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Programs

Living Memorial is a counter-memorial initiated by the public and a grassroots social movement. It is a series of demonstrations since March 2014 based on participation and public discussions in the public space, organised by civilians against the Memorial for the Victims of the German Occupation of Hungary.
"The aim of the National Arts Foundation was to: support and set an example for the acquaintance of all social layers and cultural circles to the Hungarian National Art, a knowledge if absent makes it impossible to get a real picture of the Hungarian Nation and Hungarian Culture - all this carried out with a respect of duty, freedom of speech and artistic freedom in the name of a brighter future!"
When do ethics become more important than aesthetics? How to believe in a utopia that art can heal and change the world? Can a cooperative movement save the world from a disaster? These are the questions with which a group of artists have been grappling for over 20 years, resisting the political and social environment in Serbia by way of subversive artistic practices.
The name Pérák was derived from a general word for a spring and the suffix -ák, often used to form an informal name. The name was motivated by his significant feature, i.e. the springs- steal springs on his feet that helped this cartoon character overcome the most difficult of obstacles. Traces of the legendary phantom, who first appeared in 1946, have been apparent in the Czech visual culture for more than seventy years.
Miroslav Barták(*1938) graduated from a naval academy and spent a large part of the sixties on business ships as an engineer. When he could draw in his spare time, he wasn’t so much interested in the motives of exotic lands or the peculiar physiognomy of their inhabitants. He didn’t aspire to prove his skills of capturing the outside world; he was rather interested in discovering what he could tell about it in the lines of his drawings. Quite soon he found the ideal actor for his meticulously directed scenes: a male figure, whose crucial feature was an absent mouth.
We are used to reading lines of a drawing similarly to how we read physical features of a human face. From those several lines and points we manage to distinguish not only personality but also guess the state of mind it currently finds itself in. Drawn characters has become a common part of our visual environment. In them we will read testimonies about our traits and our acts that are, thanks to the character itself, freed from the weight of fatal determination.
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