ABSTRACT
Andrea Bátorová investigates the question of what public space meant in the centrally supervised field of culture and social life during the so-called normalization period of former Czechoslovakia. Which way unofficial artistic interventions in public space constituted reality? Could one speak of a public space at all? In her case studies Bátorová focuses on performances of Slovak non-conformist artists, who confronted existing condition by maintaining, partially disturbing, and disrupting the Havelian ritual and the panorama. These categories of action help to grasp the status of unofficial activity in an official context and a space of “pseudo-public”.
