A collection of works of naive art on political and socio-critical topics, created by the amateur artist Paul Kondas. Paintings depicting these themes in Estonian history were not allowed during the Soviet period.
The Pitch-In Culture was a unique phenomenon of Polish cultural landscape of the 1980s. This informal community brought together radical, critical, and progressive artists from two different generations: the former members of the Zero-61 group and the Film Form Workshop, who had begun their activities back in the 1960s and their younger colleagues, who were breaking up with conceptualism and the ethos of the avant-garde. The nihilistic, anarchistic, neo-Dada circle of the Pitch-In Culture distanced itself both from the state-supported art and from the so-called “church” art created by artists related to the political opposition. The Pitch-In Culture Collection presents artists, their works, manifestos and texts, as well as the documentation of exhibitions and artistic performances.
Polish artists and circles involved in performance art were in many ways critical of Polish People's Republic authorities. They would often be involved in the so-called “second circuit” of publishers and galleries that functioned without public support and independently from national institutions. Performers’ actions themselves were also loaded critically not only towards the authoritarian practices of the “people’s” government, but also the patriarchal and hierarchical aspects of Polish culture. The Archive of Museum of Modern Art in Warsaw presents the history of Polish performance art. It uses an attractive web portal to publish photographic and video recordings of artistic actions along with commentaries from curators. The Archive is also engaged in research and promotion activities, and is participating in the preparation of Museum’s permanent exhibition.
The collection Poster and Graphic Design of the Slovak National Gallery (SNG) was established in 1962 through the acquisition of a collection of posters and other graphic works from the Academy of Arts, Architecture, and Design in Prague. Although this collection was not created primarily to preserve oppositional art, it provides an excellent overview of official Slovak posters and graphic works, many of which have oppositional content. Such content can be seen especially in works produced after 1968 or in the work of artists who were persecuted after 1968. The collection today contains more than 3000 items, and it is being added to every year.
