alternativne oblike izobraževanja
alternativni življenjski slog in odproti proti vsakdanjemu
avantgarda, neoavantgarda
cenzura
demokratična opozicija državni nadzor
emigracija/izgnanstvo
film filozofska/teoretična gibanja
gibanje za človekove pravice glasba
književnost in književna kritika kritična znanost
likovna umetnost ljudska kultura
manjšinska gibanja medijska umetnost
mirovna gibanja nacionalna gibanja
narodna gibanja
neodvisno novinarstvo partijski disidenti
popularna kultura
samizdat in tamizdat socialna gibanja
survivors of persecutions under authoritarian/totalitarian regimes
svoboda vesti
theatre and performing arts
underground culture
verski aktivizem
visual arts
women's movement
youth culture zaštita okoliša
znanstvena kritika
študentsko gibanje
artefakti
drugo
film
fotografije
glasbeni posnetki
glasovni posnetki
grafika
karikature
kipi
likovna dela
obleke
pohištvo
pravna in/ali finančna dokumentacija
predmeti uporabne umetnosti preostala umetniška dela
publikacije rokopisi siva literatura spominki strojna opema
video posnetki
The items in Rudolf Sikora’s personal collection are important because of the value they acquired through their connection between the original artistic happenings and the meaning they were given in relation to normalisation-era policies. Their reference to the avant-garde were seen as oppositional, and this fact influenced Sikora’s further activities as well as the entire group of artists commenting on and creating works with similar themes, such as environmental issues. The collection was created gradually since 1970, particularly from the time of a so-called Open atelier in his appartement on Tehelná street in Bratislava (19 December 1970). Although the pieces in his personal collection are only a fraction of his artistic production, for the majority of this was recently acquired by the Slovak national gallery, they still have significant value.
The aim of the C³ video archive is the complete compilation, preservation, cataloguing, archiving and digital transfer of Hungarian video art. Primarily, it was visual artists who began to experiment with this difficult-to-access (due to state control) medium in the second half of the 1970s. Their endeavours were not institutionally supported, with the exception of a few independent workshops. The archive aims to preserve these technologically unstable materials (earlier considered radical approaches to the moving image) in digital format, and, based on research, to make them available in their historical and international context.