COURAGE

povezivanje zbirki

Smail Balić je rođen 1920. godine u Mostaru, Bosna i Hercegovina. Nakon završene Gazi Husrev begove Medrese 1939/40 iz Sarajeva odlazi u Beč i upisuje Filozofski fakultet.Tokom svoje karijere obavljao je poslove  u Austrijskoj nacionalnoj biblioteci te bio istraživač Instituta za historiju arapsko-islamskih znanosti na Univerzitetu "J. W. Goethe" u Frankfurtu. U svome radu na Bosanskim pogledima Balić je inzistirao da na tome da su Bošnjaci evropski slavenski narod islamske kulture i da su sve tri komponente jednako važne i neodvojive. Umro je u Beču 2002. godine

Slavko Bogdanović diplomirao, magistrirao i doktorirao na Pravnom fakultetu u Novom Sadu. Bio je član grupe KÔD i član uredništva časopisa "Index" 1970. Zbog teksta Pesma underground tribina mladih novi sad, objavljenog u listu Student, 1971, osuđen na osam meseci zatvora. Sa Miroslavom Mandićem pokrenuo je i izdavao L.H.O.O.Q - underground list za razvijanje međuljudskih odnosa i permanentnu destrukciju svega postojećeg (objavljeno 13 brojeva). Radi kao ekspert za vodno pravo i pravo zaštite životne sredine. Područja umetničkog rada: konceptualna i tekstualna umetnost, akcije, poezija, performans. Živi u Novom Sadu. (Milenković, 2012, str. 158)

Savo Brković (1906-1991.) bio je crnogorski političar, narodni heroj i publicista. Brković je rođen u siromašnoj porodici zemljoradnika. Postao je član Komunističke partije Jugoslavije (KPJ) 1924. godine, gde je obavljao različite aktivnosti – od rada sa omladinom i pisanja za partijske novine do administrativnog rada i učestvovanja u partizanskim jedinicama tokom Drugog svetskog rata, u kojima je imao vodeći položaj. Zahvaljujući vojnom angažmanu, Brković je primio nekoliko jugoslovenskih priznanja, uključujući Partizansku spomenicu 1941. i Orden narodnog heroja.

Godine 1945., Brković je postavljen za šefa Odeljenja za zaštitu naroda – OZNA (bezbednosna agencija Jugoslavije između 1944. i 1946.) za Crnu Goru, a aprila 1946. imenovan je za ministra unutrašnjih poslova u prvoj vladi Narodne Republike Crne Gore. Bio je na toj dužnosti do 31. decembra iste godine, nakon čega je bio ministar pravde, pa zatim ministar građevine. Od kraja 1940-ih, nalazio se na više istaknutih političkih pozicija u Crnoj Gori.

U posleratnom periodu, Brković je nastavio sa novinarskim aktivnostima, kojima je počeo da se bavi tokom svog ilegalnog partijskog rada, i sarađivao je sa dnevnim listom „Pobjeda”. Njegov publicistički rad mahom se sastojao od pisanja o istoriji Crne Gore.

Godine 1974., Brković je objavio knjigu „O postanku i razvoju crnogorske nacije”, u kojoj je pokušao da objasni etničko poreklo Crnogoraca. Zbog toga je sumnjičen za crnogorskog nacionalistu, te se sam distancirao od Saveza komunista Jugoslavije. Bez obzira na to, sebe je i dalje smatrao komunistom.

Godine 1988. Brković je objavio knjigu „Etnogenezofobija”, koja je sadržala nešto razvijenije teze iz njegove prve knjige, ali i otvorenu kritiku velikosrpskog nacionalizma, koji su u to vreme sve više propagirali čelnici srpskih komunista i intelektualci. To je za posledicu imalo da Savo Brković bude isključen iz Saveza komunista Jugoslavije i javno diskreditovan kao crnogorski nacionalista.

Leonid Bachynsky, born 28 February 1896 in Katerynoslav (later Dnipropetrovsk and now Dnipro), was a teacher, community activist and journalist. He studied the natural sciences at Kyiv University, before joining the ranks of the Ukrainian National Republic’s army (1918-1920). During the revolutionary years, he gave many lectures to the soldiers in UNR army camps, before moving along with other UNR leaders to Tarnów in 1920. Moving briefly to Przemyśl in 1921, he was assigned the directorship of a gymnasium in the village of Luka near Sambir, where he taught until the school was dissolved in 1923 by the Polish authorities. Bachynsky then moved to the Transcarpathian city of Uzhgorod, where he taught and also became involved in the organization of Plast (Ukrainian Scouts) until 1929, when the Czechoslovak government forced him to leave, reportedly because of his work with Plast and also his use of the term Carpatho-Ukraine in articles and speeches. He moved back to Przemyśl where he continued teaching, writing and organizing Ukrainian youth until the outbreak of war in 1939, when he moved to Jarosław and became director of a trade school. In 1944, along with many others, Bachynsky fled westward, landing in a deported persons camp near Heidenau, where he resumed his pedagogical work and youth outreach, prior to moving to the United States in 1950. He authored and compiled more than 45 works, many of them on farming and biology.

In 1952, he founded the Ukrainian Museum-Archives in Cleveland, Ohio, which he directed until 1977. Once in the US, Leonid worked as a machinist, but his real passion was collecting. His brother Evhen regularly sent him materials to Cleveland from Geneva from the 1950s to the 1970s, including the personal papers of diplomats, documentation of the Ukrainian Red Cross, and other items. Most of those were transferred to Carleton University in 1982, though the imprint of the Bachynsky brothers is still very much visible in the UMA’s holdings.

Painter. Studied at the Hungarian Academy of Arts between 1958 and 1963. He was a member of the Zugló Circle in the first half of the 1960s. Beginning in the mid-1960s, the structure of his works was geometric. In addition to studying local progressive traditions (Kassák, Korniss, and the European School), he also followed the development of international trends. In 1968 and 1969, he exhibited at the Iparterv exhibitions. He was a founding member of the Budapest Studio. In the early 1970s, he had a conceptual period, and he created works produced with photography, text, and offset collages. He studied the structure of images and the semantic aspects of signs. In the second half of the decade, he returned to painting. Aside from the lessons learned from his own hard-edge works of the late 1960s, he was also influenced by signal art and postmodernism. Traces of folk art, among other traditions, are also apparent in his use of motifs. Beginning in the 1990s, he created compositions related to building structures; later, he turned to emphasizing the depths of space. In the late 1980s, he was involved in teaching. His theoretical writings are also significant.