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Od mieszkam w Amsterdamie w Holandii. Mieszka w Krakowie. W latach From to , he studied painting at the College of Fine Arts in Budapest. In , he created his first metal sculptures. He has also made prints, paintings, kinetic and sound sculptures, actions, and performances.
He is the author of several multimedia installations and communication projects. His view of art bears close affinities with the spirit of Fluxus, defining the task of art as inventing conceptual objects, creative situations, and spiritual spaces.
In spite of this, the idea behind the Artpool project is to create an active archive : the way in which it operates also generates the material to be archived. Artpool issued calls, organized events, released publications, and extensively documented the events of the local neo-avant-garde scene. The active archive concept can be seen as an open artwork in itself or an activist kind of art practice. The actions taken by this association focused on dissemination of information on the demolition of the city centre of Bucharest, as part of the project devised by the authorities of the totalitarian regime in order to reconstruct it according to the communist architectural vision.
In Bucharest, he started to express his dissatisfaction with the communist regime in after the earthquake, which served as a pretext for the destruction or mutilation of many historic monuments. In this connection, between and , when he emigrated to France, he secretly photographed a series of historic monuments that were destroyed or mutilated by the Communist authorities.
Basically, OVR followed an already existing model in postwar Western Europe, aiming at creating partnerships between localities with a similar economic and geographical profile in order to create local development opportunities through joint efforts as well as transnational solidarities. Although there had been partnerships with localities in Eastern Europe, OVR was without a correspondent in the Communist bloc, considering the magnitude and speed of its evolution.
During World War II he participated in the communist resistance movement and was the youngest partisan of the Chavdar Brigade. After the establishment of the new authorities, Hristo Ganev was among the young people who were sent to the Soviet Union for training in the field of cinema.
In H. His graduation work as a script-writer was the biographical film about the life of Nikola Vaptsarov "Song of Man" director Borislav Sharaliev. The movie was assigned, one of the first of the nationalized in cinematography. The aim was to create an epic and monumental idea about the poet — worker and communist.
The second half of the s and the s were a time when bright talents in every field of the culture were blooming; at the same time, the pressure of the authorities on the intellectuals was increasing.
The movie "Life Flows Quietly By The following joint films of the director Binka Zhelyazkova and the script-writer Hristo Ganev also posed inconvenient questions to the authorities about the moral crisis, the exchange of communist ideals for high party positions and everyday life comfort and criticized the search for enemy amidst your own ranks, the conformism, and the compromise.
Because of their clear stand, the four members of the Bulgarian Communist Party were expelled from the party and the non-party Blagoy Dimitrov was expelled from the Writers' Union. They were all banned for five years from working; that was a period during which Hristo Ganev earned his living by shooting advertising productions for the television. In their movies, the two artists clashed views and moral values and exposed the moral degradation of the system and the use of power for personal benefit.
Their films are distinguished for vanguard directorial decisions as well as for dramaturgical construction with strong dramatic characters, bright and memorable situations, impressing details.
Hristo Ganev has rendered great services to the development of the animation cinema as an ideological and graphic paradigm. In his animation scripts, Ganev treated the "theme of the moral crisis and the maze in the time of the socialist imperative of the "active positive character". Using the symbolic language of the conditional, non-linear, fragmentary and suggestive building of the plot, absolutely free of ideological matrices he was able to express his view on the meaning of life, on the decline and betrayal against the ideals.
During the entire period of state socialism, Hristo Ganev was notable for his work as well as for his civil stand in defence of the freedom of speech and art; he publicly supported banned works from various spheres of the culture; he declared against the repressive measures against the intellectuals by directly accusing the Central Committee of the Bulgarian Communist Party.
After the political changes, Hristo Ganev continued to treat in his animation scripts themes that interpreted existential problems of the modern man: freedom and compromise; the damages caused by the consumption force, egoism and complacency eroding the value system; love and loneliness. Even today, Hristo Ganev's films find public response and win great recognition. One could not forget Hristo Ganev's speech when receiving the Paisii Hilendarski Award: "My long and variegated life during monarchy, socialism and democracy taught me to meet punishments and awards with slightly skeptical distance.
I know that often they were both undeserved. The Manuscript Division holds 90, document units manuscripts and photographs. The manuscript collection has about 66, units, and is divided into funds. Most of the manuscript collection is made up of the personal funds of Lithuanian national activists, writers and scholars.
He is an expert on modern Lithuanian literature, and a co-founder and editor of the independent cultural-intellectual journal Sietynas The Chandelier , established by a group of young Lithuanian activists in She was an important figure in the Ukrainian community in Prague, and was also integrally involved in the sixtiers movement, underscoring its transnational character. Genyk-Berezovska communicated regularly with Ukrainian literary figures and human rights activists, often putting her own self at risk by transporting samizdat from Ukraine to Czechoslovakia.
Her research specialized on Ukrainian and Czech literature and the links between them, which helps situate Ukrainian literature of the nineteenth and twentieth centuries firmly in the European tradition. Kosach-Shymanovska, and also had friends and colleagues among the sixtiers movement, including Yevhen Sverstiuk, Ivan Svitlychny, Mykhailyna Khomivna Kotsiubynska and others.
Shevchenko Institute of Literature in full in , where it rests alongside the archives of her friends and fellow activists Vasyl Stus and Mykhailyna Khomivna Kotsiubynska. He went to study at Jagellonian University in Krakow in , but shortly after the start of World War II moved to Prague, where he became a member of the anti-fascist movement.
After World War II, he studied medicine and philosophy at Charles University in Prague, where he received his doctorate. From , he was a faculty member of the Slavic Department, where he taught Ukrainian.
Genyk-Berezovsky also wrote and edited Ukrainian textbooks for the community and also contributed to the Ukrainian-Czech and Czech-Ukrainian dictionaries. It was a warm place where it was possible to look deep into the past, as observed by Mykhailyna Khomivna Kotsiubynska, who was responsible for bringing their personal archive to Kyiv in No one interested in Ukraine, or Ukrainian literature, who came through Prague missed an opportunity to visit their home and vast library and archive, which filled two rooms.
The home of the couple was a community centre in the truest sense, connecting two cultures and two worlds in one. Nicolae Gheorghe was a Romanian sociologist and the most important activist for the rights of Roma people in Romania. When Nicolae Gheorghe was nine years old, his family moved to Bucharest. In the Romanian capital, the Gheorghe family members left behind their Roma past to become a fully integrated into mainstream society. In particular, Nicolae Gheorghe made every effort to hide its ethnic origin and to suppress any remains of his Roma identity Sandu According to his testimony, he started reconsidering his ethnic identity as the Romanian regime moved towards a more nationalistic stance and by its policies started unofficially to emphasise the ethnic differences among its citizens Rombase This influenced not only his behaviour but also his research agenda.
He became particularly interested in the community of Roma tent-dwellers in Sibiu County who managed both to preserve their traditions intact and to integrate into Romanian society. This was meant not only to raise the awareness of the authorities about the disadvantaged situation of the Roma people and to force them act accordingly, but also to ensure their recognition as a distinct ethic group whose cultural specificity, including the use of the Romani language in education and printed culture, and political representation should have been protected.
In short, the Romanian sociologist insisted that the best solution to solving the difficult situation in which Roma people found themselves was their integration as a distinct minority group in Romanian society ACNSAS D vol.
Apart from the numeric argument, Gheorghe also strove to demonstrate that Rome people had their own culture and that they preserved their ethnic identity through language, traditions, and customs. The growth triggered several studies about the living conditions of Roma people.
Suspecting that Nicolae Gheorghe was the author of the article read at Radio Free Europe, the Romanian secret police intensified their informative surveillance of him.
Consequently, the secret police used two persons close to Nicolae Gheorghe, namely his line manager at the Centre of Sociological Research and also his godfather. After the fall of the communist regime, Nicolae Gheorghe rebuilt from scratch the civic movement for the rights of Roma people in Romania.
In , he founded The Roma Centre for Social Intervention and Studies Romani Criss , which in the following years would become one of the most important nongovernmental organisations for the defence of Roma rights in Romania and indeed in Europe. Nicolae Gheorghe also distinguished himself as an internationally known Roma activist.
He was one of the vice-presidents of the International Roma Union between and He received human rights awards from the French state in and five years later from the European Union Rombase ; V. Ionescu He also worked as a minor official within the Communist Youth League Komsomol. At least from the mids, he began to openly display his oppositional and nationalist views, which earned him several reprimands and ultimately cost him his job in the Komsomol. However, he was expelled for ideological reasons in November He was arrested in January and sentenced to six years in a high-security labour correction colony.
After his return to Chisinau, he was barred from engaging in any public activity and from teaching. He resumed his involvement in politics after , being one of the founders of the Moldovan Popular Front. In a highly charged symbolic gesture, he was allowed to install the Romanian flag tricolour on the Parliament building on 27 April , thus consecrating the first act of symbolic rupture with the Soviet past.
He remained actively involved in politics until his death in November as a result of injuries suffered in a car accident. He was the only member of the group who became a practising politician after Paul Goma b. However, he refuses to be labelled as such, and still less does he wish to be considered a dissident, for such concepts fail to cover what he considers to be the essence of his identity as a writer.
In this respect, his professional career did not fit the mainstream path towards literary recognition, as this was understood by the largest majority of his fellow writers in Romania. Half forcefully, half willingly, Goma experienced a career on the edge.
His marginality resulted from the reactions of the authorities to actions he consciously undertook, fully aware that these ranged in the grey zone between the repressed and the tolerated. There were three occasions when Goma opted for defiance instead of compliance: 1 when he joined the student unrest of ; 2 when he decided to publish a novel abroad without approval from the party; and 3 when he tried to establish a human rights movement in C. Petrescu , — Usually, former political prisoners refrained from actions which might have forced them back to a traumatic experience that they wanted to leave behind, while post-Helsinki dissidents generally belonged to a younger generation, which had escaped the Stalinist terror.
In this respect, Goma is a twofold exception. Like many other Romanians, Goma took the Romanian Communist Party for an anti-Soviet organisation and tried to support its displayed but not entirely genuine opposition to the Soviet Union, the country which had occupied his native region of Bessarabia Goma Due to this assumed marginality, Goma did not manage to publish his writings in Romania, except for a volume of short stories Goma Unlike other authors, Goma managed to publish his novels abroad as tamizdat without benefiting from promotion through official channels.
On the contrary, he defied the censorship which had rejected his subsequent two novels. While most writers in Romania learned to self-censor their works in order to get published, Goma decided to have them published as they were written, which was only possible across the Iron Curtain. A Romanian writer who wanted to publish abroad without approval had to be ready to risk his domestic professional career for the hypothetical chance of being accepted by a Western publisher.
Besides, he had to be not only bold enough to defy the system, but also capable of finding secret ways of sending the manuscript outside the country, for border checks were very strict. The volume was launched at the Frankfurt International Book Fair as a book censored by the Romanian communist regime and registered a tremendous and rather unexpected success.
Thus, a year later, Suhrkamp published the other novel too Goma
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