The struggle for control of Romani identity: Emancipation after 1945 20 April 2023 A picture containing outdoor, sky, tree, person Description automatically generated A person and person posing for a picture Description automatically generated with medium confidence Klara Kemp-Welch, Networking the Bloc, 2019 Jiří Kovanda (*1953) Jiří Kovanda, November 19th, 1976. A group of people walking down a street Description automatically generated with low confidence A picture containing snack food Description automatically generated Jiří Kovanda, Slimák, 1989 / 2020, rohlík, špendlíky, rozměry variabilní Jiří Menzel, Skřivánci na niti (Larkson a String, 1969) - Based on Bohumil Hrabal’s “Inzerát na dům, ve kterém už nechci bydlet” (1965) A group of people standing around a table with food on it Description automatically generated with medium confidence Eva Davidová (1932–2018) Roma in Kendice, eastern Slovakia, 1960. Photographer: Eva Davidová. From the Gypsy Lore Society Collections, University of Liverpool Special Collections and Archives. A picture containing text, outdoor, ground, standing Description automatically generated ethnologist, folklorist, art historian, but above all co-founder of Czech Romani studies and photographer Exhibition of photographs by Eva Davidová entitled Gypsies yesterday, today and tomorrow, Košice, Czechoslovakia, 1962. Photographer: Eva Davidová. From the Gypsy Lore Society Collections, University of Liverpool Special Collections and Archives. A room with posters on the wall Description automatically generated with medium confidence Valie of the series Iľja Jozef Marko, Dornkappel – a suburb of three languages, 1938 A picture containing text, old Description automatically generated A group of people working in a field Description automatically generated with medium confidence A group of people outside a small house Description automatically generated with low confidence György Buday, Illustration for a folk poem, 1930s A picture containing text, indoor Description automatically generated Judit Kárász, Fifteen kilometres from Town to Homestead , 1933 (Exhibition view) A picture containing text, indoor, wall, floor Description automatically generated Text, letter Description automatically generated A picture containing text, newspaper, white Description automatically generated “15km from Vienna”, Der Kuckuck, 9 March 1930 A picture containing outdoor, person, group, crowd Description automatically generated Judit Kárász, Lunch in the Shade, Makó, 1930s A picture containing text, person, old, crowd Description automatically generated A picture containing grass, outdoor, field, mammal Description automatically generated Judit Kárász, Onion Field, Makó, 1930s Irena Blühová, Breakfast in the Forest, 1930s Josef Koudelka (*1938) A person standing on top of a tank with a person on top Description automatically generated with low confidence A person pointing at a statue Description automatically generated with low confidence "The maximum, that is what has always interested me" https://www.magnumphotos.com/photographer/josef-koudelka/ P. P. (Prague Photographer) A person sitting next to a horse Description automatically generated with medium confidence Gypsies, 1975 A picture containing outdoor, sky, tree, person Description automatically generated Magnum Photos When I came across gypsies, I found that there was something about me. Photographer and critic Jiří Jeníček, who somehow discovered me, used to tell me: "Kudeláčka, the photographer makes the subject and the subject makes the photographer. Zdroj: https://www.lidovky.cz/orientace/kultura/josef-koudelka-mit-vsechno-ostre.A110805_170321_ln_ kultura_wok A group of children standing outside a house Description automatically generated with low confidence A picture containing outdoor, ground, person, street Description automatically generated Photographs 1956-1988 A photography of social relations The First World Romani Congress, 1971. London. A group of people holding signs Description automatically generated Rozana Kuburovič, The First World Romani Congress, 1971. A group of people holding a sign Description automatically generated with medium confidence Rozana Kuburovič: Rom*nja-Flag, 1971. Private collection. A picture containing text Description automatically generated A picture containing ceiling, indoor, floor, several Description automatically generated Averklub Collective, Manuš Means Human, Kunsthalle Wien, 2021 A group of people posing for a photo Description automatically generated with medium confidence Chanov-Estate 1980s, archive Helena Nistorová Exhibition view, 2021 Averklub Collective, Social Murder (still), 2021. A picture containing grass Description automatically generated Vincent Danihel, Manuš Means Human (Manuš znamená člověk), 1986 -Merging socialist past (Danihel) and the present -Averklub Collective: “the desire for a dignified life common to all ordinary folk who are prevented from participating in decisions regarding their own fates”. -Importance of symbols for affirmation Icon Description automatically generated Flag of the Roma people The naïve art movement -bright colors, “child-like perspective”, idiosyncratic scale -simple, easily-understandable and often idealized scenes of everyday life -naïve artist - often self-taught - uniquely literal, yet extremely personal and coherent, vision of what the world was, is or should be -timeless and optimistic depiction of an ancient story or Biblical tale, an ordinary occurrence or current event, a special ceremony or daily activity Janos Balasz, Untitled, 1959, Kalman Maklary Fine Arts, Budapest, Hungary. A painting of a group of people Description automatically generated with low confidence A picture containing plant Description automatically generated Henri Rousseau, The Dream, 1910 A group of people outside a house Description automatically generated with medium confidence Anna Mary Robertson “Grandma” Moses’ ‘A Country Wedding’ (1951) Janos Balasz (1905–1977) A picture containing text, painted, painting Description automatically generated Women, 1968 A picture containing colorful, painted, decorated, fabric Description automatically generated Dream Teréz Orsós (1956–2021) - Teaching art classes from 1972 onwards -1979 first national (Hungarian) exhibition of Self-taught Artists -Exhibition in Hungary, Austria, Czechoslovakia, Switzerland, China and the US - A picture containing text, indoor Description automatically generated Börtönben / In prison ‘These paintings are with red colours. That’s the colour of love. If I do not use red, love-colour, it doesn’t mean that there is no love in me. I do have plenty of it. I feel that love almost bursts out of me. But my inner mood, my slightly sad life can be seen in this picture, where the brown dominates. At that time I didn’t feel anything, no love and I felt I wanted to be alone. This one with the prison is a fantasy painting. ‘Cause I’ve never been to prison, thanks God. The prison means that you are closed away from something, probably the world around you. Sadly, I could say I do not have any private life.’ István Szentandrássy (1957–2020) A picture containing text, indoor, colorful, painting Description automatically generated Lindri Dream A picture containing text, old Description automatically generated Gypsy Musician Nihad Nino Pušija (*1965) A group of people posing for a photo Description automatically generated ‘I was able to achieve a successful disruption of the canon of visual representation of Roma with the selection of Nihad Nino Pušija’s photographic works. I invited him to the exhibition with a small collection of non-typical “gypsy” photographs. My aim was simply not to repeat the images expected from the “ethno-industry” in order to point out a very important aspect: In order to legitimize themselves as artists, Romani artists do not have to create “gypsy-typical” works. I go even further: the versatility of the photographic motifs in Pušija’s work (see also the catalogue text by Dr. Sibylle Badstübner-Gröger) refers much more “honestly” to the complexity of ethnicized determinations of identity or to national affiliations and simultaneous hybridities - in Pušija’s case to ex-Yugoslavian and German culture - than is the case in “conventional” illustrations of Roma.’ André Raatzsch https://www.romarchive.eu/en/collection/50x-fotografien-ohne-antiziganismus/ http://www.fotofabrika.de/