The stenographic account of the plenary meeting of the Latvian Communist Party Central Committee (LCP CC) that took place on 9-10 October 1957 shows most vividly the confrontation between the conservative faction of the LCP and its more liberal part, especially regarding the situation in literature, the applied arts and journalism, and the mood of the intelligentsia in general. This confrontation was influenced by the 1956 events in Hungary and Poland. Most CC members speaking at the plenary meeting represented the conservative faction, complaining about the ‘formalism' and ‘bourgeois nationalism' cultivated by artists, as well as the indirect support for the liberal tendency by many Moscow functionaries. However, the mood at the meeting was that the conservatives at that moment were on the defensive, but they managed to strike back in July 1959, when the liberal faction was defeated.
- Rīga Kurzemes prospekts 5, Latvia LV-1067
- Charakteringas eksponatas:
The documentary entitled, “Parcel 301” (1988) brought Black Box fame. The film presents the inauguration of a memorial designed by László Rajk in the Père Lachaise Cemetery, Paris, on the 16th of June 1988, and the commemoration ceremony of the 1956 revolution and Imre Nagy that turned into an anti-dictatorship demonstration in Budapest on that same day. It is based on reports and interviews with 1956 revolutionaries, relatives of those executed for their involvement in the revolution, as well as political opposition figures.
On the 16th of June 1988, the 30th anniversary of the execution of Imre Nagy and other martyrs of the revolution, there was an unveiling of a monument for the victims of the 1956 Hungarian revolution in the Père Lachaise Cemetery in Paris. That same day, in Budapest, a commemoration of the revolution began at the unmarked graves of Parcel no. 301 in the Rákoskeresztúr Cemetery. The commemoration turned into an anti-dictatorship demonstration that continued at the Batthyány eternal flame and Heroes’ Square. The victims’ relatives and ’56 revolutionaries recalled 1956 and what this day meant to them.
Polski punk contains fragments of such fanzines as PUNK, Post and Post Remont published by Henryk Gajewski, Zjadacz Radia and Papier Białych Wulkanów by Jacek “Luter” Lenartowicz, Kanał Review by Andrzej “Amok” Turczynowicz, Organ by Tomasz Hornung, Stefan “Mikes” Mikulski’s Szmata, as well as Radio Złote Kłosy by “Ada” Dąbrowska; it also contains leaflets and brochures dedicated to bands and punk and new wave music festivals. “Ada” is the author of the majority of the photographs in the album, although it also contains photos by Michał Wasążnik and Ilik Kuruliszwili. Finally, the album is complemented with clippings from official youth press, e.g. Na Przełaj and Itd.
In 2014 Dąbrowska-Lyons published a CD album under the same title (Polski punk 1978-1982) with archive recordings from the early 1980s of Białe Wulkany, Kryzys and Tilt bands, as well as Maciek Brunet and Walek Dzedzej; i.a from their performances at Remont and at the 1st Polish New Wave Festival in Kołobrzeg and the famous 1980 Titlt concert at Teatr Studio.
Dąbrowska-Lyons is planning to publish in 2018 a new edition of the album, which has earned a legendary status and is highly valued also thanks to its punky graphic design.
This embroidered handkerchief was created by the harpist Viktoriya Poltaryeva and almost 40 female prisoners imprisoned at the Prison on Lonskogo St. in 1946. Museum curators count this among featured items, as each woman left her own unique design and initials, as well as cell number. The piece was donated to the museum by her son, Petro Poltaryev, who is also a musician like his mother. For many years, this item remained in the private archives of the Poltaryev family and is reminder of the complex and fraught relationship the Soviet authorities had with creatives, even in official ranks.
This piece is a vibrant rendering of Poltaryeva’s nine months at the prison. The women marked dates of significance when they might be missing their families and loved ones most, such as January 7, 1946, or Christmas by the Julian calendar. Given that this handkerchief was made by so many hand, each contribution was different in style, regional motifs and sewing techniques. Also important to remember are the conditions under which these women worked on this piece, which would have been forbidden, and how they managed to conceal the handkerchief from multiple searches, moves from cell to cell, and floor to floor. Needles would have been fashioned from fish bones, the fabric cut from someone’s dress, the thread pulled from the clothing they wore.Unfortunately, little is known about the women who were incarcerated alongside Poltaryeva, and considerable detective work would have to be done in order to find out who stood behind the many initials preserved on this handkerchief.