alternatívne formy vzdelávania
alternatívne životné štýly a každodenná rezistencia
avantgarda, neoavantgarda
cenzúra
demokratická opozícia
divadlo a múzické umenia dozor
emigrácia/exil
film filozofické/teoretické hnutia folklór
hnutie za ľudské práva hudba kritická veda
kultúra mladých
literatúra a literárna kritika
menšinové hnutia
mierové hnutie
nezávislá žurnalistika
náboženský aktivizmus
národnostné hnutia národné hnutia ochrana životného prostredia
odporcovia vojenskej služby
populárna kultúra
samizdat a tamizdat sociálne hnutia stranícki disidenti umenie nových médií undergroundová kultúra
vedecká kritika
vizuálne umenia
výtvarné umenie
ľudia, ktorí prežili perzekúcie zo strany autoritárskych/totalitných režimov
študentské hnutie
ženské hnutie
artefakty
film
fotografie
grafiky
hudobné nahrávky
iné
komiksy a karikatúry
nábytok
obrazy
odevy
právna a/alebo finančná dokumentácia
publikácie rukopisy
sochy spomienkové predmety
video záznamy vybavenie
zvukové záznamy úžitkové umenie ďalšie umelecké diela šedá literatúra
This collection is a valuable source of knowledge about a religious and philosophical doctrine of great cultural influence. The Christian Esoteric School of the so-called Universal White Brotherhood, created by Petar Danov / Beinsa Douno in 1922, was registered as a religious community after the establishment of Communist rule in 1948. In practice, however, the Brotherhood, referred to by the socialist state as “the Danovists’ Sect", led a semi-legal existence: their properties were seized and so-called "reactionary literature by author P. Danov" was confiscated, members of the Brotherhood and supporters were subjected to persecution, sentenced in prison and forced labour camps. State Security agents also infiltrated the spiritual community and a number of publications were published to rebut the "antiscientific and reactionary nature of Danovism". Despite these harsh conditions, followers of Petar Danov / Beinsa Douno managed to preserve their movement. This collection, which covers a wide period from the end of the 19th century through the present day, documents the activities of Petar Danov and his followers. Additionally, the collection demonstrates the increased interest and importance of the spiritual movement after the political events of 1989.
In 1946, Lajos Szabó, a philosopher who defined his position as Biblicism (understood as an approach to philosophy which includes all aspects of culture and life), held exclusive seminars for young people in private apartments. The seminars were held periodically and covered subjects like psychology, economics, value theory, existentialism, Indian traditions, set theory, language mathesis, history, and movement theory. Together with his friend, György Kunszt regularly took notes on these events and a lifelong master-disciple relationship evolved between them. Kunszt actively participated in the maintenance of Szabo’s bequest. The materials donated by him to the Library of the Hungarian Academy of Sciences, Department of Manuscripts and Rare Books consists of the notebooks of Lajos Szabó on philosophical subjects made during his years in emigration and the documents on systemization of the oeuvre, which were made by Kunszt.
The collection is about the activities of the Dziekanka Students' Art Center and Dziekanka Workshop (Pracownia Dziekanka) in the years 1976-1987. Under these two names was the same place, an extraordinary interdisciplinary artistic and educational laboratory, combining the debuting students of Warsaw's art academies and outstanding artists from Poland and abroad. Around the studio, a unique milieu was created, combining post-Fluxus artists interested in new media and avant-garde theatre ventures, but also painters and sculptors of new expression or punk music bands. The years 1976-1987 is the most intense, though the heterogeneous period in the history of Dziekanka, filled with exhibitions, performances, shows, discussions and social life. During this time Tomasz Sikorski was an active participant in events at Dziekanka, and from 1979 he was the co-director of the institution. Owing to his constant presence and managerial function, Sikorski gathered an extensive collection of photos and other materials documenting the functioning of the initiative, going beyond the definitions of independent galleries.