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Author: Dóra Hegyi - Zsuzsa László
Keywords: artist as curator, artist run space, avant-garde, collaboration, conceptual art, curatorial concept, 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: artist run space, 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: Daniel Grúň
Keywords: abstract art, avant-garde, dematerialization, 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: artist run space, 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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