The bequest of Imre Baász is proof of the progressiveness of his thinking, the innovativeness of his artwork, and the dynamic cooperation in which he engaged in times of political, cultural, and intellectual oppression. In the 1980s, the progressive, radical creative work was detached from the capital Bucharest, which served as the perpetual center. In this reversed centrum–periphery relationship, the periphery offered more freedom, and it ensured security and the possibility of invisibility. An important example from Transylvania of the micro-groupings which promoted progressive ideas and Western European styles and methods is the MaMű Association of Târgu-Mureș, which actively encouraged the practice of concept art, mail art, action art, and abstract artistic language in general. Imre Baász, though never an official member of the MaMű, shared their artistic view and language, and his work in the town of Sfântu Gheorghe can be considered as the prolongation of the Association’s work.
- Sfantu Gheorghe, Sfântu Gheorghe, Romania
- Imre Baász: Bar breaker [A rácstörő/ Spărgătorul de gratii], linocut, 1976
- Imre Baász: File [Dosszié/Dosar], 1973, aquatinta, 45.1x34 cm
- Imre Baász: Step by step [Lépésről lépésre], 1983, mail art
- Imre Baász: The Burial of the Suitcase [A bőrönd elásása], 1979, performance
- Imre Baász: The Chances of Survival [A megmaradás esélyei/Șansele supraviețuirii], 1981, installation
- Migrating Birds [Vándormadarak/Păsări călătoare], 1984, silkscreen print
This ad-hoc collection consists of the work of Binka Zhelyazkova, an emblematic Bulgarian cinema director, as it is preserved in the Bulgarian National Film Archive, plus related materials. Zhelyazkova was among the first generation of professional Bulgarian cinematographers and one of the first female directors not only in Bulgaria, but in general. The collections informs not only about the work of this notable director but gives also insight into the development of Bulgarian cinema throughout the entire period of state socialism.The collection comprises the films of Binka Zhelyazkova as well as extensive written materials (film documentation, reviews in the press etc.) and photographs. It outlines the contradictory and dramatic cultural situation in Bulgaria in the second half of the 20th century. The materials exemplify the pressure exerted on artists as well as of their opportunities of resistance and evasion, of maintaing personal and political integrity, and of creating socially engaged, vanguard cinema.