that operated during the summer holiday period in Costineşti, which was officially and popularly considered to be the seaside resort for young people. This radio station and its associated activity in Costineşti was a social phenomenon without any term of comparison in the Romania of the 1980s, an epitome of the alternative culture of the younger generation under later Romanian communism and a formative experience for the generation who supports the democratic consolidation in present-day Romania.
András Kisfaludy’s collection suggests ways of interpreting retrospective gazes on the alternative culture of the socialist period. While Kisfaludy is the owner of a sizable private collection that concerns alternative and dissent culture of the era, he is more a creator than a collector of documents. During the late 1950s and early 1960s, he was a member of the famous youth gang called "Kalef" (in 2006, he made a film about the gang). From 1968 to 1971, he was the percussionist of the underground band "Kex.” Kisfaludy began to make documentary films on cultural opposition in the 1990s. The core of his oeuvre was done between the early 1990s and early 2000s.
The status of the collection is special because the rights of the movies belong exclusively to András Kisfaludy, so the collection exists only as a private collection. However, the majority of his films are accessible via Youtube.
The Anonymous Mountaineer collection illustrates how a passion for the mountains and for climbing could become a passion for freedom. More precisely, the collection reflects a distinctive type of cultural opposition, practised by those with a passion for the mountains and for climbing. This sport permitted a temporary escape from the routine of life under communism into places where the communist regime effectively ceased to exist. At the same time, in the case of communist Romania there was also a second dimension of opposition, because climbing involved a connection with the parallel economy in order to procure the necessary technical equipment, which was not to be found in shops. The Anonymous Mountaineer collection preserves a great variety of climbing equipment that was either improvised by the owner of the collection or obtained on the black market, where such items were commercialised.
Artists' books, became worldwide starting the end of the 1960s a medium of communication between graphic artists, writers, photographers and artists working with new media. Soon this medium was discovered by a young generation of artists in the GDR, who distancing themselves from socialist realism, used it as a vehicle for sharing not only their artistic views as well as dissenting ideas, which eventually draw the attention of the Stasi. This collection of GDR artists’ books has its origin during the GDR times when artists approached the Saxon Library, then active in purchasing graphic art from throughout the GDR.