{"id":753,"date":"2021-08-05T15:35:23","date_gmt":"2021-08-05T13:35:23","guid":{"rendered":"https:\/\/herito.pl\/?page_id=753"},"modified":"2023-01-19T17:31:18","modified_gmt":"2023-01-19T16:31:18","slug":"home","status":"publish","type":"page","link":"https:\/\/herito.pl\/en\/","title":{"rendered":"Home"},"content":{"rendered":"\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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\r\n NO. 58<\/strong>\r\n
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Borderlands<\/h2>\r\n <\/a>\r\n
\r\n It is impossible to think and talk about the future of Central Europe without invoking the concept of borders: both in the geographical and metaphorical sense. We wonder what the experience of the border is today: is it just a barrier, or is it still a space for meeting and exchange? Do borderlands have their own unique character? How do contemporary political, social, and mental divisions affect the lives of cities and regions? And how do they open up opportunities for cooperation and building new communities?
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Bartosz Sadulski<\/p>\r\n\r\n <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Kherson Oblast: a Liminal Being on the Land of Gods and Heroes<\/h3>\r\n <\/a>\r\n
\r\n Manukian Yulia <\/div>\r\n \r\n

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Banat<\/h2>\r\n <\/a>\r\n
\r\n The Banat has always been hidden on the fringes, in the moisture-wrapped corner of the map of Dacia, the Ottoman Empire, the Habsburg monarchy and finally Austro-Hungary, which treated the region as a buffer zone separating two worlds. Colonised with vigour, however, it became a new home for Europeans lured by the promise of prosperity – from Barcelona to the Vistula. Did those who eventually stayed create a multicultural atmosphere, or merely closed enclaves, scattered chaotically across the map? Is the Banat’s multi-ethnicity a marketing slogan or a worldwide phenomenon? What is the region today, whose name is even a Habsburg concept, and how does it cherish its centuries-old heritage?
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Bartosz Sadulski<\/p>\r\n\r\n <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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Post-mining<\/h2>\r\n <\/a>\r\n
\r\n Central Europe is unique in terms of its mining heritage, writes Barry Gamble in the latest issue of \u201cHerito\u201d. The mining industry has played a key role in social development in the area, which is why it is so important to appreciate it and think about how to preserve its legacy. How to do it and when is it worth it? We examine what place post-mining spaces have in society in the age of digital capitalism, climate apocalypse and the onslaught of developer activity. Or is this a vision of a dire tomorrow? We look for answers in interviews with experts, but also in photography, history or art.
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Bartosz Sadulski<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 54-53<\/strong>\r\n
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Estonia<\/h2>\r\n <\/a>\r\n
\r\n Estonia, the smallest of the Baltic countries, is an example of a country that, after gaining independence in 1991, quickly found its own path of development. It is a leader in digital innovation in the European Union and a country with a booming economy, which at the same time cares for its rich cultural and natural heritage.
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Jacek Purchla<\/p>\r\n\r\n <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 53<\/strong>\r\n
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Concrete<\/h2>\r\n <\/a>\r\n
\r\n Two hundred years ago, Joseph Aspdin obtained the patent for the Portland concrete. This unassuming event laid the foundation for the giant revolution in the history of architecture, which changed the landscape of the whole world in the next century.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Concrete \u2013 reuse<\/h3>\r\n <\/a>\r\n
\r\n Wi\u015bniewski Micha\u0142 <\/div>\r\n \r\n

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\r\n NO. 52-51<\/strong>\r\n
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Healthy Places<\/h2>\r\n <\/a>\r\n
\r\n Since ancient times, places for rest and relaxation have been established in Europe. The Romans founded public baths not only on the Italian peninsula, giving rise to a spa culture. The \u201cinvention\u201d of leisure in the 19th century meant that leisure was no longer the elitist pleasurable pastime of the upper classes, and the curative trip \u201cto the waters\u201d gradually democratised and become more accessible.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Healing, fixing, making better: Carpathian health factories<\/h3>\r\n <\/a>\r\n
\r\n Wi\u015bniewski Micha\u0142 <\/div>\r\n \r\n

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The Prose for the Healthy<\/h3>\r\n <\/a>\r\n
\r\n Ma\u0142ochleb Paulina <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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\r\n NO. 50<\/strong>\r\n
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The Oder<\/h2>\r\n <\/a>\r\n
\r\n The Oder, although one of Europe\u2019s longest rivers, has not engendered its own myths and stories like the Vistula. For years it remained the uglier sister of the Rhine, deputized to do the hardest work.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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The Oder Doesn\u2019t Meander Anymore<\/h3>\r\n <\/a>\r\n
\r\n Prof. Andrzej Wo\u017anica talks with Joanna Wi\u015bniowska <\/div>\r\n \r\n

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The Trial of Water<\/h3>\r\n <\/a>\r\n
\r\n R\u00f3\u017cycki Tomasz <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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Kharkiv<\/h2>\r\n <\/a>\r\n
\r\n In the Kharkiv-themed issue of Herito, we delve into the history of the city, we ask about its Ukrainian DNA, which was so clearly manifested after the Russian invasion a year ago, we check what makes it unique. We show the tangible and intangible heritage of the city, which we often looked at before through the lens of stereotypes fuelled by foreign propaganda.
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Agata W\u0105sowska-Pawlik <\/p>\r\n\r\n <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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A Kidnapped Ukraine Or Why It Is Good To Be Radical<\/strong><\/h3>\r\n <\/a>\r\n
\r\n Galusek \u0141ukasz <\/div>\r\n \r\n

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Art is important regardless of war<\/strong><\/h3>\r\n <\/a>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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Romani Culture in Central Europe<\/h2>\r\n <\/a>\r\n
\r\n In this HERITO, we look at the history of the Roma, but above all at their present, and especially at how \u201cRomaness\u201d in its broadest sense manifests itself in the architecture, culture and art of our part of the world.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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Spirit of Georgia<\/h2>\r\n <\/a>\r\n
\r\n Archaeological research conducted in Georgia, in the ancient region of Colchis, confirms 3400-year old, uninterrupted existence of the city of Kutaisi. According to Greek mythology Colchis \u2013 a dangerous land, inhabited by witches and dragons \u2013 is the place where the Argonauts, led by Jason, travel to find the Golden Fleece. Georgian culture dates back to ancient times, but we as Poles know very little about it.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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In Search of the Lost Capital<\/strong><\/h3>\r\n <\/a>\r\n
\r\n Hamburg Jacek <\/div>\r\n \r\n

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On a Georgian note<\/strong><\/h3>\r\n <\/a>\r\n
\r\n Sharikadze Nana <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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Europe on a Plate<\/h2>\r\n <\/a>\r\n
\r\n Are dumplings, bigos, or ordinary beetroots elements of our cultural heritage? Certainly, yes. “Our tables and menus reflect the entire history that swept across the continent as well as its cultural changes” writes Professor Jacek Purchla in his introduction to the recent issue of \u201cHERITO\u201d magazine. The potato decrees of Frederick II the Great had the same importance for our heritage as the Turkish expansion in the Balkans.
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Jacek Purchla<\/p>\r\n\r\n Editor-In-Chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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The potato history of Europe<\/h3>\r\n <\/a>\r\n \r\n

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\"Czarno-bia\u0142a<\/a><\/figure>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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\r\n NO. 44<\/strong>\r\n
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Austria<\/h2>\r\n <\/a>\r\n
\r\n We look at Austria through rose-coloured glasses, as a country where everyone loves waltzes, Mozart, Sacher cake, coffee, schnitzel and beer, albeit in a different order. Meanwhile, we are forgetting how varied the country is in terms of its geography, culture, and identity, stretched between two lakes \u2013 Neusiedl and Constance. Austria did not emerge ready-made on the map of Europe, but gradually built its identity and shaped its image.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Nation-building in the snow<\/strong><\/h3>\r\n <\/a>\r\n
\r\n Zeyringer Klaus <\/div>\r\n \r\n

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In the long breath of history<\/h3>\r\n <\/a>\r\n
\r\n Haderlap Maja <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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\r\n NO. 43-42<\/strong>\r\n
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Invisible places<\/h2>\r\n <\/a>\r\n
\r\n Invisibility is not an empty concept or a neat rhetorical device from the margins of Italo Calvino\u2019s book, but the lived experience of Central Europeans.
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Jacek Purchla<\/p>\r\n\r\n Editor-In-Chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Topolove, Schiavonia<\/h3>\r\n <\/a>\r\n
\r\n Jan\u010dar Drago <\/div>\r\n \r\n

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\"Widok<\/a><\/figure>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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Belarus<\/h2>\r\n <\/a>\r\n
\r\n Belarus is much closer to us than it appears to be at first sight: not only because of our shared history or the still ongoing democratic uprising, vividly reminiscent of the events of the 1980s in Poland and other Central European countries.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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On the type of Belarusian history needed by Lukashenko\u2019s regime<\/strong><\/h3>\r\n <\/a>\r\n
\r\n Sahanovich Henadz <\/div>\r\n \r\n

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\"Stara<\/a><\/figure>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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Lithuania<\/h2>\r\n <\/a>\r\n
\r\n In spite of the stereotypes established in Poland \u2013 those of the pagan Lithuanian forest or the tropes of Mickiewicz and Mi\u0142osz \u2013 the authors look at Lithuania from an unusual side, from the sea. That is why they write more about the Curonian Spit, Palanga, Nida and Klaipeda. Having reached Vilnius, they suggest a different journey \u2013 in search of less known monuments than those along the beaten track to the Gate of Dawn, choosing Jan Krzysztof Glaubitz, Wawrzyniec Gucewicz and Mikalojus Vorobjovas as their guides.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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A Story of One Square<\/strong><\/h3>\r\n <\/a>\r\n
\r\n Strakauskait\u0117 Nijol\u0117 <\/div>\r\n \r\n

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Green<\/h2>\r\n <\/a>\r\n
\r\n The issue of the HERITO quarterly devoted to the relationship between man and nature. Developed in exceptional conditions, between an epidemic, a fire in the Biebrza National Park, and the forecasts of a summer drought, it made us even more aware of the need for contact not only with other people, but also with pure nature.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 38-37<\/strong>\r\n
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Magical socialist realism?<\/h2>\r\n <\/a>\r\n
\r\n Socialist in content and national in form \u2013 these were required features of art and architecture made under the doctrine of socialist realism. Today, in Central Europe, the relics of socialist realism evoke unambiguously negative connotations. Fifty years on, are we able to look at them without these emotions? Which works have stood the test of time? Magical socialist realism \u2013 a joke or a hypothesis?
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Fantastic Socialist Realism: The Zag\u0142\u0119bie Palace of Culture in D\u0105browa G\u00f3rnicza<\/h3>\r\n <\/a>\r\n
\r\n Syska Anna <\/div>\r\n \r\n

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What if socialist realism is not over?<\/strong><\/h3>\r\n <\/a>\r\n
\r\n Cherkes Bohdan <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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\r\n NO. 36<\/strong>\r\n
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Carpathians<\/h2>\r\n <\/a>\r\n
\r\n They span over nearly fifteen hundred kilometres across the territories of eight countries and cover the space five times the size of Switzerland. For centuries they have offered the ground for the development of cultures and small centres of the world of the Boykos, Lemkos, Hutsuls, Wallachians, Sz\u00e9kelys, and the Transylvanian Saxons.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Lost space<\/strong><\/h3>\r\n <\/a>\r\n \r\n

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Transcarpathia \u2013 the edge of all countries<\/strong><\/h3>\r\n <\/a>\r\n
\r\n Lyubka Andriy <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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Europe and the East. Decade of the Eastern Partnership<\/h2>\r\n <\/a>\r\n
\r\n Has the East ceased to interest the West and how has the \u201cnew East\u201d been defined after the political transition of 1989? What was the role of the Dnieper in the formation of the Ukrainian national identity and why is the future of this country dependent on this river?
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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The Bauhaus as a Crucible of Central European Internationalism<\/strong><\/h3>\r\n <\/a>\r\n
\r\n Maciuika John V. <\/div>\r\n \r\n

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Crimea and the Tatars: a bridge between Eastern Europe and Southern Caucasus<\/strong><\/h3>\r\n <\/a>\r\n
\r\n Balcer Adam <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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\r\n NO. 34<\/strong>\r\n
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Women of Central Europe<\/h2>\r\n <\/a>\r\n
\r\n It is only recently that the role of women in history has been more fully recognised. In the early 1970s, the term \u201cherstory\u201d was coined to refer to history told from a woman\u2019s point of view. Although \u201cHerito\u201d always seeks to offer as much space to women authors and their topics as possible, we decided to dedicate the new issue entirely to women that were significant to Central European history, culture, politics, and arts \u2013 women often forgotten, underappreciated, or intentionally erased.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Free Women, Free Country<\/strong><\/h3>\r\n <\/a>\r\n
\r\n Furga\u0142 Ewa <\/div>\r\n \r\n

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\r\n NO. 33-32<\/strong>\r\n
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European Year of Cultural Heritage 2018<\/h2>\r\n <\/a>\r\n
\r\n What will remain after the European Year of Cultural Heritage 2018? How to talk about history and memory to build bridges rather than consolidate existing divisions? Where lies the key to formulating an inclusive European narrative that would express the experience of new Central European member states? Why does heritage mean people and what is the direction in which contemporary heritology will develop?
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Memory landscapes of Europeans. Is it possible to give a European meaning to national realms of memory?<\/strong><\/h3>\r\n <\/a>\r\n
\r\n K\u0105kolewski Igor, Traba Robert <\/div>\r\n \r\n

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The Pan-European Picnic Memorial Park<\/strong><\/h3>\r\n <\/a>\r\n
\r\n Szij\u00e1rt\u00f3 Zsuzsanna <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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\r\n NO. 31<\/strong>\r\n
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Danube \u2013 River of Memory<\/h2>\r\n <\/a>\r\n
\r\n The Danube is not only the longest European river, flowing through ten countries, but above all a monumental medium of historical, collective, and cultural memory. Its waters reflect the history of Europe, from the antiquity, when it marked the northern frontier of the Roman Empire, through the dramatic period of the Second World War, until today.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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The Danube flows in the wrong direction<\/strong><\/h3>\r\n <\/a>\r\n
\r\n Brix Emil <\/div>\r\n \r\n

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\r\n NO. 30<\/strong>\r\n
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The Balkans Transformed<\/h2>\r\n <\/a>\r\n
\r\n Do the Balkans still have, as Churchill suggested, \u201cmore history than they can stomach\u201d? Are they still the \u201cEuropean Orient\u201d, or a noble buffer zone? What is the condition of literatures of Balkan \u201csmaller languages\u201d and wherein lie their hopes? Or perhaps the old Balkans are no longer there, while its nations are merely stronger or weaker narratives? These are among the leading questions posed in the 30th issue of \u201cHerito\u201d quarterly.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 29<\/strong>\r\n
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Dissonant Heritage of Central Europe<\/h2>\r\n <\/a>\r\n
\r\n Should the Palace of Culture and Science in Warsaw be preserved or demolished? How to address the dissonant heritage of death camps and monuments to the Red Army? What is the secret to the phenomenon of some \u201clarge plate\u201d tower blocks and Socialist Realist architecture? Are we willing to take responsibility for the entirety of material inheritance passed to us by older generations regardless of their national or ideological connotations? Authors featured in the 29th issue of \u201cHerito\u201d quarterly seek answers to these difficult questions.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 28<\/strong>\r\n
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Memory of the Reformation<\/h2>\r\n <\/a>\r\n
\r\n On 31 October 1517, an Augustinian friar and professor of theology, Martin Luther, attached to the door of the castle church in Wittenberg his 95 theses that addressed the abuses of the Roman Catholic Church. Was this event crucial for the development of our concepts of individual freedom and human rights? Would capitalism ever be conceived without the protestant ethos? What was the role of Reformation in the shaping of modern Central European nations? These questions are tackled by authors featured in the 28. issue of \u201cHerito\u201d quarterly.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 27<\/strong>\r\n
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Krakow and the World<\/h2>\r\n <\/a>\r\n
\r\n The International Cultural Centre sees its mission and udertakings as founded on what is labelled as cultural heritage, namely using the elements of the past so as to serve present and future goals. The city understood as a mirror of civilisation \u2013 let\u2019s take Krakow as an example \u2013 was always at the core of this way of thinking. That is why we believe that the debate on the nature of the city as well as the transformation which Krakow has undergone is crucial.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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Hungary<\/h2>\r\n <\/a>\r\n
\r\n Stanis\u0142aw Vincenz used to say that the Danube river was a gate to Hungary. Horace wrote that it was as deep as the sea. The Danube unites Hungary, it is the country\u2019s spine and bloodstream. When it flows beyond Hungary, it becomes its border. And in fact, every border is fluid, it both divides and unites, it is an end and a meeting point. The Danube and Hungary are similar.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 25<\/strong>\r\n
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Silesias<\/h2>\r\n <\/a>\r\n
\r\n Silesia has a multiplicity of faces. Besides the name, it is difficult to find a common denominator between Lower and Upper Silesia or Cieszyn and Opole Silesia. The multidimensionality of the region has not been determined only by its three formative cultures: Polish, German and Czech. Other important contributors have been two great Christian traditions, Catholic and Protestant, to this day engaged in an intense dialogue with each other.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Silesia and Oicology<\/h3>\r\n <\/a>\r\n
\r\n Kunce Aleksandra <\/div>\r\n \r\n

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\r\n NO. 24<\/strong>\r\n
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Patterning. Design in Central Europe<\/h2>\r\n <\/a>\r\n
\r\n Does Central Europe have a distinctive design?\r\nIn the countries of our part of Europe \u2013 which in the last 150 years have experienced constant political, ideological, class, and cultural transformations \u2013 design reveals surprisingly many common features.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 23-22<\/strong>\r\n
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The City as a Work of Art<\/h2>\r\n <\/a>\r\n
\r\n Since the time of Plato and Vitruvius the quest for truth, goodness and beauty has been accompanied by thinking on the ideal layout of the city and composition of its space. It is thus no coincidence that the dream of the ideal city fascinated so many outstanding thinkers and artists of the Italian Renaissance. The goal of achieving harmony and perfection by creating the ideal city plan \u2013 stellar, founded on the principles of regular geometricity \u2013 has largely, with a few exceptions, remained a utopia.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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Galicia After Galicia<\/h2>\r\n <\/a>\r\n
\r\n For 150 years Galicia was an artificial construction of Austrian diplomacy, the fruit of the partitions of Poland and its failure. It has not existed now for 100 years. That is why we are constantly asking the question: why is Galicia constantly in us? Does it really determine our identity? Where does the power and attractiveness of this legacy come from today? The his- tory of Galicia provokes us to ask difficult, at times very difficult, questions, ones that often give us contradictory answers.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 20<\/strong>\r\n
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Balticum<\/h2>\r\n <\/a>\r\n
\r\n The Balticum as a geo-cultural community? Arguments to support this claim would probably be as numerous as sceptical voices. But it is not a question of evidence. Another issue seems to be much more important: why is it advisable to think in terms of large geo-cultural regions and what possibilities are openedby such thinking?
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 19<\/strong>\r\n
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Thinking the Landscape<\/h2>\r\n <\/a>\r\n
\r\n \u201cLandscape is more than painterly or visual effects,\u201d Stanis\u0142aw Vincenz wrote in 1943. \u201cIt is also the soil on which we walk and which we work, its undulation or flatness, its waters \u2013 seas, rivers or marshes \u2013 and even the air that we breathe.\u201d
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 18-17<\/strong>\r\n
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Cold War Modern Architecture<\/h2>\r\n <\/a>\r\n
\r\n Twenty years ago Adam Mi\u0142ob\u0119dzki used the term \u201csocmodernism\u201d to denote the period from the 1950s to the 1980s, and attempted to evaluate it for the first time in The Architecture of Poland published by the ICC. The assessment was not at all favourable.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 16<\/strong>\r\n
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A Century On from the Great War<\/h2>\r\n <\/a>\r\n
\r\n We, nations of Central Europe would not be there, sovereign in our own states, without that war. The long 19th century held no encouraging prediction for any auspicious turn of history. Since the Napoleonic revolution was suppressed, despite attempts repeated hither and thither, there have been no major disturbances in the peace and stability between the great powers of the Holy Alliance; even though there were constant disturbances, and temperaments were heating up; even though civilisational progress, and national and class emancipation gained incredible momentum. Until everything erupted in 1914.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 15<\/strong>\r\n
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Nations and Stereotypes<\/h2>\r\n <\/a>\r\n
\r\n History teaches us that international relations are strongly contingent on our representations of others. Even if the beliefs we live by do not find corroboration in reality, we are reluctant to discard stereotypes or prejudice, which Ambrose Bierce called \u201ca vagrant opinion without visible means of support\u201d.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 14<\/strong>\r\n
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Turcja – T\u00fcrkiye – Turkey<\/h2>\r\n <\/a>\r\n
\r\n Antemurale Christianitatis \u2013 the Bulwark of Christianity \u2013 is an important constituent of many national cultures in Central Europe. It is also the experience of the Poland and Poles. Several centuries of the Polish Republic and the Ottoman Empire as neighbours are still alive in the Polish tradition and culture.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n

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\r\n NO. 13<\/strong>\r\n
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Conflicts of Memory<\/h2>\r\n <\/a>\r\n
\r\n Each community devises specific modes of remembering, but also of forgetting uncomfortable facts. Ars memoriae and ars oblivionis constitute an inseparable pair. Common memory is a sphere that we reconstruct anew every day, even though people claim that the essence of their identity is unchanging. While history itself is a closed structure, memory is open both to individuals and to the collectivity. Collective memory reconstructs rather than registers the past; and memory is not necessarily explicit.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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On Dialogue in the Context of Conflicts of Memory<\/h3>\r\n <\/a>\r\n
\r\n Obirek Stanis\u0142aw <\/div>\r\n \r\n

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The Necessity to Forget, or How to Cope Ars Oblivionis<\/h3>\r\n <\/a>\r\n
\r\n Traba Robert <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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\r\n NO. 12<\/strong>\r\n
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Rumunia – Romania – Rom\u00e2nia<\/h2>\r\n <\/a>\r\n
\r\n Romania is a paradoxical country. Although the long 19th century was very kind to it \u2013 the young country entered the European arena and quickly acquired an esteemed position \u2013 the short 20th century did not spare it in any respect. Trapped between fascism and communism, Romania had chosen the lesser of two evils. Decades in the shadows of \u201cThe Sun of the Carpathians\u201d turned out to be the worst years of all. A sad country, full of humour\u201d \u2013 George Bacovia\u2019s prophetic words from the 1930s came true in excess.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Benjamin Fundoianu \u2013 The Unknown Face of Romanian Modernism<\/h3>\r\n <\/a>\r\n
\r\n Bartosiewicz Olga <\/div>\r\n \r\n

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\"Nieznane<\/a><\/figure>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Why Is Romania Different?<\/h3>\r\n <\/a>\r\n
\r\n Professor Lucian Boia Talks to Cristian P\u0103tr\u0103\u0219coniu <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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\r\n NO. 11<\/strong>\r\n
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Croatia in Europe<\/h2>\r\n <\/a>\r\n
\r\n The success of its European integration does not remove certain important questions from the horizon. Who do the Croats feel themselves to be? What is national identity, and is there any sense in discussing such a construct at all? Where is the boundary between \u201cpast\u201d and \u201cpresent\u201d? Should the Yugoslavian idea be filed in the archives of history once and for all? And what role will fall to the Croats in a crisis\u2011racked Europe?
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Croatia \u2013 On the EU Train, but in Second Class<\/h3>\r\n <\/a>\r\n
\r\n Drakuli\u0107 Slavenka <\/div>\r\n \r\n

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Croatia in Europe: Ex Occidente Lux \u00a0<\/h3>\r\n <\/a>\r\n
\r\n Czerwinski Maciej <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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\r\n NO. 10<\/strong>\r\n
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The Elusive Centre (of Europe)<\/h2>\r\n <\/a>\r\n
\r\n Grasping the centre is a troublesome, difficult or perhaps simply impossible task. Take, for example, the two Visegrads \u2013 places with identically sounding names, one in Hungary (Visegr\u00e1d), the other in Bosnia (Vi\u0161egrad). The first, which gave its name to them Visegrad Group, is a sign of the possibility of overcoming old feuds and building the foundations for mutual understanding between the countries of Central Europe. The other is a symbol of tragedy and an attempt at rejecting the past, building a future on forgetting.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Kassa and\u00a0M\u00e1rai. An Unhealed Wound<\/h3>\r\n <\/a>\r\n
\r\n Worowska Teresa <\/div>\r\n \r\n

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\"Niezabli\u017aniona<\/a><\/figure>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Visegrad on the Wane<\/h3>\r\n <\/a>\r\n
\r\n Sepio\u0142 Janusz <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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\r\n NO. 9<\/strong>\r\n
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S\u0142owacja – Slovensko – Slovakia<\/h2>\r\n <\/a>\r\n
\r\n Our main focus is both the past and the present of the Slovaks which is reflected in their culture and identity. On clear days we can see from our office windows the massif of Babia G\u00f3ra on the horizon; working on this issue we wished to make Slovakia and its culture not only equally visible to but also better understood by its closest and more remote neighbours.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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In Search of a Lost Slovakia<\/h3>\r\n <\/a>\r\n
\r\n V\u00e1\u0161\u00e1ryov\u00e1 Magda <\/div>\r\n \r\n

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Who Are the Slovaks? The Revival Sources of Slovak Identity<\/h3>\r\n <\/a>\r\n
\r\n Majerek Rafa\u0142 <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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\r\n NO. 8<\/strong>\r\n
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Nations – History and Memory<\/h2>\r\n <\/a>\r\n
\r\n If today is as much a mosaic of nations and their histories as a social tissue of their individual memories, families, milieus and institutions, the sphere that has emerged between them appears to be an area of tension and often conflicts. What kind of conflicts? Whose conflicts? Who and for what purpose do memory and history now serve? These are some of the questions that run through this issue, and the review of opinions it publishes opens with Miroslav Hroch\u2019s question: What does Europe still need a nation for?
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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What Does Europe Need Nations for?<\/h3>\r\n <\/a>\r\n
\r\n Hroch Miroslav <\/div>\r\n \r\n

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It\u2019s High Time Poland Recalled the Work of Moses Worobiejczyk<\/h3>\r\n <\/a>\r\n
\r\n Wilczyk Wojciech <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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Stories From Countries Which Are no More<\/h2>\r\n <\/a>\r\n
\r\n In 1989 Poland bordered three countries. Just a few years later none of them existed. During this memorable autumn Milan Kundera\u2019s dream was being fulfilled: that the countries from our part of Europe return from the East, where they wrongly found themselves, to where they should be \u2013 if not in the West then at least in the Centre.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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The Past Is not a Foreign Country<\/h3>\r\n <\/a>\r\n
\r\n Magda V\u00e1\u0161\u00e1ryova talks to Agata W\u0105sowska-Pawlik and \u0141ukasz Galusek <\/div>\r\n \r\n

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\"Magda_V\u00e1\u0161\u00e1ryov\u00e1_(2017)\"<\/a><\/figure>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Scale Models and Relays<\/h3>\r\n <\/a>\r\n
\r\n \u010colovi\u0107 Ivan <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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\r\n NO. 6<\/strong>\r\n
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Culture and Politics<\/h2>\r\n <\/a>\r\n
\r\n The history of humanity provides enough proof for what can be called the principle of support. Artists have supported many a regime with their talents. On the other hand, the fall of many a tyrant would not have come about without them. What is more, the power of art can be as attractive as any other form of power. To provoke thought, we take a look at the marriage of culture and politics in its different forms, today and in the past.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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The Supporting Principle of Art<\/h3>\r\n <\/a>\r\n
\r\n Rottenberg Anda <\/div>\r\n \r\n

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\"Kultura<\/a><\/figure>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Protest Art<\/h3>\r\n <\/a>\r\n
\r\n Andreeva Ekaterina <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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Cities for Thought<\/h2>\r\n <\/a>\r\n
\r\n Adam Zagajewski described present-day Lviv as a city half-existing, half-abandoned, lost and half-regained. The Lviv that the poet wrote of is at once the pars pro toto of the Central European city syndrome \u2013 not fully belonging to anyone, neither to those who live in it nor to those who lost it. And how many other cities we could insert in place of Lviv! The cities tied like a Gordian knot. But there is no Alexander to come, and we have to start patiently untangling these knots ourselves.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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The Small Town and the Big Wide World<\/h3>\r\n <\/a>\r\n
\r\n Lipt\u00e1k Lubom\u00edr <\/div>\r\n \r\n

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\"Ma\u0142e<\/a><\/figure>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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What About Silesia?<\/h3>\r\n <\/a>\r\n
\r\n Wilczyk Wojciech <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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Art Is Changing (a) Place<\/h2>\r\n <\/a>\r\n
\r\n To say that art is changing is to state the obvious. But the question of the way in which it is changing is not so trivial.
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Jacek Purchla<\/p>\r\n\r\n <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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A New Substance of Art<\/h3>\r\n <\/a>\r\n
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Museum \u2013 Activation<\/h3>\r\n <\/a>\r\n
\r\n Jagodzi\u0144ska Katarzyna <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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The City and the Museum<\/h2>\r\n <\/a>\r\n
\r\n Cities are museums of a sort \u2013 as three-dimensional illustrations of history, huge collections, but also treasure chests in which the spirit of the place hides. Unfortunately, the history of our part of the continent has rarely left them intact. Their existence here is a story of ups and downs.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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The Castle for Berlin, or Berlin for the Castle?<\/h3>\r\n <\/a>\r\n
\r\n Maciuika John V. <\/div>\r\n \r\n

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\"Zamek<\/a><\/figure>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Corrected History<\/h3>\r\n <\/a>\r\n
\r\n Bartetzky Arnold <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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Imagined Identities<\/h2>\r\n <\/a>\r\n
\r\n Imagined communities, called thus by Benedict Anderson, revealed the principle of nation-building, namely inculcating an image of a translocal community to which people belong.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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Imagined Geography. Yugoslav and Post-Yugoslav Maps<\/h3>\r\n <\/a>\r\n
\r\n D\u0105browska-Partyka Maria <\/div>\r\n \r\n

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\"Mapy<\/a><\/figure>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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A Transmigrant\u2019s Identity<\/h3>\r\n <\/a>\r\n
\r\n Bucholc Marta <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n \r\n
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Symbols and Clich\u00e9s<\/h2>\r\n <\/a>\r\n
\r\n In the first issue, entitled Symbols and Clich\u00e9s<\/em>, we give a critical airing to notions connected with national ideologies and political myths and their functions, and look also at their various reflections in art, architecture and the landscape.
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Jacek Purchla<\/p>\r\n\r\n Editor-in-chief<\/small> <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n\r\n <\/div>\r\n <\/div>\r\n

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How We See Each Other. Images and Prejudices of Nations in Central Europe<\/h3>\r\n <\/a>\r\n
\r\n Kiss Csaba G. <\/div>\r\n \r\n

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The Mythological Foundations of History<\/h3>\r\n <\/a>\r\n
\r\n Rottenberg Anda <\/div>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n Go to bookstore<\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/section>\r\n\n\n
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Worth a look<\/h2> <\/a>\r\n
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Art and Heritage in Central Europe<\/div><\/a>\r\n
Conferences<\/div><\/a>\r\n 7 April 2026 <\/span>\r\n \r\n

Call for Papers: “Transnational Artistic Relations in the Cold War Era” (Prague, 25 November 2026)<\/h3>\r\n <\/a>\r\n \r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n
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Art and Heritage in Central Europe<\/div><\/a>\r\n
Exhibitions<\/div><\/a>\r\n 1 April 2026 <\/span>\r\n \r\n

Exhibition “Kinetic Visions.\u00a0Nicolas Sch\u00f6ffer and Victor Vasarely in Dialogue” at the Hungarian National Gallery in Budapest<\/h3>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n
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Art and Heritage in Central Europe<\/div><\/a>\r\n
Conferences<\/div><\/a>\r\n 26 March 2026 <\/span>\r\n \r\n

Call for Papers: “Infrastructure of Memory Exhibitions: Difficult Past Through Art, Museum, and Curatorial Practices” (\u0141\u00f3d\u017a 16-18 September 2026)<\/h3>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n
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Art and Heritage in Central Europe<\/div><\/a>\r\n
Exhibitions<\/div><\/a>\r\n 20 March 2026 <\/span>\r\n \r\n

Exhibition “Franti\u0161ek Bla\u017eo \u2013 Everything is only temporary” at the East Slovak Gallery in Ko\u0161ice<\/h3>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n
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Art and Heritage in Central Europe<\/div><\/a>\r\n
Conferences<\/div><\/a>\r\n 17 March 2026 <\/span>\r\n \r\n

Call for Papers: “Early Modern Texts on Mural Paintings” (Cracow, October 15\u201317, 2026)<\/h3>\r\n <\/a>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n <\/div>\r\n\r\n <\/div>\r\n <\/div>\r\n
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READ BY CATEGORY<\/p>\r\n

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