COURAGE

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Karol Radziszewski’s Kisieland is a long-term project that started in 2009. It is a piece documenting encounters of Karol Radziszewski with Ryszard Kisiel. The film is based on Kisiel's private archives and describes the underground queer and avant-garde culture in socialist Poland. It uses different visual representations of queer culture of Polish 1980s. Ryszard Kisiel, a stakeholder of the Queer Archives Institute, took various photographs of queer milieu in dark times of anti-gay campaign "Hiacynth" (1985-86), now Radziszewski stages them as a mean to reconstruct the social history of minority movements, LGBTQ strategies, and artistic avant-garde in martial state Poland. 

The masterpiece is one of the founding stones of Polish queer art - it not only shows the roots and genealogies of Polish LGBTQ identity, but also links past experiences with contemporary queer studies' discussion about resistance of minority groups.
Kisieland was purchased by the Museum of Modern Art in Warsaw in 2016 to be included in its permanent collection. 

Szőnyei found this poster while wandering in Budapest in 1983. He was immediately captured by the originality of the work displaying members of the band Kontroll Csoport as if they were wanted by the police. Below their photos, a few “distinct characteristics” are listed. This was obviously a sarcastic, provocative message for the political power. At the time Szőnyei was not aware that this part of the poster was originally covered by another orange layer stating "Strictly Confidential!" that further added to the play on meaning.

Klaniczay Júlia (ed..): A Muhina projekt. Létértelmezések Galántai György életművében / The Mukhina Project. Interpretations of Being in György Galántai's oeuvre, Vintage Galéria, Budapest, 2018, 146 p.

Kljaković wrote this autobiographical political-utopian novel during his émigré period in Rome. He dealt with the crisis of the ideological focal points of his time through the prism of real and fictitious situations, in which Kljaković stood out in particular by sharply rejecting communist ideology. Kljaković's novel was inspired by the 1956 Hungarian Revolution. For this reason, the central character is named Oskar Csokor, who suffered at communist hands in Hungary in 1956. Likewise, the very title of the novel refers to the emergence and spread of communism as a "bloody wave" that flooded the entire world of its time. The book was banned in the socialist period, so its second edition was only published in Croatia in 2011.

In this book, Kljaković recounted his memories of the turbulent political events of his life. As a civic intellectual and defender of the values of Western civilization, he was especially concerned about the rise of communism in his country and the world after the Second World War. The book was not available in Croatia and Yugoslavia until 1990 due to Kljaković's criticism of the socialist regime. It was originally published in Buenos Aires in 1952, and the Croatian edition was published only in 1992 after the collapse of communism.

Kljaković particularly emphasized his connections to the Yugoslav Partisan movement in the second half of the WWII during his exile in Italy. He described his break with it and expressed a deep scepticism in the success of the post-war project of the new Yugoslavia, pointing out that "Tito's attempts to organize Yugoslavia as a federation and to subordinate the national and religious aspects to the social ideology of “The Internationale” does not solve our problems" (Kljaković 1992: 282). According to Dukić, Tito himself told his associates that this book should not be translated into English.