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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: Mari Laanemets
Keywords: artists’ union, avant-garde, non-art venue, pop art, ready-made, semi-public event
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Exhibition view. Photo: Heimar Lenk (courtesy of Leonhard Lapin)
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Exhibition view. Photo: Heimar Lenk (courtesy of Leonhard Lapin)
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Exhibition view. Photo: Heimar Lenk (courtesy of Leonhard Lapin)
Date: 17 – 23 August 1970
Participants: Enn Tegova (1946), Peeter Urbla (1945), Rein Tammik (1947), Vello Tamm (1940-1991), Ando Keskküla (1950-2008), Andres Tolts (1949), Leonhard Lapin (1947), and Sirje Runge (1950)
Location: Café Pegasus, Tallinn
The exhibition “Estonian Avant-Garde Art” that opened as part of the third International Finno-Ugric Days was supposed to become a group exhibition of the most radical Estonian art groups active at the time: ANK’64[1], Visarid[2], and SOUP’69. However, due to changes in the political situation[3], many artists decided not to participate.
The few faded photographs of the exhibition that have survived dynamically convey a sense of the exhibition itself as well as the space, which differs greatly from the white cube of the gallery. These are not anonymous shots of an exhibition; rather, they show the works in the social atmosphere of the café. The setting was probably important for creating the works as well. Most of the artworks are inspired by Pop Art—the notion of wanting to shock and grab attention is apprehensible. Urbla’s phallic object Kazachok made from patterned chintz, Tolts’s textile assemblages like the one titled Sleeping Place, and Lapin’s two readymades (pillows) all play with the idea of blurring the line between art and everyday objects. Relating to reality and its mass-produced objects—a concept stemming from Pop Art—leads to the idea of the artist’s need to intervene, which in turn becomes the agenda for the following years. This new role of the artist (and its unique accompanying capabilities) was also referenced on the exhibition poster, which displayed a red cross and a crescent moon along with the slogan, “Sick ones, we will heal you!”
[1] ANK’64 was the first artist’s group in the Soviet period. It formed 1964 from the students of printmaking at the State Institute of Art, including Tõnis Vint, Malle Leis (1940), Jüri Arrak (1936), Kristiina Kaasik (1943), Tiiu Pallo-Vaik (1941), Enno Ootsing (1940), Tõnis Laanemaa (1937), Aili Vint (1941), Marju Mutsu (1941-1980), Vello Tamm (1940-1991). Their pursuits in art were connected with youth culture, Pop and Op Art, as well as with the Avant-Gardes of the early 20th century.
[2] The artist’s group Visarid formed 1968 around the art studio of the Tartu State University and the head of the studio Kaljo Põllu (1934-2010). Other members were: Peeter Lukats (1933), Jaak Olep (1945-2000), Rein Tammik (1947), Enn Tegova (1946), Peeter Urbla (1945), et. al. Visarid advocated “total art”, art that do not design individual commodities, but reorganize the hole environment. The group dissolved 1972.
[3] In aftermath of the Prague Spring events the pressure on artists as well as other members of the society got higher, the system got more repressive.
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Author: Daniel Grúň
Keywords: artist as curator, collective practices, documentary film, environment / installation, participatory practices, private venue, processuality, semi-public event, site-specificity
Otvorený ateliér / The First Open Studio, 16 mm film transferred onto DVD, 7:04 min. (courtesy Marian Mudroch, Bratislava)
Date: 19 November 1970
Participants and organizers: Milan Adamčiak (b. 1946), Peter Bartoš (b. 1938), Václav Cigler (b. 1929), Róbert Cyprich (b. 1951-1996)), Milan Dobeš (b. 1929), Igor Gazdík (b. 1943), Viliam Jakubík (b. 1945), Július Koller (b. 1939-2007), Vladimír Kordoš (b. 1945), Ivan Kříž-Vyrubiš (b. 1941), Otis Laubert (b. 1946), Juraj Meliš (b. 1942), Alex Mlynárčik (b. 1934), Marián Mudroch (b. 1945), Jana Shejbalová-Želibská (b. 1941), Rudolf Sikora (b. 1946), Ivan Štěpán (b. 1937), Dezider Tóth (b. 1947), Miloš Urbásek (b. 1932)
Location: Private house of Rudolf Sikora, Tehelná 32, Bratislava, Czechoslovakia
The collective exhibition ”1st Open Studio,” opened on 19 November, 1970, in Rudolf Sikora’s house—with an adjoining courtyard and garden—on Tehelná Street 32 in Bratislava. It was the first organized protest (in the form of an exhibiton) against the intervention of power over the visual arts, following the events of 1968. The nineteen participants, who gathered there at the invitation Rudolf Sikora, one of the young, emerging artists, shaped the unofficial art scene in the following years. Through the ”1st Open Studio” the artists declared their adherence to the progressive, Slovak art scene in the 1960s. In their work they developed experimental creativity, playfulness, a sensitivity to civilistic poetics of the painting, the art of object and the environment. On the threshold of the period of normalization, in the stifling atmosphere of a closed society and ongoing political purges, the artists’ studios became, not only a place to confront individual artistic practices, but also a space for participation in creative, collective experiences.
(Eugénia Sikorová, ”The Coming of a Generation,” in 1. Otvorený ateliér. Sorosovo centrum súčasného umenia (Bratislava, 2000), 31.
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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)
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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.
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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: Mari Laanemets
Keywords: artists’ union, avant-garde, documentary film, environment / installation, semi-public event, urban planning
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Exhibition view. Photo: Jüri Okas
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Exhibition view. Photo: Jüri Okas
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Exhibition view. Photo: Jüri Okas
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Exhibition view. Photo: Jüri Okas
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The poster.
Date: 18–29 March 1976
Participant: Jüri Okas (1950)
Location: Tallinn Art Hall, exhibition space on the third floor of the Artists’ Union
In the late 1960s, the Artists’ Union set up a small room on the third floor of the Tallinn Art Hall to enable artists whose works had been rejected from official exhibitions to show their work. Access to these exhibitions was technically open to all, but since one could enter the space only through the premises of the Artists’ Union, the wider public was automatically excluded. The exhibitions were approved by a board of Artists’ Union functionaries and a poster was produced for each exhibition.
The walls of the exhibition space displayed black-and-white photographs and print works—what were called “reconstructions”—dealing with structural analyses of concrete, mostly urban, environments. With the additional use of black-painted wooden staves and mirrors, Okas created an all-encompassing perceptual environment, and with this installation he made one of the first attempts in Estonia to redefine the exhibition genre and also the art object.
Perhaps referencing Minimalist art practices as well as El Lissitzky’s Proun Room (1923), Okas fully engaged the viewer with the exhibition space—distorted and deformed by mirrors, it was a deconstructive space that confused and disoriented viewers as they moved about. Following the exhibition, Okas shot the 8 mm film Environment (1976, black and white, 5 min.). The film combines exhibition views with exterior views of the city. Like Reconstruction, the film is characterized by bustling montage, jumpy rhythm, and sharp cuts; it provides an analysis of the space and perceptions of it.
Later, Okas preferred the title “Environment” for the exhibition as well as the film.
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Author: Daniel Grúň
Keywords: collective practices, educational event, ephemaral works, performance for photo camera, photography, processuality, semi-public event, site-specificity
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Peter Bartoš has come to the lake with ecological issues, 4 August 1978 / Peter Bartoš prišiel k jazeru s ekologickou problematikou (Photo from the archive of Ľubomír Ďurček)
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Juraj Mihalík (Photo from the archive of Ľubomír Ďurček)
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A — B (Photo from the archive of Ľubomír Ďurček)
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Preparing to strike / Príprava k úderu (Photo from the archive of Ľubomír Ďurček)
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Sculptural or achaeological precision / Sochárska alebo archeologická presnosť (Photo from the archive of Ľubomír Ďurček)
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Juraj Mihalík, sculptor, holds a newspaper / Noviny drží Juraj Mihalík, sochár (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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End of a conversation / Koniec rozhovoru (Photo from the archive of Ľubomír Ďurček)
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A sculpture by Vladimír Havrilla / Socha Vladimíra Havrillu (Photo from the archive of Ľubomír Ďurček)
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Vladimír Havrilla reveals his sculpture / Vladimír Havrilla zviditeľňuje svoju sochu (Photo from the archive of Ľubomír Ďurček)
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Water as sculptural material and medium / Voda jako sochársky materiál a médium (Photo from the archive of Ľubomír Ďurček)
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Ľubomír Ďurček: Self-portrait with potholer’s goggles / Ľubomír Ďurček, Autoportrét s potápačskými okuliarmi (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Archeologist Ladislav Snopko talks about taking a stone in one’s hand / Archeológ Ladislav Snopko hovorí o kameni do ruky (Photo from the archive of Ľubomír Ďurček)
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Once more on the haptic / Ešte raz o haptike (Photo from the archive of Ľubomír Ďurček)
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The third of all holds / Tretí, zo všetkých úchytov (Photo from the archive of Ľubomír Ďurček)
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Only a small part of today’s texts / Iba malá časť dnešných textov (Photo from the archive of Ľubomír Ďurček)
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One of the authors of the lake book / Jeden z autorov jazernej knihy (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Gerulata, part of a Roman fortress / Gerulata, časť rímskeho opevnenia (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Gerulata, underground / Gerulata, spod zeme (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Vladimír Havrilla distributes microten bags, 7 August 1978 / Vladimír Havrilla prideľuje mikrotenové vrecká (Photo from the archive of Ľubomír Ďurček)
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Sculptor Juraj Mihalík makes his fountain operational / Sochár Juraj Mihalík predvádza svoju fontánu (Photo from the archive of Ľubomír Ďurček)
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Somewhere apart, Stano Filko is sketching and writing on microten bags / Stano Filko niekde v ústraní kreslil a písal na mikroténové sáčky (Photo from the archive of Ľubomír Ďurček)
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Afterwards he turned them over / Potom ich obrátil naruby (Photo from the archive of Ľubomír Ďurček)
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Ladislav Snopko speaks about archaeology / Ladislav Snopko hovorí o archeológii (Photo from the archive of Ľubomír Ďurček)
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The sculptor who creates sculptures can himself be a sculpture, says Ľubomír Ďurček / Sochár, ktorý vytvára sochy, môže byť sám sochou – hovorí Ľubomír Ďurček (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Juraj Mihalík thinking over another kind of sculpture / Juraj Mihalík uvažuje o inom druhu plastiky (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Sociology and sculpture before their action / Sociológia a sochárstvo pred svojou akciou (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Once again on the secrets of archaeology in the present / Ešte raz o tajomstvách archeológie v prítomnosti (Photo from the archive of Ľubomír Ďurček)
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Ľubomír Ďurček looks at this world through a microten bag /Ľubomír Ďurček sa díva na tento svet cez mikrotenový sáčok (Photo from the archive of Ľubomír Ďurček)
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One more look towards the sun / Ešte jeden pohľad smerom k slnku (Photo from the archive of Ľubomír Ďurček)
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Painter Ľubomír Ďurček looks through a microten bag at himself / Maliar Ľubomír Ďurček sa díva cez mikroténový sáčok na seba (Photo from the archive of Ľubomír Ďurček)
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Ďurček: Enclave / Ďurček – Enkláva (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Vladimír Havrilla concludes the lakeside meeting / Vladimír Havrilla ukončuje stretnutie při jazere (Photo from the archive of Ľubomír Ďurček)
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Vladimír Havrilla fashioning water / Vladimír Havrilla modeluje vodu (Photo from the archive of Ľubomír Ďurček)
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(Photo from the archive of Ľubomír Ďurček)
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Invisibility within reach / Neviditeľnosť na dosah (Photo from the archive of Ľubomír Ďurček)
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Date: 4-7 August 1978
Participants and organizers: Peter Bartoš (b. 1938), Ľubomír Ďurček (b. 1948), Stano Filko (b. 1937), Vladimír Havrilla (b. 1943), Juraj Mihálik (b. ), Ladislav Snopko (b. 1949)
Location: Rusovce, Bratislava, Czechoslovakia
By a lake in Bratislava, participants created mini events and ephemeral artworks out of materials found at the location, including pebbles, stones, plastic, etc. The event was initiated by Ľubomír Ďurček, a conceptual artist, performer, filmmaker, and author of experimental texts and books. The entire event was documented in a series of black-and-white photographs taken by participants.
In comments made Ďurček about the event, he points said that situations created did not necessarily correspond to reality.
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