alternativni način života i otpor svakodnevnih, alternativni oblici obrazovanja
avantgarda, neoavantgarda
cenzura
demokratska opozicija društveni pokreti državni nadzor
emigracija/ izgnanstvo
etnički pokreti
film filozofski/ teorijski pokreti
književnost i književna kritika kritička nauka
likovna umetnost
manjinski pokreti medijska umetnost
mirovni pokreti muzika nacionalni pokreti narodna kultura
naučna kritika
nezavisno novinarstvo
pokret za ljudska prava
popularna kultura
preživjeli progona pod autoritarnim / totalitarnim režimima
prigovarači savesti
religiozni aktivizam
samizdat and tamizdat stranački disidenti
studentski pokret
theatre and Performing Arts underground culture
visual arts
women’s movement
youth culture zaštita prirode
artefakti
drugi drugi umetnički radovi
film
fotografije
grafika memorabilija
muzički snimci
nacrt i karikature
nameštaj
odeća
oprema
pravna i/ili financijska dokumentacjia predmeti primenjene umetnosti
publikacije rukopisi siva literatura
skulpture
slike
snimanje glasa
video snimci
The digital photography collection of Harald Hauswald was acquired at the end of 2017 by the Federal Foundation for the Reappraisal of the SED Dictatorship. It represents a valuable collection from one of the most significant photographers from the GDR. Hauswald’s snapshots from everyday life in East Berlin provide insight into a bygone era, and which acquired public acclaim and support following the toppling of the regime in 1990. The current collection is in the process to be expanded and by the end of 2019 is expected to include the photographer’s entire life work in digitalized form.
The collection of photographs by Croatian conceptual artist Tomislav Gotovac presents four performances (Reading the Newspapers, Listening to the Radio, Watching Television and Telephoning) from the 1980 and 1981 in which the artist awaited the death of Yugoslavian President Josip Broz Tito, thus underscoring the social and media psychosis of that moment. The work used a subversive strategy by which the artist indirectly drew the public and socialist regime into the performance, leaving them to think: what is the artist showing?