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Author: Dóra Hegyi - Zsuzsa László
Keywords: collaboration, happening, private venue
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Invitation card (courtesy of Tamás St.Auby)
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Photo: Gyula Zaránd (courtesy of Tamás St.Auby)
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Photo: Gyula Zaránd (courtesy of Tamás St.Auby)
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Photo: Gyula Zaránd (courtesy of Tamás St.Auby)
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Photo: Gyula Zaránd (courtesy of Tamás St.Auby)
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Photo: Gyula Zaránd (courtesy of Tamás St.Auby)
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Photo: Gyula Zaránd (courtesy of Tamás St.Auby)
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Photo: Gyula Zaránd (courtesy of Tamás St.Auby)
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Photo: Gyula Zaránd (courtesy of Tamás St.Auby)
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Photo: Gyula Zaránd (courtesy of Tamás St.Auby)
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Photo: Gyula Zaránd (courtesy of Tamás St.Auby)
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Photo: Gyula Zaránd (courtesy of Tamás St.Auby)
Date: 25 June 1966
Participants and organizers: Gábor Altorjay, Tamás Szentjóby (with the cooperation of Miklós Jankovics and István Varannai, with the help of Enikő Balla, Miklós Erdély, and Csaba Koncz)
Location: The cellar of István Szenes, Budapest
The happening was organized in the cellar of a private house by Gábor Altorjay and Tamás Szentjóby.
There were about sixty viewers. In addition to a short film and several photographs there are three detailed written descriptions of the happening: a review of the happening published by László Kamondy in the weekly magazine, Tükör; the recollections of Gábor Altorjay published two years later as an appendix to the article by Ottó Tolnai entitled “On the Newest Hungarian Poetry” in the Novi Sad Hungarian language magazine New Symposium; and a secret police report also written in 1968. All three texts differ at points regarding how and what happened, and what sense it made.
Documents:
Gábor Altorjay: The Lunch (in memoriam Batu Khan) (1968)
Anonym secret police officers: Summary report and action plan regarding happenings (1968)
The Lunch (in memoriam Batu Khan) – The first Hungarian Happening – n/8, b&w film, camera: László Gyémánt.
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Author: Dóra Hegyi - Zsuzsa László
Keywords: abstract art, avant-garde, semi-public event
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Cover of the catalog.
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Page from the exhibition catalog. Photo of Lajos Kassák. Caption: “I have been constructing myself for eighty years.” (from the catalog)
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Poster of the exhibition.
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Victor Vasarely’s letter to Kassák (from the catalog)
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The opening of the exhibition, with Máté Major, János Frank, and Lajos Kassák in the photo. Photo: Géza Szebellédy (courtesy of Kassák Múzeum)
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The opening of the exhibition, the audience. Photo: Géza Szebellédy (courtesy of Kassák Múzeum)
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Pages showing the documents of the exhibition from the catalog The sixties – New Trends in Hungarian Visual Art, 1991, Hungarian National Gallery.
Date: 03 March 1967
Participant: Lajos Kassák (1887-1967)
Opening by: Máté Major (1904-1986, architect, editor)
Location: Adolf Fényes Hall, Budapest
The occasion for this exhibition was the 80th birthday of the artist,who since 1949, was hardly able to get official permission to exhibit his abstract works in Hungary. The Adolf Fényes Hall was an exhibition space offered for self-financed shows that were not funded by the state – as all other public exhibitions – but by the artists themselves. The author of the text, Ferenc Csaplár (1940-2007), was the director of the Kassák Múzeum from its foundation in 1976 until 2007. This article was written on the occasionof an exhibition with the same title.
Documents:
Ferenc Csaplár: From Prohibition to Tolerance, Kassák’s Work and the Cultural Politics of the 1960s (2006)
Victor Vasarely’s letter to Lajos Kassák (1966)
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Author: Dóra Hegyi - Zsuzsa László
Keywords: abstract art, avant-garde, censorship, non-art venue, painting, performative practices, poetry, pop art, semi-public event
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Miklós Erdély: Dirac in front of the box office, November 29, 1968 (Courtesy of the Heirs of Miklós Erdély and Erdély Miklós Foundation)
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Miklós Erdély: Dirac in front of the box office, November 29, 1968 (Courtesy of the Heirs of Miklós Erdély and Erdély Miklós Foundation)
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Miklós Erdély: Presentiments, November 29, 1968 (Courtesy of the Heirs of Miklós Erdély and Erdély Miklós Foundation)
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Invitation leaflet (from the “Iparterv 68-80” catalog)
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Photo of the ’68 exhibition (from the “Dokumentum 69-70” catalog)
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Photo of the ’68 exhibition (from the
“Dokumentum 69-70” catalog)
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Cover of the exhibition catalog, 1968. Design: György Kemény.
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Invitation card of the “Iparterv II” exhibition,
1969. Design: György Kemény (from the “Iparterv 68-80” catalog)
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Photo of the exhibition “Iparterv II.” showing the works of Gyula Konkoly, Tamás Szentjóby, and Imre Bak, 1969 (From the publication “A magyar neoavantgard első generációja 1965-72”)
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Photo of the exhibition “Iparterv II” showing the works of István Nádler, Tamás Hencze, Gyula Konkoly, and Krisztián Frey, 1969 (From the publication “A magyar neoavantgard első generációja 1965-72”)
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Page from the “Iparterv 68-80” catalog showing the interior of “Iparterv II” exhibition.
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The cover of the catalog “Dokumentum 69-70”.
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The cover of the catalog “Iparterv 68-80”.
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Detail from the first page of the exhibition catalog
Iparterv 68-80
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Lajos Németh’s (1929 -1991, art historian and critic) review on the “Iparterv I” exhibition (from the “Iparterv 68-80” catalog)
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The speech opening “Iparterv I” by János Tölgyesi, art historian (from the “Iparterv 68-80” catalog)
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Péter Sinkovits’ leaflet for the catalog “Iparterv I” (from the catalog “Iparterv 68-80”)
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László Beke and Péter Sinkovits preparingthe “Iparterv 68-80” exhibition. Photo: György Makky (courtesy of György Makky)
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Tamás Hencze, István Hajdu, András Baranyay preparing
the “Hommage á Iparterv
68/69” exhibition in Fészek Gallery in 1988.
Photo: György Makky
(courtesy of György Makky)
Dates: 29 November 1968 (Do You See What I See), 22 December 1968 (Iparterv I), 24 October 1969 (Iparterv II)
Participants: Imre Bak, András Baranyay, Miklós Erdély, Krisztián Frey, Tamás Hencze, György Jovánovics, Ilona Keserü, Gyula Konkoly, László Lakner, János Major, László Méhes, Sándor Molnár, István Nádler, Ludmil Siskov, Tamás Szentjóby, Endre Tót
Organizer: Péter Sinkovits (Iparterv I and II)
Opening by: János Tölgyesi (Iparterv I)
Location: Iparterv State Architectural Office, meeting hall, Budapest
Tamás Szentjóby planned an exhibition entitled “Donor” in July 1968, in the Iparterv State Architectural Office, but it was cancelled after the invitation leaflet was printed and distributed. Three months later and three weeks before the famous first Iparterv exhibition he organized actions to be presented in the same location with Miklós Erdély and László Méhes entitled “Do You See What I See.” In the “Iparterv 68-80” catalog issued in 1980 Erdély described these actions as his connection to the Iparterv group.
The hall of the Iparterv Office was not used regularly for exhibitions and the shows were open only for a few days. The first famous group show presenting the “first generation of the neo-avantgarde” in 1968 was accompanied by a small catalog containing a short introduction by the curator, Péter Sinkovits and the reproduction of the works and the CVs of the participants.
In 1969 four more artists, András Baranyay, László Méhes, János Major, and Tamás Szentjóby accepted Sinkovits’ invitation. A year later a catalog was printed illegally in the printing house of the Iparterv Office with a slightly different list of artists (Tamás Szentjóby had a separate flyer placed in the catalog, Sándor Molnár was left out, Miklós Erdély and Attila Pálfalusi included).
In 1980 a commemorating exhibition was initiated by art historian László Beke (1944) and Lóránd Hegyi (1954). On this occasion a comprehensive English-Hungarian publication was issued containing several studies and also documents of the previous exhibitions in addition to the works of the participants. Finally, shortly before the Regime Change, in December 1988 a three-part “Hommage à Iparterv” series was organized in the Fészek Gallery by Lóránd Hegyi.
Documents:
Péter Sinkovits: Introduction of the publication Document 69–70 (1970)
Miklós Erdély describing his connection to the Iparterv Group (1980)
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Author: Dóra Hegyi - Zsuzsa László
Keywords: abstract art, conceptual art, environment / installation, experimental sculpture, irony, painting, site-specificity
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Opening of the exhibition (courtesy of György Jovánovics)
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Opening of the exhibition – radio action (courtesy of György Jovánovics)
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Opening of the exhibition (courtesy of György Jovánovics)
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Opening of the exhibition (courtesy of György Jovánovics)
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The interior with György Jovánovics and István Nádler (courtesy of György Jovánovics)
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The exhibition (courtesy of György Jovánovics)
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The exhibition (courtesy of György Jovánovics)
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The exhibition (courtesy of György Jovánovics)
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The exhibition (courtesy of György Jovánovics)
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György Jovánovics’s sculpture in his studio
before the exhibition. Photo: András Baranyai (courtesy of György Jovánovics)
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Event in the garden of Miklós Erdély with the sculpture of György Jovánovics. Photo: György Erdély (courtesy of György Erdély and György Jovánovics)
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Event in the garden of Miklós Erdély with the sculpture of György Jovánovics. Photo: György Erdély (courtesy of György Erdély and György Jovánovics)
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Event in the garden of Miklós Erdély with the sculpture of György Jovánovics. Photo: György Erdély (courtesy of György Erdély and György Jovánovics)
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Design by György Jovánovics for his page in the catalog Hungarian Artists (Foksal Gallery, Warsaw, 1972), for which he used a photograph taken at the opening (courtesy of György Jovánovics)
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Design by György Jovánovics for his page in the catalog Hungarian Artists (Foksal Gallery, Warsaw, 1972), for which he used a photograph taken at the opening (courtesy of György Jovánovics)
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Invitation leaflet of György Jovánovics’s lecture, “The Best Work of My Life”
(courtesy of György Jovánovics)
Date: 15 March 1970
Participants: György Jovánovics (1939), István Nádler (1938)
Opening action with János Frank (1925 – 2004)
Location: Adolf Fényes Hall, Budapest
The Adolf Fényes Hall was a gallery offered for the presentation of tendencies that were not supported but tolerated by the official cultural politics. In addition to István Nádler’s geometric paintings György Jovánovics exhibited a huge plaster sculpture, whose shape was repeating to the ground plan of the gallery. The exhibition was opened by a fictive radio program that – after the most important international news of the day reported on the exhibition itself . After the exhibition, Jovánovics transported the work to Miklós Erdély’s garden, where the sculpture became the setting for a number of spontaneous events, some of which were documented in photographs. Later Jovánovics called this work, more precisely the opening “the best work of my life” in a lecture reconstructing the event held in Artpool Art Research Center. In the 1980s it also inspired János Sugár (1958) to make an exhibition and shoot a film in the same location.
Documents:
Tape script of the opening action (1970)
Invitation leaflet for György Jovánovics’s public lecture at Artpool P60, “The Best Work of My Life” (1999)
János Sugár on Adolf Fényes Hall, his film Persian Walk, and his exhibition “Exhibition Scenery” (1999)
Video of György Jovánovics’ lecture at Artpool (1999)
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Author: Dóra Hegyi - Zsuzsa László
Keywords: conceptual art, documentary film, environment / installation, non-art venue, social criticism
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The exhibition. Photo: János Gulyás (courtesy of János Gulyás)
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Preparing the installation. Photo: János Gulyás (courtesy of János Gulyás)
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The opening. Photo: László Beke (courtesy of László Beke)
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The opening. Photo: László Beke (courtesy of László Beke)
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Still from the film Pseudo (director: János Gulyás, 1970,
13’ graduation film, Hungarian Film Academy)
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Still from the film Pseudo (director: János Gulyás, 1970,
13’ graduation film, Hungarian Film Academy)
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Still from the film Pseudo (director: János Gulyás, 1970,
13’ graduation film, Hungarian Film Academy)
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Still from the film Pseudo (director: János Gulyás, 1970,
13’ graduation film, Hungarian Film Academy)
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Still from the film Pseudo (director: János Gulyás, 1970,
13’ graduation film, Hungarian Film Academy)
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Still from the film Pseudo (director: János Gulyás, 1970,
13’ graduation film, Hungarian Film Academy)
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Still from the film Pseudo (director: János Gulyás, 1970,
13’ graduation film, Hungarian Film Academy)
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Still from the film Pseudo (director: János Gulyás, 1970,
13’ graduation film, Hungarian Film Academy)
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Still from the film Pseudo (director: János Gulyás, 1970,
13’ graduation film, Hungarian Film Academy)
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Still from the film Pseudo (director: János Gulyás, 1970,
13’ graduation film, Hungarian Film Academy)
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Still from the film Pseudo (director: János Gulyás, 1970,
13’ graduation film, Hungarian Film Academy)
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The exhibition. Photo: János
Gulyás (courtesy of János Gulyás)
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The exhibition. Photo: János
Gulyás (courtesy of János Gulyás)
Date: 3 October 1970
Participant: Gyula Pauer (1941)
Location: József Attila Culture House, Budapest
Gyula Pauer’s two day exhibition could be realized in an off-site culture house as scenery for János Gulyás’s graduation film at the Hungarian Academy of Theatre and Film. The reporter, Géza Perneczky, art historian and artist, interviewed the audience, critics and the artist at the opening.
The room’s walls, ceiling and floor was covered with plastic foil that was spray-painted in a folded state. Gyula Pauer’s First Pseudo Manifesto was distributed as a flyer during the opening.
Documents:
Visitors interviewed during the opening of the exhibition “Pseudo” (1970)
Gyula Pauer: The First PSEUDO Manifesto (1970)
János Gulyás: Pseudo (1970)
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Author: Dóra Hegyi - Zsuzsa László
Keywords: avant-garde, collaboration, conceptual art, environment / installation, festival, irony, metaphors of repression, performative practices, political reflection, semi-public event, site-specificity
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The poster of the banned Avant-Garde festival planned at the Bercsényi Club, Budapest, April, 1972 (courtesy of Artpool Art Research Centre)
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Call for the Direct Week (courtesy of Tamás St.Auby)
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Visitors sleeping in the Chapel during the
Direct Week. The work Conflagration Mock Up by Tamás Szentjóby can be seen in the background.
Photo: György Galántai (courtesy of Artpool
Art Research Centre)
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Tamás Szentjóby: Exclusion Exercise – Punishment-Preventive Auto-Therapy. Photo: Benke László (courtesy of Tamás St. Auby)
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Miklós Erdély: Brushwood is the Proletariat of Fuel – action and object. Photo: György Galántai
(courtesy of Artpool Art Research Centre)
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Miklós Erdély: Brushwood is the Proletariat of Fuel.
Captions: Semi-Brushwood, Miscellaneous Brushwood, Brushwood to “Épater Le Bourgeois”,
Birch, Stone Stricken Brushwood, Brushwood Against Demagogy, Packed Brushwood
Brushwood As You Need! Photo: György Galántai (courtesy of Artpool Art Research Centre)
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Miklós Erdély: Brushwood is the Proletariat of Fuel – action and object. Photo: János Gulyás
(courtesy of Artpool Art Research Centre)
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Mihály Kornis, Gyula Pauer, Júlia Veres, Miklós Haraszti (from left to right) recording Gyula Pauer’s Pseudo Advertistment.
Photo: György Galántai
(courtesy of Artpool
Art Research Centre)
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Gyula Pauer: Marx-Lenin, 1971. It was exhibited as a leaflet with the cut out contour
folded on the newspaper clipping so that the visitors could open it. (courtesy of the heirs of Gyula Pauer and Artpool Art Research Centre)
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Gyula Pauer: Marx-Lenin, 1971. It was exhibited as a leaflet with the cut out contour
folded on the newspaper clipping so that the visitors could open it.
(courtesy of the heirs of Gyula Pauer and Artpool Art Research Centre)
Date: 6-9 July 1972
Organisers: Gyula Pauer (1941), Tamás Szentjóby (1944)
Participants: László Beke, Miklós Erdély, Gyula Gulyás, Miklós Haraszti, László Haris, Ágnes Háy, Tamás Hencze, Péter Lajtai, Péter Legéndy, József Molnár V., Gyula Pauer, Margit Rajczi, Tamás Szentjóby, Endre Tót
Location: Chapel Studio of György Galántai, Balatonboglár
Direct Week was an exhibition and event series that incorporated works and actions replying to Pauer’s and Szentjóby’s call, as well as lectures and screenings that were originally in the program of the “Avantgarde Festival” planned in April in a Budapest Club, but banned shortly before its scheduled date.
Documents:
Gyula Pauer, Tamás Szentjóby: Call for “Direct Week” (1972)
Gyula Pauer: II. Pseudo Manifesto (Advertisement) (1972)
Tamás Szentjóby: Exclusion exercise – Punishement-Preventive Autotheraphy (1969-72)
Source: Törvénytelen avantgárd. Galántai György balatonboglári kápolnaműterme 1970–1973 [Illegal Avant-garde, the Balatonboglár Chapel Studio of György Galántai 1970–1973], eds. Júlia Klaniczay and Edit Sasvári (Artpool–Balassi, Budapest, 2003): 126-135.
On the website of Artpool Art Research Center
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Author: Dóra Hegyi - Zsuzsa László
Keywords: censorship, collaboration, conceptual art, irony, metaphors of repression, performative practices, semi-public event, site-specificity, unofficial event
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“TODAY YOU OPEN THE EXHIBITION” notice at the entrance of the Chapel. Photo: György Galántai (courtesy of Artpool Art Research Center)
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The entrance of the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
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Visitors entering the Chapel.
Photo: György Galántai (courtesy of Artpool Art Research Center)
Date: 28 July 1972
Participants: György Galántai (1941), István Haraszty (1934)
Location: Chapel Studio of György Galántai, Balatonboglár
The action took place during the exhibition of the Pécs Workshop (Ferenc Ficzek, Károly Halász, Károly Kismányoki, Ferenc Lantos, Sándor Pinczehelyi, Kálmán Szíjártó, Katalin Nádor) and István Haraszty’s kinetic sculptures.
Documents:
István Harasztÿ – interview (1998)
György Galántai – manuscript (1998)
Source: Törvénytelen avantgárd. Galántai György balatonboglári kápolnaműterme 1970–1973 [Illegal Avant-garde, the Balatonboglár Chapel Studio of György Galántai 1970–1973], eds. Júlia Klaniczay and Edit Sasvári (Artpool–Balassi, Budapest, 2003): 138.
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Author: Dóra Hegyi - Zsuzsa László
Keywords: collective practices, conceptual art, international network, performative practices, photography, political reflection, semi-public event
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“Shaking hands” action board.
Photo: László Beke (courtesy of Artpool Art Research Center)
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Tug of War Action.
Photo: György Galántai (courtesy of Artpool Art Research Center)
Date: 26 August 1972
Participants: Imre Bak, Peter Bartoš, László Beke, Miklós Erdély, Stano Filko, György Galántai, Péter Halász, Béla Hap, Ágnes Háy, Tamás Hencze, György Jovánovics, J. H. Kocman, Péter Legéndy, János Major, László Méhes, Gyula Pauer, Vladjimir Popović, Petr Štembera, Rudolf Sikora, Tamás Szentjóby, Anna Szeredi, Endre Tót, Péter Türk, Jiři Valoch
Organized by: László Beke (1944)
Location: Chapel Studio of György Galántai, Balatonboglár
During the two-day meeting an exhibition and various actions were organized by László Beke, who invited artists from Czechoslovakia and Hungary to create contacts with each other.
Documents:
Interview with László Beke (1998)
Interview with Gyula Pauer (1998)
György Galántai’s diary (1972)
Source: Törvénytelen avantgárd. Galántai György balatonboglári kápolnaműterme 1970–1973 [Illegal Avant-garde, the Balatonboglár Chapel Studio of György Galántai 1970–1973], eds. Júlia Klaniczay and Edit Sasvári (Artpool–Balassi, Budapest, 2003): 141-3.
No Comments »
Author: Daniel Grúň
Keywords: abstract art, avant-garde, environment / installation, painting
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Spatial model constructed for the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Spatial model constructed for the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Spatial model constructed for the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Spatial model constructed for the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Self-published catalogue to coincide with the project. (courtesy of Stano Filko and Ján Zavarský)
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Self-published catalogue to coincide with the project. (courtesy of Stano Filko and Ján Zavarský)
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Black-and-white photographs of the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Black-and-white photographs of the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Black-and-white photographs of the exhibition. (courtesy of Stano Filko and Ján Zavarský)
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Black-and-white photographs of the exhibition. (courtesy of Stano Filko and Ján Zavarský)
Date: 1973-1974
Participants and organizers: Stano Filko (1937), Miloš Laky (1948–1975), Ján Zavarský (1948)
Locations: Studio of Stano Filko, Bratislava; House of Arts, Brno; Young Artists Club, Budapest
The joint initiative of three artists—Stano Filko, Miloš Laky, and Ján Zavarský—left behind the sphere of science and technology in order to reach a spatial experience of the color white, and to equate painting to a mystical experience. White paint was applied, without any personal gesture, onto various objects and materials (i.e., carton tubes, felt)—it considered as a sign of transcendence beyond the the boundaries of the objective world. In a joint manifesto, the authors removed themselves from all systems of representation in order to fulfill the following goals: to create a visual equivalent of an empty space and in a sense to dematerialize art objects to exceed individuality; to clear away a single author’s personal perspective; and to negate traditional means of painting in visual art. The project was exhibited in the House of Arts, Brno (1973) and in the Young Artists Club, Budapest (1977). Two self-published catalogs by the artists were published, accompanied by a manifesto, and texts written by Jiří Valoch, Tomáš Štrauss, and László Beke.
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Author: Dóra Hegyi - Zsuzsa László
Keywords: avant-garde, collaboration, conceptual art, environment / installation, irony, non-conformist art, semi-public event, site-specificity
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Miklós Erdély – György Jovánovics – János Major: “János Major’s Coat”
Photo: György Galántai (courtesy of Artpool Art Research Centre)
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Miklós Erdély in the Chapel, above his work “God is Little”,
in the background “János Major’s Coat”
Photo: Júlia Veres (courtesy of Artpool Art Research Centre)
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János Major as a living tomb
Photo: György Galántai
(courtesy of Artpool Art Research Centre)
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János Major as a living tomb
Photo: György Galántai
(courtesy of Artpool Art Research Centre)
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János Major as a living tomb
Photo: György Galántai
(courtesy of Artpool Art Research Centre)
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Tamás Szentjóby in front of his work “Be forbidden!”
Photo: György Galántai (courtesy of Artpool Art Research Centre)
Date: 24 June 1973
Participants: László Beke (1944), Miklós Erdély (1928-1986), György Jovánovics(1939), Péter Legéndy (1948), János Major (1936-2008), Gyula Pauer (1941), Tamás Szentjóby (1944)
Location: Chapel Studio of György Galántai, Balatonboglár
This exhibition – presented two months before the Chapel Studio was occupied and closed by the police – did not have any title and was completed spontaneously with works and actions during two weeks. The works exhibited were used as props for theatrical performances in the next few weeks.
Documents:
Miklós Erdély: What is avantgardism? (1973)
Tamás St. Auby – interview (1998)
György Jovánovics – interview (1998)
Source: Törvénytelen avantgárd. Galántai György balatonboglári kápolnaműterme 1970–1973 [Illegal Avant-garde, the Balatonboglár Chapel Studio of György Galántai 1970–1973], eds. Júlia Klaniczay and Edit Sasvári (Artpool–Balassi, Budapest, 2003): 150-5.
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Author: Dóra Hegyi - Zsuzsa László
Keywords: interactivity, performative practices, semi-public event, social criticism
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Photo of the action. Photo: Júlia Veres (courtesy of Artpool
Art Research Center)
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Photo of the action. Photo: Júlia Veres (courtesy of Artpool
Art Research Center)
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Photo of the action. Photo: Júlia Veres (courtesy of Artpool
Art Research Center)
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Miklós Haraszti’s entry
in the guest book
(courtesy of Artpool
Art Research Center)
Date: 21 July 1973
Participant: Tibor Hajas (1946-1980)
Location: Chapel Studio of György Galántai, Balatonboglár
The text was read as part of an action performed in the Chapel Studio in Balatonboglár in 1973. While reading out the text Hajas tied the audience together, then burned the ropes according to a guestbook entry.
Documents:
Tibor Hajas: Freedom Industry Broadcast, Channel 4 (1973)
Miklós Haraszti: Guest-book entry about Tibor Hajas’s reading action (1973)
Source: Törvénytelen avantgárd. Galántai György balatonboglári kápolnaműterme 1970–1973 [Illegal Avant-garde, the Balatonboglár Chapel Studio of György Galántai 1970–1973], eds. Júlia Klaniczay and Edit Sasvári (Artpool–Balassi, Budapest, 2003): 160-1.
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Author: Dóra Hegyi - Zsuzsa László
Keywords: art education, artists’ union, gender issues, performative practices
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Invitation leaflet: Orsolya Drozdik /
exhibition in the club of young artists /
4-10 January 1977, 18:00-20:00 /
Opening by:
4th: András Halász
5th: Zsigmond Károlyi
7th: Károly Kelemen
9th: Miklós Erdély
10th: László Beke /
The Nude (courtesy of Orshi Drozdik)
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Orsolya Drozdik’s notes for the exhibition: 1/ Fine art model.
2. The institutionalized fine art model. Art model.
3. The model of thought – that society wishes for the individual. –
4. The model of thought – that the individual offers to society.
5. Model conflict.
(courtesy of Orshi Drozdik)
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Study-photo from the archive of the Academy of Fine Arts, Budapest (courtesy of Orshi Drozdik)
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Study-photo from the archive of the Academy of Fine Arts, Budapest and a photo of the performance (courtesy of Orshi Drozdik)
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Photo of the performance (courtesy of Orshi Drozdik)
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Photo of the performance (courtesy of Orshi Drozdik)
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Photo of the performance (courtesy of Orshi Drozdik)
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Photo of the performance (courtesy of Orshi Drozdik)
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Photo of the performance (courtesy of Orshi Drozdik)
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Photo of the performance (courtesy of Orshi Drozdik)
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Photo of the installation (courtesy of Orshi Drozdik)
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Photo of the installation (courtesy of Orshi Drozdik)
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(courtesy of Orshi Drozdik)
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András Halász opening the exhibition (courtesy of Orshi Drozdik)
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Zsigmond Károlyi opening the exhibition (courtesy of Orshi Dorzdik)
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Zsigmond Károlyi opening the exhibition (courtesy of Orshi Dorzdik)
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Zsigmond Károlyi opening the exhibition (courtesy of Orshi Drozdik)
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Károly Kelemen opening the exhibition (courtesy of Orshi Drozdik)
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Photos taken of the previous days’ performances and openings pasted on the gauze cover of the entrance (courtesy of Orshi Drozdik)
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Photos taken of the previous days’ performances and openings pasted on the gauze cover of the entrance (courtesy of Orshi Drozdik)
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Photos taken of the previous days’ performances and openings pasted on the gauze cover of the entrance (courtesy of Orshi Drozdik)
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Miklós Erdély opening the exhibition (courtesy of Orshi Dorzdik)
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Miklós Erdély opening the exhibition (courtesy of Orshi Dorzdik)
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ID cards submitted at the entrance of the club (courtesy of Orshi Dorzdik)
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Audience (courtesy of Orshi Dorzdik)
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Audience (courtesy of Orshi Dorzdik)
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Audience (courtesy of Orshi Dorzdik)
Date: 4-10 January 1977
Performed by: Orsolya Drozdik
Opening : András Halász (1946), Zsigmond Károlyi (1952), Károly Kelemen (1948), Miklós Erdély (1928-1986), László Beke (1944)
Location: Club of Young Artists, Budapest
Orsolya Drozdik – then member of the postconceptualist artist group, the Rózsa Circle (1976-77) – drew a female nude in the exhibition space for a week. The “exhibition” was opened every day by four different male artists and an art historian. The visitors were not allowed to enter the room where the artist and the model were working, but could only see them from the door which was covered by gauze. Emese Süvecz (curator) made oral history interviews with the participants to reconstruct the event.
Document:
Emese Süvecz’s interview with the participants of “Nude/Model” (2007)
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