V piatok 10.10.1975 o 13.00 prišli do jej práce príslušníci tajnej polície a zadržali pani Múčkovú s vysvetlením, že má vypovedať ako svedok. (to bolo po zadržaní Grófa) Vo svojich 20 rokoch bola predvedená na výsluch na tzv. Februárku. Pri výsluchu na ňu kričali a pýtali sa jej na jej brata, ktorý tajne študoval teológiu. Počas vyše dvojhodinového výsluchu sa jej pýtali aj na Grófa a na jej aktivity. Pani Múčková odpovedala na otázky, podpísala zápisnicu a mohla ísť domov. Hneď na to zlikvidovala všetky rozpísané knihy, ktré mala zo srachu pred domovou prehliadkou. Napokon v aktivitách pokračovala neskôr aj s jej manželom ale stále boli sledovaní.
Ako spomína pani Múčková: "My sme nikdy proti štátu nebrojili, ani chartu nepodpísali ani tieto veci. Nebohý profesor Gróf hovoril, že naša politika je politika evanjelia a za to keď nás zavrú alebo nás budú prenasledovať tak nech. Ale nejaké protištátne veci, reči alebo materiály alebo nadávania... to sme nerobili. Snažili sme sa od tých vecí dištancovať. Samozrejme môj muž si to odniesol, lebo bol inžinier a v živote sa nedostal do nijakej vedúcej funkcie..."
Dlhšiu dobu bola pani Múčková na materskej dovolenke. S deťmi bola doma najmä preto, že odmietali výchovu socialistických škôlok.
Aktívne pôsobenie v tajnej cirkvi trvalo až do revolúcie. V roku 1995 tragicky zomrel manžel pani Múčkovej.
- Nová Dedinka 1062, Slovakia 900 29
After his death in 1961, Elsa Maidaniuk sent the bulk of his personal archive and library to the Ukrainian Museum-Archives in Cleveland, due to their connection to Evhen Batchinsky. Amounting to nearly 1,000 items, Maidaniuk's collection consists of many Ukrainian language books published in the years 1917-1921, as well as books in other languages from that same time. She also sent journals, several maps, and photographs. Among the later were 13 pictures of injured soldiers on the way to Ukraine from Finland, who crossed through Sweden in 1918. She also sent 74 postcards and 20 negatives of Maidaniuk's original works. The documents include his diplomatic passport issued by the Ukrainian People's Republic (UNR), various visas issued to him while carrying out his duties as secretary of the Ukrainian ligation in Stockholm.
These papers were part of a larger transfer of documentation from former UNR diplomats and government representatives to archives in North America, in particular to the Ukrainian Museum-Archives in Cleveland. Despite the transfer of the Evhen Batchinksky papers to Carleton University in Canada, the UMA retains quite a bit of documentation from this period, thanks to the Maidaniuk papers and other materials that were not transferred to Carleton in the 1970s. This documentation shows very early and committed opposition to communism, in particular to the Bolshevik Revolution. Alongside other political visions articulated during the collapse of the Russian Empire in 1917, representatives of the Ukrainian People's Republic declared independence for Ukraine and worked hard to establish diplomatic relations during the liminal period between the collapse of empire and the establishment of the Soviet Union in 1922. These documents provide an important window into the roots of cultural opposition to communism in Ukraine, highlighting nettlesome issues that remain unresolved to this day.
- Kyiv City, Kiev, Ukraine 02000
- Odessa, Ukraine 65000
- Stockholm, Sweden
- Vienna, Austria
Makavejev is one of the founders of the Black Wave, a movement of Yugoslav cinematography. His movies criticize the rotten nature of society, from both communist and capitalist influence. As a supporter of the psychologist Wilhelm Reich, Makavejev often composes his studies into his films. His film Misterije organizma [Mysteries of Organism] (1971) pays homage to Reich'srevolutionary-psychology, never widely recognized.Though the film was banned in Yugoslavia soon after its premiere it was screened again a decade later, in the 1980s.
Makavejev has been the editor of magazines including Student, Književne novine, and Danas. He has also written film reviews and articles on social for many publications, including Polja. In 1958, he published a scenario,“for Godless ballet with pantomime,” as he called it,under the title “Hardboiled Hearts”(Polja, Issue 34, 1958), as a satirical comment on the cultural situation in Yugoslavia. In his later texts, such as “A Bit of Man-eater, A Bit of Philistine”" (Polja, Issue 45, April 1960), and “Young Intellectual Today” (Polja, Issue 49/50, December 1960), Makavejev uses satire to critique Yugoslav society, especially its youth.
Makavejev emigrated to the United States in the early 1970s, where he lectured at Harvard University. He then returned to Serbia and currently lives in Belgrade.
- Belgrade, Serbia
Kazimir Malevich (b. 1879 in Kyiv and d. 1935 in Leningrad) is a leading member of the “Russian” avant-garde. Malevich was born to Polish parents in Kyiv, living in villages in the Ukrainian countryside until the age of 17. Art historians argue that Malevich’s early life had a deep impression on his work, his use of vibrant colors and his engagement with primitivism being two of the clearest examples. One of the pioneers of abstract art, Malevich was a central figure in a succession of avant-garde movements during the period of the Russian revolutions of 1905 and 1917 and immediately after. The style of severe geometric abstraction with which he is most closely associated, suprematism, was a leading force in the development of constructivism, the repercussions of which continued to be felt throughout the 20th century. Under increasing pressure from the authorities in Leningrad, Malevich traveled abroad, after the government closed the Leningrad GINK-hUK (State Institute of Artistic Culture) the year before. He participated in several exhibitions in Berlin and Warsaw in 1927 and sought for a way to remain abroad outside the reach of the increasingly conservative Soviet leadership. The Polish authorities denied him refugee status, believing him to be a true Bolshevik, even though his work was being suppressed along with that of other avant-garde artists. A group of Ukrainian officials and artists in Kyiv came to Malevich's aid, among them Ivan Vrona, who offered Malevich a teaching post at the Kyiv Art Institute, where the former served as rector. Malevich’s work was suppressed by the Soviet authorities in the 1930s and remained little known during the following two decades. The reassessment of his reputation in the West from the mid-1950s was matched by the renewed influence of his work on the paintings of Ad Reinhardt and on developments such as Zero, Hard-edge painting and Minimalism.
- Kyiv City, Kiev, Ukraine 02000
- Saint Petersburg, Russia