COURAGE

Підключення Колекцій

Glavlit documents were transferred to the Lithuanian Central State Archives in 1986. This was related to the decision to create a separate Glavlit fond in the archives (the first transfer of documents was a purely bureaucratic decision). After Glavlit was liquidated in 1990, its documents in the archive were complemented with new documents.

In 1986, an exhibition marking the 40th birthday of the Circle of History Students was held in the University of Tartu Library. Material from the Circle of History Students archive was exhibited.
The exhibition was a rather typical jubilee exhibition, without any significant sign of opposition; but a year later, the people behind the exhibition were also at the front of the Phosphorite War, and later participated in the events of the Singing Revolution, which ultimately led to the restoration of Estonia's independence.

In the middle of the 1980s, John P. Jacob, an American writer and curator, started to collect materials for a portfolio series. The focus of the first portfolio (I. Portfolio) was body art, and Jacob decided to dedicate the second (II. Portfolio) to the photo-based works by East European artists. He was invited to Budapest to conduct his research in the Hungarian capital, since Liget Gallery wanted to show the collection.

II. Portfolio consisted of a few hundred works by some sixty artists. It was shown by Liget (II. Nemzetközi Portfolio, Liget Galéria, Budapest, 1986). Later the List Visual Arts Center at MIT also showed interest in presenting the material, though in a rearranged, selected format. This exhibition, which consisted of works by approximately thirty-five artists (Out of Eastern Europe: Private Photography. List Visual Arts Center, MIT, Cambridge, 1987), later became a wandering exhibition in the USA.

In the second half of the 1980s, many of the artists and gallerists were thinking of compiling a portfolio (to use a term that has become wideapread today). This was a bit like the internet is today, i.e. a manner of presenting the gallery to the public or to an individual. Várnagy began to put together a publication consisting largely of photocopies, in which the most important parts of the documentation of the gallery’s activities were collected in order to offer a representative sample of their activities: it presented several genres, as the preference was not to work with a group of artists (as a commercial gallery might do), but more to reveal tendencies and new genres. The first almanac was made in only 5-10 copies, and only unofficially.