Artpool: Archive of Hungarian Avantgarde
Artpool: Archive of Hungarian Avantgarde
Artpool: Archive of Hungarian Avantgarde
ARTPOOL
The
Experimental
Art
Archive
of
East-Central
Europe
History of an active archive
for producing, networking, curating
and researching art since 1970
Artpool Budapest
CONTENTS
ARTPOOLS ART TOUR CANADA [198] INTERNATIONAL FESTIVAL OF PERFORMANCEVIDEOS [201] VIDEO EXPEDITION IN THE PERFORMANCE WORLD [206]
1996 THE FIRST YEAR OF INTERNET [208]
ART ON THE INTERNET TOURING THE NET [208]
AND WEB PAGES [212] HYPERMEDIA [212]
CD-ROMS
c o n t e n t s
COOPERATIONS
Exhibitions [510]
Films [511]
Publications [511]
c o n t e n t s
FOREWORD
Kristine Stiles
The occasion of the publication of ARTPOOL The Experimental Art Archive of EastCentral Europe is a milestone in the history of art for its documentation of a remarkable
period in the chronicles of conceptual, performance, installation, and video art, as well
ephemeral mediums such as mail art and artists stamp sheets, postcards, rubber
stamp imprints, artists writings and samizdat publications. The work represented in
the Artpool archive is astonishing in its scope and quantity, quality of imagination,
intellectual force, and the courage of the artists who created it. This volume presents
an opportunity to reflect on the events that brought Artpool into being, to acknowledge
that while originating in the context of East-Central Europe, Artpools community has
always been international, and to evaluate its broad contributions to world culture and
society. Artpool is the achievement of Gyrgy Galntai and Jlia Klaniczay, who imagined,
created, supported, and sustained Artpool. They generated and recorded experimental
art for nearly four decades; supported artists throughout the world by organizing,
displaying, and publishing their work; and made available to scholars the rich resources
of their unparalleled artist archive, which contains an enormous database of a range
of art in various media, the history of events and exhibitions, ongoing exhibitions, and
a wide variety of publication genres. Artpool began in Galntais critical art practice, a
life work that he developed with Klaniczay. Simultaneously an archive and an artwork,
Artpool is without peer. So where to begin: of course, at the beginning, in a chapel.
God generally doesnt pay any attention to us if we ask for
something, but if were afraid of something, he always grants it.
Magda Szab, The Door (1987)
Bn: Ki szavatolja a mvszet szabadsgt? [Who Safeguards the Freedom of Art?], Magyar
Nemzet (February 9, 1990), cited in this volume, page 100.
2 Gyrgy Galntai, diary entry 1979: http://www.galantai.hu/diary/OnArt.html
3 Michael Hardt and Antonio Negri: Multitude: War and Democracy in the Age of Empire, Penguin, New
York, 2004, p. 355.
f o r e w o r d
Havel: The Power of the Powerless, in Havels Living in Truth, Meulenhoff in association with
Faber and Faber, Amsterdam, 1986, p. 120. (Translated by Jan Vadislav.)
5 Victor Sebestyen has pointed out that, in Hungary, dissidents were permitted to operate within carefully
circumscribed limits [and] intellectuals in the centre of Budapest were allowed to produce samizdat
publications and hold meetings.watched, of course, by the secret police. Sebestyen notes, too, that the
architect Lszl Rajk hosted a meeting every Monday night where samizdat publications would be laid
out on a long table [and] the customers, whose names would never be taken, would say which magazine
they wanted, and Rajks team of copiers would produce the texts in time for them to be collected the
following week. See Sebestyens Revolution 1989: The Fall of the Soviet Empire, New York, 2009, p. 149.
6 Gyrgy Galntai: Artpool from the Beginnings... A Personal Account, in this volume, page 19.
7 Jacques Derrida: Archive Fever: A Freudian Impression, Diacritics, Vol. 25, No. 2 Summer, 1995, p. 9.
8 Gyrgy Galntai, diary entry 1985: http://www.galantai.hu/diary/OnArt.html
9 See the Artpool poster for Recollection from 1986 to 2006, page 393 in this volume.
f o r e w o r d
The rudimentary foundation for Artpool as an archive emerged from Galntais habit of
collecting things like newspaper clippings, diary notes, and general files from the events
he staged at the chapel studio. But Artpool as an artwork evolved from an amalgam of
critical conceptual frameworks. Some of the key antecedent foundational genealogies
might begin with the work of Mikls Erdly, the often-cited founder of the Hungarian
avant-garde, who, with Tams St.Auby and Gbor Altorjay, is credited with performing
the first happening in Hungary in 1966: The Lunch In memoriam Batu Kn [Batu
Khan]. Erdly participated in events at the chapel and Galntai admired him. In 1976,
Galntai co-taught Creativity Exercises with Erdly and Dra Maurer, a course that
explored new theories of creativity, educational methods influenced by Eastern
philosophical traditions and many other sources. 10 Galntai expanded his interest in
artist communities through familiarity with Robert Fillious concept of the Eternal
Network, an idea that emerged from the continual circulation of ideas through various
alternative artistic systems such as mail art. G. A. Cavellinis notion of art as a form of
behavior complimented such procedures, and Ray Johnsons New York Correspondence
School, with its emphasis on mail art and the creation of artists stamps, proved the
perfect medium for the kind of international, behavioral, communicative web that
Artpool would become. Then, too, the ethos of fluxus (small f for the implications of
the term rather association with the group, Fluxus) played a central role in offering the
fledgling Artpool a paradigm for gathering and organizing an international collection of
artists within a framework where everything, from festivals to multiples and publications
(with a distinctive typographic aesthetics), could be contained. The difference, of
course, is obvious: spawned behind an iron curtain, Artpool would issue no injunctions
of inclusion or exclusion as did George Maciunas, imperious self-appointed Fluxus head.
While Fluxus was already known in Hungary by the mid-1960s, no artist or art movement
there or anywhere else has synthesized it better than Galntai and Klaniczay, who fused
Artpool into a hybrid mixture of overlapping, interpenetrating models and ideas, all
encompassed in Galntais approach of attitude as art. Artpool is best understood
as this kind of attitudinal state of mind, typified by its transitive, transactional, and
self-determining, character. It is safe to say that no artistic movement has been as selfsustaining as long as Artpool, not even Surrealism. The question then becomes: Is this
volume a testimony to Artpool as an artistic movement, or even an avant-garde of two?
The answer is yes and no: yes, because Artpool the artwork is Galntai and Klaniczay;
no because Artpool the archive is everything it contains. As an artwork, Artpool will
not survive Galntai and Klaniczay. As an archive, Artpool will continue to educate future
generations about art in a time of repressive historical circumstance and a period, preinternet, of successful efforts to establish and nourish an international cultural network.
In this regard, Artpool could be understood as a form of the eternal network.
Such a network might be compared to the I/You bond that is also a politics of love
for and with the multitudinous other, a concept to which such thinkers as the
Czech philosopher Vilm Flusser (following Martin Buber and Emmanuel Levinas)
was devoted. In the 1990s and 2000s, Galntai deeply considered and engaged with
Flussers thought, and presented short statements by Flusser on Budapest signposts
in 1999, as well as cited Flusser frequently in the Artpool publications.11 Flusser would
write that, We only really become an I if we are there with and for others. I is
the one to whom someone says you. 12 Such a statement embodies the fluctuating
attitudes, behaviors, and unfolding artworks that Artpool initiated and preserved for
others. Artpool is, then, a fluid form for enriching the thinking and experiences of an
entwined I/You, and a model for persistent constructive survival amidst challenges
that test the will, namely the capacity to decide to act. As Galntai would observe:
If something doesnt exist, but will, then it does exist. 13 It is through such will, realized
in energy, imagination, and hard work, that Galntai and Klaniczay acted to bring worlds
of knowledge, exploration, and hope into existence embodied in Artpool.
10 Sndor
Hornyik and Annamria Szke: Creativity Exercises, Fantasy Developing Exercises (FAFEJ) and
Inter-Disciplinary-Thinking (InDiGo). Mikls Erdlys art pedagogical activity, 19751986, Summary in
Kreativitsi gyakorlatok, FAFEJ, INDIGO. Erdly Mikls mvszetpedaggiai tevkenysge 1975-1986,
compiled by Sndor Hornyik and Annamria Szke and edited by Annamria Szke, MTA MKI Gondolat
Kiad 2B EMA, Budapest, 2008, p. 498. (Translated by gnes Csonka, using the earlier translations
of Dniel Br and Gyrgyi Zala.)
11 Thanks to Jasmina Tumbas, who reminded me of the importance of Flusser in Galntais thought, and
who read and commented on this foreword. See page 252253 of this volume. The texts were selected from
Vilm Flussers essay The Street Light, in his book Dinge und Undinge. Carl Hanser Verlag, MnchenWien,
1993; Hungarian translation: Zoltn Sebk, 1996.
12 From Flussers Into the Universe of Technical Images (1985), quoted in this volume, page 432.
13 Gyrgy Galntai, Maxim, in this volume, page 265.
10
f o r e w o r d
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A C K NOW L ED G E M ENTS
11
French, it is indicated by the abbreviations Hu, En, Fr. Although it was our objective to
provide a complete list of bibliographical references, this list is most probably not
complete since we did not have a press monitoring capacity at the time; moreover,
most of these are newspaper briefs merely informing readers about the fact of the
events having been held and relying on the texts of the press releases or invitations
that were published by Artpool, while at other times they are simple references. We
decided not to eliminate any items, because from the perspective of Artpools history
and the place it occupied in the given cultural milieu, as well as the context of
contemporaneous media attention, even these short news and subsequently made
references provide a certain significance in terms of cultural history.
In the bibliographical references of the chronology and of the Appendix the names
of the authors/editors are given in the order of surnames followed by first names
(since Hungarian names follow this order, we did not provide commas after the
surnames); in every other instance, we used the Western format of first name
followed by surname and we applied it to Hungarian names as well. The titles of
referenced articles are written in the original language (mostly in Hungarian), but
their English translations are provided at the end of the volume, in the selected
bibliography of items bearing the most relevance to the history of Artpool.
All the documents referred to in the chronology can be researched in the Artpool
archives. Most of the works that were presented at certain events and then
became part of Artpools collection can be viewed on www.artpool.hu.
The calls for projects and invitations, which were designed by Gyrgy Galntai for
thematic projects and generally contained introductory theoretical texts, formed
an integral part of the Artpool events. Several of the English language invitations
and calls are published here as facsimiles in the original A4 size. The invitations in
Hungarian are typically included in reduced sizes; however, where we felt it to be
important, the English translations are also attached. (We would hereby wish to
express our gratitude to Annamria Szke and the Mikls Erdly Foundation for
kindly placing the English translations of Mikls Erdlys texts at our disposal.) We
endeavored to provide retrospectively the sources for the quotations in the
invitations, since they were mostly not at all or only in part specified in the originals.
The international projects of Artpool have always been extremely popular. Having
completed the online documentation or catalogue for most of these projects, this
volume contains the links at which they can be found. The video documentation
for many of the events can also be accessed on YouTube, which we indicated in
every instance. (Since we are currently developing the online documentation and
working on the English translation of web pages only available in Hungarian, the
online content related to Artpools history will continuously increase, so please
follow the updates.)
For reasons of length, in addition to the invitations/calls, we only had the opportunity
to publish reproductions of some of the works exhibited at the events and one or
two photos evoking their particular atmospheres. We still cherish our dream to
make individual, in-depth presentations about Artpools most interesting projects
and publish them in printed catalogues alongside their online documentation.
The chronological part of this volume lists Artpools own events as well as those
organized and implemented by others to which Artpool made a significant
contribution through its participation, work and active role, which therefore can
be regarded as forming part of Artpools own oeuvre.
Further general information about Artpools operations and collections, a comprehensive list of art events and publications funded or supported in some way by
Artpool, as well as the names of artists and professionals who paid a personal visit
to Artpool in the past 30 years can be found at the end of this volume.
The closing index of names only contains the names mentioned in the present
volume. We apologize to those artists who have participated in Artpools projects
on several occasions and can be researched in our archives but who due to the
limited space available could not be included in this volume. Artpools continuously
also retroactively expanding homepage (www.artpool.hu) contains the full
documentation of all the projects, and therefore includes them as well.
This volume was compiled and edited by the two of us but Artpools activity especially
since the establishment of the Artpool Art Research Centre in 1992 has been realized
through teamwork under our coordination and with the participation of numerous
excellent young colleagues (listed at the end of the volume). It was this team spirit
that made the projects possible in general, and the collection and preservation of the
documentation used for this book in particular. We benefited from the work of many
people in the process of making this book.
12
I NTROD U CT I ON
&
A C K NOW L ED G E M ENTS
We thank all the colleagues and trainees of the Artpool Art Research Center for their
help in the preparatory phase, but especially Judit Bodor, Eszter Greskovics, Dra Halasi,
Viktor Ktun and Annamria Nmeth for their dedication demonstrated during the
organization and arrangement of photographs, documents, audio- and video materials,
and the bibliography. We received invaluable help from Mrton Kristf who has been in
charge of Artpools web pages for many years, and thank him for his preparatory work
carried out on the photo material contained in the book, which required considerable
research. We received additional useful ideas and advice during the editing from Judit
Bodor, Katalin Cseh, Beta Hock and Jasmina Tumbas. We used various texts previously
published on Artpools web pages for the chronological part of this volume, and published
reprints of the original English language calls and invitations. For many years, these
texts have been translated by Judit Bodor, Beta Hock, gnes Ivacs, Jlia Klaniczay,
Krisztina Sarkady-Hart and Andrea Szekeres. We thank Krisztina Sarkady-Hart for the
English translation of texts published here for the first time, and Adrian Hart for the
English language editing; our working relationship was excellent with both of them.
We are extremely grateful to Jasmina Tumbas, who, while doing her PhD research,
nevertheless found time to read the already translated texts of the chronology and
helped us with her useful comments and advice in the language editing while also
contributing significantly to the proofreading.
We enjoyed working together with Imre Arany (Layout Factory Grafikai Stdi) on the
visual appearance of the book, and we hope that as a result of our joint efforts, we
managed to render the vast amount of visual and textual information in a clear and
easily accessible form.
We feel honored that Kristine Stiles wrote the foreword for our volume. Her unstinting
enthusiasm and professional curiosity, informed advice, as well as professional and
friendly support are greatly appreciated and have encouraged us immensely. We thank
ERSTE Stiftung for their considerable support rendered for the preparatory work and
publication of this volume in one of the most difficult periods of our institutions history.
We also thank the National Cultural Fund for their support specially awarded to us to
cover the additional expenses that resulted from the more complex and longer work
process than we had initially anticipated.
Simultaneously with the English language volume, we have started preparing a Hungarian
edition, which we are planning to publish in the near future. The chronology and the
notes of the two volumes will be the same; however, the textual and visual documentation
will differ since numerous relevancies of Artpools operation (as well as the related
documents) can only be interpreted in the context of contemporaneous Hungarian and
Central European conditions; therefore, their publication in an English language volume
did not seem necessary.
We do not regard this volume to be our final and concluding work. Instead, we look at
it as the beginning of a new chapter, which hopefully opens up the opportunity for us
and researchers and analysts who take an interest in the history of Artpool to explore
and analyze numerous new aspects, relations and relevant influences based on this
compiled and organized information and documentary material.
Finally, we wish to thank everybody artists, art lovers and institutions alike who
in the past nearly forty years have helped Artpool in its projects and operations, the
enrichment of its collections, as well as the expansion of its scope of activities, and
followed our work with professional curiosity and loving attention. We hope that when
they take this volume in their hands, they too will feel: it was all worth it!
We lovingly dedicate our book to our daughter, gnes Galntai,
from whom throughout the years we received so much love,
understanding and help towards our work.
April 2013
Gyrgy Galntai Jlia Klaniczay
I NTROD U CT I ON
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A C K NOW L ED G E M ENTS
13
ACTIVE ARCHIVE
1
Gyrgy Galntai
English translation by Bea Hock
The embryonic form of the Artpool Archives was the First Archive, which
consisted of four parts, begun in 1971 at Balatonboglr. The first was a
large folder in which I displayed, attached to a series of boards, documents
pertaining to the Chapel Studio at Balatonboglr: newspaper clippings,
reproductions, and works left there by the artists.
Chapel Studio,
interior, 1973
Photo:
Kroly Kismnyoky
* This
16
FRO M
T H E
B E G I NN I N G S
everyone whose name was on the invitation to the show. I sent these cards,
some 500 in number, as a package to Scott, who first exhibited and then sent
them on to their addressees, thus dispersing them around the world and
assuring Artpool of a place in the network. As a result of this, the archive
really took wing, as more and more materials began arriving. Nearly
everyone responded to my cards in one way or another.
How many people respond depends on what you send; not all mailings get
many answers. One has to send a good message about oneself. Hence,
participation in the mail art network demands creativity and an under
standing of how, why, and where the process works, of what is its essence,
and one must add to this something of ones own. If you can truly expand
the genre, you will get the most responses. The many responses were
doubtless encouraged by the recipients knowing few people in Eastern
Europe. Fairly many Poles were active mail artists, though there were fewer
Czechs and barely any Hungarians. Our only participants were the three
Tt-s (Endre Tt, Gbor Tth, and rpd fenyvesi Tth), and none of the
three was an organizer; I assumed this role. It was significant that we gave
ourselves a name: We are Artpool. I have always felt the need, whenever
representing others in an exhibition and am not merely showing my own
work, to find some kind of institutional framework for the show, however
fictive it may be. What is done institutionally requires an institutional name,
hence in this case I am not Gyrgy Galntai, but Chapel Studio or Artpool.
Institutions, albeit alternative ones, are characteristic of the alternative
world as well; but there, the institution itself is the subject of the art. The
Underground does not attack institutions, but rather forms its own.
A RT P OO L
FRO M
T H E
The term Artpool refers to the act of collecting from diverse artistic
spheres and endeavors. Keeping pace with the events of the day, its goal
has always been to collect and preserve the documents of international
and Hungarian artistic movements, and bring to light new projects. As for
mail art, it has never been my primary interest, though I am one of the
B E G I NN I N G S
17
most active mail artists in Hungary. Art itself is what interests me; mail art
is interesting as a genre, as a form of correspondence art, as a fluxus
activity, which brings about relationships between artists. I feel that
communication is an indispensable element of art: a traditional statue or
picture is also a tool for communication. This leads directly to mail art,
whose network I utilize as one of arts possible forms. The medium of
Artpool was the postal service, a tool I considered suitable to keep me in
contact with the entire world. We always tried to keep the Archives
activities within private circles. This was a more mobile mode of existence,
and one less influenced by the authorities: it was a trench, a large
underground fire base. Of course, nothing is truly private under dictatorship
even your souls inner corners are under observation. Stepping out of
private circles required some caution, since bringing my concepts to the
larger society proved always to be problematic. As long as I worked with
some restraint, there were no great difficulties, though my mailings were
under observation. For example, it was less risky in those days to produce
some publication or book than an exhibition.
[] The activity of Artpool was unknown to the larger public, which had no
access to this world. All communication in the private realm takes the form
of letters or conversations, and doesnt make it to the press. There are,
however, certain artists, works, and events about which anyone may know
through the mass media. I never strove for such exposure, nor did I consider
it important; at any rate, it would have been futile for me at the time.
Artistic research is like the scientific variety: the significant things appear
in the studio, the laboratory, and the professional literature, rather than in
public.
This type of activity did not resemble anything else in Hungary and had few
parallels abroad. There was one, however. The ultimate impetus was given
by my meeting with Ulises Carrin, the Latin American artist living in Holland,
who was active in mail art during those years. In the mid-seventies he
opened a bookstore in Amsterdam called Other Books and so, where the
most diverse artistic works and alternative publications were sold: postcards,
records, artists bookworks, rubber stamp publications, and artworks in
multiple editions. There were several such places in the world at the time,
though I did not know of them. In 1978, one year before the founding of
Artpool, we were in Ulises shop and completely fascinated by what we saw.
I was moved to see such an alternative culture, about which I had previously
known little, but towards which I myself had taken some steps and to which
I had given thought. [] There was such a diversity, which moved me in Ulises
shop. From music to images, from sound to tangible objects, all blossomed
together as one unified culture. The entire realm that we later assembled in
the Archive was already there in the shop.
From 1979 on, Artpool began a comprehensive effort to collect marginal
artworks and documents, not represented in museums, of both Hungarian
and international origin. These included the alternative and experimental
art of the 1970s and 1980s, fluxus art, and various genres in between.
Artistic, theatrical, architectural, literary, musical and video publications of
the last twenty years have been preserved without any restrictions of genre.
Different strategies were required for Hungarian works than for foreign
ones. Generally, materials from abroad arrived to us through the mail,
though there were some traveling projects like Artpools Art Tour in the
summer of 1982, during which eight boxes of material were collected and
brought back.
At the outset of Artpool, we had no plans to deal with Hungarian art at all,
since we wished to avoid the attention of the Ministry of the Interior. It was
after the successful launching of Artpool that we began to look again at the
Hungarian scene. As a first step toward this, I tried to stimulate local mail
art activity. Then, from the beginning of the 1980s on, I attended every
major event in Hungary, documenting the scene with photographs and
recordings.
18
A RT P OO L
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1 pp.
2 pp.
76, 78.
39, 44, 4750.
A RT P OO L
FRO M
T H E
19
The best illustration of this is the work of G. A. Cavellini, who was one of
the most important Italian collectors of contemporary art, until he realized
that collections come to resemble one another, since artists sell similar
works to each one. After this realization, he began to sell his old collection,
and founded the Cavellini Museum, distinct from all others, in which every
piece deals with Cavellini himself. As for my own activity, that it took place
in Budapest or Hungary has been a determining factor. Of the two,
Hungary is more important as an influence; Budapest merely provides the
urban environment in which the technical means are at ones disposal.
Artpools activity is distinctive in that speaks to the entire world from the
Hungarian perspective.
The site of Artpools first mail art exhibition was the Young Artists Club in
Budapest in 1980, though the show, in the Black Gallery, was secret
and attended by a closed circle.3
The Cavellini show, which followed, also in the Club, was the contemporary
Hungarian mail artists reflection on the work of Cavellini.4
In 1981, there was an exhibition entitled Art and Post in the Mini Gallery,
assembled from the mail art pieces of Hungarian artists.5
At the end of the same year, postcards of Hungarian artists were shown at
the Helikon Gallery.6
The largest-scale project was the World Art Post exhibition in Budapests
Fszek Club in 1982, which was preceded by two years of organization. The
exhibition, which attracted some 600 participants, actually became the
international festival of artistamp artists.7 Also in 1982 Artpool organized the
first exhibition/event of Hungarian rubber-stamp art, entitled Everybody
with Anybody, at which the viewers prepared the material for the show
with rubber-stamps hanging from the ceiling by cords.8
In April 1983 took place, with international cooperation, the first East
Central European telephone concert, a typical mixing of genres. The artists
established a telephone connection between Budapest, Vienna, and Berlin,
which they used to transmit musical compositions, texts, and sound
works.9
At the beginning of 1984, the exhibition entitled Hungary Can Be Yours
was officially suppressed.10 The reprisals after the exhibition placed Artpool
in a very serious situation indeed and it was only saved by the Soros
Foundation, which supported the archives work for four years starting in
1985.
As time passed, it became more possible to work with official art
institutions. As a result, an exhibition of artistamps was shown in the
Museum of Fine Arts of Budapest in 1987.11
The world at large had recognized Artpool, while in our own apartment we
were swamped by piles of boxes. With the new political system, the time
had come to institutionalize.
3 pp.
4446.
4 pp.
5152.
5 pp.
5557.
6 p.
58.
7 pp.
6872.
8 pp.
6567.
9 pp.
7880.
pp. 8184.
11 p. 90.
10
20
We had always wanted an open archive. The very word archive suggests
to most people a passive library-like receptacle, but Artpool grew by taking
the initiative itself, not merely by documenting activities outside and
independent of itself.
Artpool was created from my desire to know what, today, can be called
art. It has been a part study, part voyage, in the course of which hitherto
unknown territory comes into view, the discussions of an alternative life.
The continued activities of Artpool will chart a new course: our views will
change, the romantic artist will disappear, and art will assume a new
function.
A RT P OO L
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B E G I NN I N G S
My principal interest is the art called fluxus, whose point is that anything
created as art is in fact art. I regard my own work as attitude art: I live
on the supposition that I am doing something which looks into the future,
and consequently I get into difficulties. I accept this situation, and express
this through my actions. Any medium may be employed to this end, even
up to the threshold of incomprehensibility. The institution itself may even
be the medium. I was a fluxus artist already in the days of Balatonboglr,
though unconsciously: in the course of those four years, I regarded the
Chapel Studio as my main work. Such is the case with Artpool as well. It is
my own work.
Gyrgy Galntai
A RT P OO L
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21
It was Gyrgy Galntais first art space or alternative institute project, and
was housed in a chapel rented as a studio on the shores of Lake Balaton.
The aim was to create an art venue open to various media, but free from
group interests and economic or political concerns; to provide an up-to-date
and valid presentation of the then-current developments of Hungarian and
international art; and to foster artistic communication independent of the
politically-defined world and is indeterminately real and, therefore, liberated.
*
** Source:
p r e - s t o r y
o f
A r t p o o l
C H A P E L
ST U D I O
23
1970
CHAPEL STUDIO OF
GYRGY GALNTAI
Accidental Snapshots
24
Th e
p r e - s t o r y
o f
A r t p o o l
C H A P E L
ST U D I O
1971
CHAPEL STUDIO OF
GYRGY GALNTAI
Accidental Snapshots
Pter Vrnagy,
gnes Uherkovich (with bicycle)
and Rbert Swierkiewicz
gnes Uherkovich
and Pter Vrnagy
p r e - s t o r y
o f
A r t p o o l
C H A P E L
ST U D I O
25
The first site-specific installation, as they are called these days, was made
by Gyula Gulys. He was just getting ready to travel to Western Europe with
two of his new polished up bronze minimal sculptures, which he exhibited in
the chapel exhibition during his stay in Balatonboglr for a few days. On one of
these days he came up with the idea of painting his sculptures motif a semicircular geometrical shape on the entrance as a direction sign. We had white
paint and a brush, so it was painted, it dried and then Gulys came up with
another idea: he asked me to photograph him as he interpreted the semicircular geometrical shape with his body. This Direction Sign action was the
first of its kind in Balatonboglr. After this, Gyula Pauer felt enthused to
perform an action and he used the pseudo leaflets made for the exhibition
catalog to do so. I only think all of this is worth mentioning because in these
works art appeared as life. These artists communicated something with
ephemeral, impermanent tools the same something they had done before
with lasting materials. What happened? The Hungarian paradigm shift (also)
started in the chapel in Balatonboglr.
A visitor trying to pick up Gyula Pauers
pseudo leaflet glued to the pavement
26
Th e
p r e - s t o r y
o f
A r t p o o l
C H A P E L
ST U D I O
p r e - s t o r y
o f
A r t p o o l
C H A P E L
ST U D I O
27
1972
CHAPEL STUDIO OF
GYRGY GALNTAI
Accidental Snapshots
Chapel-interior at dawn
after the concert by the
group Kalka
Mikls Erdly with a book by
Miln Fst
Rudolf Sikora
Jir Valoch
28
Th e
p r e - s t o r y
o f
A r t p o o l
C H A P E L
ST U D I O
1973
CHAPEL STUDIO OF
GYRGY GALNTAI
Accidental Snapshots
p r e - s t o r y
o f
A r t p o o l
C H A P E L
ST U D I O
29
30
Th e
p r e - s t o r y
o f
A r t p o o l
C H A P E L
ST U D I O
Headed by the police, the executive agents not the cultural organs
were on the alert. No sooner had we finished the renovation, decoration,
and other preparatory jobs and mounted the works for the first
exhibition on the walls with my helpers still recovering from the hard
work then the police arrived and arrested five people. This police
operation at dawn was no longer a warning, like the year before, but
rather the opening act of the background events that accompanied
the small Hungarian Dokumenta. Thus, the show commenced, the
dramaturges of the political charade swung into action, and the
functionaries of the executive apparatus armed themselves to annihilate
the chapel project.
p r e - s t o r y
o f
A r t p o o l
C H A P E L
ST U D I O
31
It seems to me more and more that Pauers three empty pedestals were
an emblematic piece of the year 1973, since it represented a part that
encapsulated everything that happened to the whole. It was like a bottle
with a genie in it similarly to the chapel that almost released the spirit
of freedom. It is awesome how simple it is that the truly great things are
inherent in the miniscule, in which there is virtually nothing.[]
32
Th e
p r e - s t o r y
o f
A r t p o o l
C H A P E L
ST U D I O
ARTPOOL 19791991
GalntaiArtpool*
Six years after the Chapel Studio was closed down by force, Gyrgy Galntai and
Jlia Klaniczay (who joined him in 1976) decided to institutionalize, within the walls
of their apartment, the processing of the large number of documents collected
throughout the 1970s, and to expand the collection.
* The
Since the Artpool project was considered an activity of opposition, and was
not only monitored but also constrained by the cultural policy authorities
of the 1980s, its development was chiefly defined by tactical considerations.
Instead of relying on long-term planning, the domain of future work was
determined by incidental personal contacts, and projects centered on
locally as-yet-unknown themes. This comprised the documentation of inter
national mail art projects (artists stamps, Buda Ray University, etc.),
artists books, visual poetry, and events in Hungarian underground art.
p. 15.
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Building on the experiences of the Chapel Studio Project, and retaining its
open outlook, the Artpool Project was a much more potent and uncensorable
apartment-institution that Jlia Klaniczay and I developed. Originally
I called it the Artpool Avantgarde Art Archive to indicate that it sought
out new forms of societal activity, organized events, and took a formative
role in processes, all while documenting this, archiving it and freely
distributing information. The active archive that results is a living institution
that can be interpreted as an organic and open artwork or an activist kind
of art practice. Its field of operation is the whole world; it works with an
exact aim and direction sensitively detecting changes and adjusting
accordingly.1
1 9 7 9 1 9 9 1
35
The APS series had 14 events, each dealing with various aspects of
publication in space. There were exhibitions, performances, screenings,
actions, concerts, and performance pieces on a range of themes. Among
these were several of our network projects that made Artpool known all
over the world. We arranged an exhibition for G. A. Cavellini in 1980, for
example, as well as a joint performance on Heroes Square in Budapest,
Hommage Vera Muhina, and in 1982 we did an artistamp exhibit (World
Art Post) a collection that has grown to be the largest in the world
through the workings of the Eternal Network.
Another type of institution was the Buda Ray University,2 which built on
my correspondence with Ray Johnson between 1982 and 1994. (The
exhibitions tied to this, between 1986 and 1997, constituted Artpools
Ray Johnson Space.) The 15 exhibitions based on facsimiles of the
correspondence were shown in many countries (Italy, Canada, Ireland,
Hungary, Netherlands, Slovakia, and France), and the ever-growing
number of participants reached 316. We supplemented the mail-contact
data with personal documents through two European art travel projects
(Artpools Art Tour 1979, 1982), then published all this in samizdat
(Artpool Radio no. 5 and AL/Artpool Letter 14). This was the first, nonofficially sanctioned, illegal period of the Artpool Project from a fluxus
perspective.
2 pp.
36
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The Artpool project continued the Chapel Studio project inasmuch as its aim was to alleviate the isolation and
information shortage of the contemporary Hungarian art scene. Beyond this, it also undertook the documentation
of art events that were invisible because they were not favored or sanctioned by the cultural politics of the era.
Continuing its documentary activities retrospectively as well, it set up an archive to facilitate future generations
of artists and art historians wishing to examine the intellectual and artistic struggles that characterized the art
scene of the 1960s, 1970s, and 1980s.
Between 1979 and 1990, periodically banned, but on the whole tolerated, Artpool organized 23 exhibitions and
art events, contributed to the realization of another 14 events by lending artworks, documents, and
photographs, and published 11 anthologies and art catalogs. Between 1980 and 1982, it produced 30 issues of
Pool Window, a one-page mail art newsletter. From 1983 to 1985, Artpool published eleven illegal issues of
AL (Artpool Letter), a samizdat art magazine that still serves as the sole documentary source on the nonofficial art of those years. Eight Radio Artpool programs were broadcast between 1983 and 1987 from
audiocassettes.*
As Artpool had no permanent art space, most of the events organized by them at that time were all held at
different locations: clubs, small galleries, etc. Between 1979 and 1984 these were called the Artpool Periodical
Spaces (APS). These exhibition events were always accompanied by documentation materials of some kind:
posters, artists bookspublications or catalogs in which theoretical texts and translations on correspondence
art, mail art or artists stamps were first available in Hungary. These publications, beside Gyrgy Galntais
own network art, formed the essential exchange material when it came to the expansion of the archives.
* Source:
Artpool, Budapest, in: Gabriele Detterer Maurizio Nannucci (eds.): Artists-Run Spaces. Nonprofit collective organizations in
the 1960s and 1970s, JRP / Ringier, 2012, p. 87.
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37
1979
ARTPOOL EVENTS
19791991
1979
25 March 1979
Frankel Le t 68/B
(henceforth: Artpool Studio), Budapest
The Founding of
ARTPOOL
On this day Gyrgy Galntai and Jlia Klaniczay decided
to establish an active alternative arts archive, which they
named Artpool. At first Artpools operation was realized
strictly via the mail art network using postal services. Artpools
projects were made public at APS-s (Artpools Periodical
Space) organized at various venues. The project materials
and intensive exchanges facilitated the accumulation of the
archive and its numerous collections. Galntai created
Artpools image design (he designed a rubber stamp and
envelope stamps, and issued postcards).
38
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1979
Italy
Artpools
first art tour
to Italy
Meeting with G. A. Cavellini, Ugo Carrega, Adriano Spatola,
Romano Peli. Collection of material for a planned exhibition
at PIK Galria (APS no. 2). The exhibition would have
contained the collected visual and sound poetry works and
mail art pieces, but was prohibited by the cultural authorities
in the end. Beside the growth of Artpools collection, the tour
resulted in several common projects: Artpool was asked to
make the chapter on Hungary for Art Diary 1980; Galntai
made (designed and printed) in 300 copies the cover for
Geiger 9; and the preparations for Cavellinis exhibition in
Budapest began during this time.
DOCUMENT: correspondence, photo
WEB-DOCUMENT: www.
Publication: Geiger 9. Antologia
artpool.hu/events/ArtTour79/
ipersperimentale (ed. by Adriano Spatola and Maurizio Spatola),
Geiger, Mulino di Bazzano (Parma), 1982 Art Diary 1980, Giancarlo
Politi Editore, Milano, 1980
Pacco dallItalia
Package from Italy
(APS no. 2)
The exhibition was to be organized from visual and sound
poetry works collected during Artpools first art tour (21
June 5 August 1979) and complemented by mail art
pieces. (Works by Giancarlo Politi + Helena Kontova / Flash
Art, Maurizio e Massimo Nannucci, Ugo Carrega, Adriano
Spatola, Vittore Baroni, G. A. Cavellini, Romano Peli, Horacio
Zabala, Sarenco, etc.) A ban on the planned exhibition was
imposed by the Budapest Directorate of Fine Arts.
DOCUMENT: postcard call, postal complaints
III/III secret police document: Fest dossier, September 27 and
October 1979
September 1979
Robert Filliou:
Telepathic Music
(APS no. 1)
Artpools Periodical Art Space (APS): exhibitions, events,
actions organized by Artpool in the first years at different
locations. The first exhibition was a poster with the following
text: TELEPATHIC MUSIC no. YOUNG ARTISTS CLUB
fond remembrance/ warm wisheshandshakes / Robert
Filliou September 1979
In one of his postcards Robert Filliou asked Gyrgy Galntai
to display the text above in FMK (Young Artists Club).
Galntai made a poster from the text, which he hung on the
wall of the club, documented it and sent it to Filliou. (The
text by Filliou makes a reference to his 1976 Budapest
exhibition organized by Lszl Beke). After the show
Galntai sent the exhibited and dedicated poster to Robert
Filliou. ( p. 36.)
DOCUMENT: photo, postcard
BIBLIOGRAPHY: Galntai Gyrgy Klaniczay Jlia (eds.): Galntai,
letmunkk/Lifeworks 19681993, Artpool Enciklopdia Kiad,
Perneczky Gza: Az Art Pool
Budapest, 1996, p. 261 (illustration)
gyjtemny. Egy magyar mvszeti gyjtemny megszletse,
Perneczky, Gza: The Art Pool
Mvszet, August 1989, pp. 25.
Archives. The Story of a Hungarian Art Collection, The New Hungarian
Quarterly, Vol. 30, No. 8., 1989, pp. 192196.
40
3 October 1979
Kassk Mveldsi Hz,
Kassk Klub, Budapest
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The specific aim of the tour was to meet some of the artists,
publishers and organizers of Italian experimental art, as well as to
collect publications and look for opportunities for co-operation. But
we had planned nothing in advance. Prior to the journey we had
written letters to all the Italian addresses we had at our disposal,
asking the addressees to specify what we must definitely see of
contemporary Italian art. The answers determined the route and
content of the tour. Those who answered were: Vittore Baroni, Ugo
Carrega, G. A. Cavellini, Betty Danon, Gillo Dorfles, Marco Pachetti,
Romano Peli, Michele Perfetti, Studio Santandrea, Adriano Spatola.
We paid a visit to those who recommended themselves.
After the wondrous cavalcade of Venice we arrived in Brescia. When
we entered Cavellinis house we were greeted by two pictures of the
same size placed opposite the door, next to each other, functioning
as a kind of name card: one was an original, color Vasarely and the
other a white Cavellini inscription in Ben Vautiers style placed in a
black background. The inscription read: Vasarely is a piece of shit.
After seeing the Cavellini Museum we documented our first meeting
with a photo project, and then we agreed on the Cavellini exhibition
in Budapest for the following year. Finally, we enjoyed a fine dinner
hosted by Cavellini.
* Gyrgy
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The last place where we stayed was a German artists house, the
Villa Romana in Florence (where we met Lszl Lakner, who was
staying there on a fellowship). In Florence we wanted to meet
Nannucci to see his Zona archive, but we did not manage to do so.
As recompense, we went to see the Uffizi Gallery great place with
splendid works.
41
1 979
1979
42
A RT P OO L
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1 979
Silkscreened cover (first and back) of the assembling
(Just as a precautionary measure, the publication was issued
as a supplement to the official catalog documenting the
Textile without textile exhibiton.)
October 1979
A RT P OO L
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43
1980
1980
1980 1982
POOLWINDOW
POOL-LETTER
A one-page newsletter for Hungarian artists mainly about
mail art news, to stimulate local mail art activities. Altogether
30 issues (1980: 15, 1981: 618, 1982: 1930). A4 photo
copy (from issue no. 6 on preprinted stationary), rubberstamped. Editors: Gyrgy Galntai and Jlia Klaniczay,
graphic design and realization: Gyrgy Galntai.
The first issue appeared as part of the publication the
artpool. In 1980 the newsletter was sent to the following
artists: Gbor Attalai, Zoltn Bakos, Mihly Balzsovics,
Viktor Benk, Pter Bokros, Dniel Erdly, Gyrgy Fazekas,
Pter Forgcs, rpd f. Tth, Istvn Gellr B., Katalin
Gulys, Kroly Kelemen, Zoltn Lbas, Pter Legndy,
Andrs Lengyel, Tams Molnr, Gyula Pauer, Sndor
Pinczehelyi, Jnos Sugr, Rbert Swierkiewicz, Istvn
Szirnyi, Blint Szombathy, Jnos Vet. ( pp. 39, 4750.)
DOCUMENT: print ready original collages of the Poolwindows
WEB-DOCUMENT: www.artpool.hu/poolwindow/
BIBLIOGRAPHY: Perneczky Gza: lom az rk kommunkcirl (I.),
Jelenkor, February 1990, pp. 158168. [about Poolwindow: p. 168.]
Perneczky Gza: A hl. Alternatv mvszeti ramlatok a folyiratkiadvnyaik tkrben 196888, Httorony Knyvkiad, Budapest,
Perneczky, Gza: The Magazine Network. The
1991, pp. 107, 153.
Trends of Alternative Art in the Light of their Periodicals 19681988,
Soft Geometry, Kln, 1993, pp. 88, 128. Tumbas, Jasmina: International
Hungary! Gyrgy Galntais Networking Strategies, ARTMargins,
JuneOctober 2012, Vol. 1, No. 23, pp. 87115. Stiles, Kristine
Peter Selz: Theories and Documents of Contemporary Art. A Source
book of Artists Writings (Second Edition, Revised and Expanded by
Kristine Stiles), University of California Press, Berkley Los Angeles
London, 2012, p. 878.
III/III secret police document: Fest dossier, March 19, April 9, 1980
10 20 April 1980
Sent Art
Kldtt mvszet
(APS no. 4)
Artpools first mail art exhibition as part of a limited-access
conference about the Culture of the Seventies. Envelopes,
postcards, artistamps, etc. from 300 artists from 24 countries.
A call for participation and a poster-documentation with the
list of participants were made for the show. ( pp. 4546.)
DOCUMENT: call, A3 poster-catalog, photo
WEB-DOCUMENT:
ARTWORKS: in Artpools
www.artpool.hu/events/APS_4.html
collection
BIBLIOGRAPHY: Galntai Gyrgy Klaniczay Jlia (eds.): Galntai,
letmunkk/Lifeworks 19681993, Artpool Enciklopdia Kiad,
A hetvenes vek
Budapest, 1996, pp. 262263. (illustration)
kultrja. Tancskozs a Fiatal Mvszek Klubjban. 1980. April 10
12., Irnytott irodalom, Balassi Kiad, Budapest, 2002 (illustration)
1 May 1980
Budapest
Action at the
May Day procession
Gyrgy Galntai and Jlia Klaniczay demonstrated at the
official May Day procession with a giant poster by Cavellini.
DOCUMENT: photo
44
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48
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49
50
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1980
Operation Round Trip no. 1900, 1980
(one piece of the collaborative
envelope-works by Cavellini and Galntai)
In the art of the 1980s, mail art was what the unlimited World Wide Web
is for us today. Contrary to other forms of art, mail art was neither a
medium, nor a trend, but instead a chaotic, random interactive surface
open to free movement that (theoretically) could only be governed by
postal restrictions Gyrgy Galntai, 1997 *
* Source:
A RT P OO L
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51
1980
G. A. Cavellini
(APS no. 5)
Exhibition, video presentation and lecture. Opening speech
by Gyrgy Somogyi. The exhibition in all rooms of the club
consisted of three parts:
1) presentation of the material of the Cavellini competition
(works by 25 Hungarian artists on the topic Cavellini).
2) a Cavellini interpretation by Galntai
3) Operation Round Trip collaborative envelope-works by
Cavellini and Galntai
At the opening: actions, video projections with the participation
of Cavellini. He drew portraits, distributed his artistamps,
postcards and stickers and discussed the problematic of
the Jungle of Art with the artists present.
To see a list of participants, visit
www.artpool.hu/events/Aps_5/GAC_theme.html
DOCUMENT: invitation, letter, postcard, photo, video
WEB-DOCUMENT: www.artpool.hu/events/Aps_5/GAC.html
ARTWORKS: in Artpools collection
III/III secret police document: Fest dossier, May 20, June 5, July
29, August 21, October 8, 1980
24 May 1980
Gyrgy Galntai:
Hommage Vera Muhina
Performance with G. A. Cavellini and Julia Klaniczay.
Idea: Man is a trans-functioned statue. Location: Hsk
tere (Heroes square), the scene of displays of national
pomp and political power, under whatever government. The
statue of Vera Muhina (Worker and Peasant Woman, 1937)
symbolising the Soviet Union was the starting point of the
reinterpretation. Instead of the hammer and sickle, Gyrgy
Galntai and Jlia Klaniczay held a book, opened at the
reproduction of the statue, and positioned themselves in a
similar forward-striding pose as a statue vivante, while
Cavellini was writing the most distinguished names in art
history on their clothes. In this action, Cavellini stood for all
Italian artists who in the course of history introduced
European culture to Hungary.
Afterlife:
Artpools first Mail-Film project (not realized)
More performances between 1980 and 1984:
1981: The clothing exhibition in Savaria Mzeum, Szomba
thely; Confrontation at the opening of the exhibition The
Fifties. Hungarian Art of the Twentieth Century, Csk Istvn
Kptr, Szkesfehrvr; Walk along Felvonulsi tr, Buda
pest; Clothes Make the Man? (exhibition) + Dress designing
and video project, Textile Art Symposium, Velem (198081).
1983: Liget Galria, Budapest
1984: Grenzzeichen (Border-signs) Symposium in Breiten
brunn, Austria. The life of the refunctioned sculptures in
a closed space (museum or prison) minimal action with
video installation.
DOCUMENT: photo, sound, video
WEB-DOCUMENT: www.artpool.hu/Galantai/perform/Muhina/
PUBLICATION: Artpool postcards
BIBLIOGRAPHY: Cavellini, G. A.: Cavellini in California e a Budapest.
Brescia, 1980, pp. 6776.; Cavellini, G. A.: Cavellini in California and
[Presentation of the
in Budapest, Brescia, 1980, pp. 6978.
programs of Grenzzeichen / Hatrjelek. Neue Kunst aus sterreich
und Ungarn / j mvszet Ausztriban s Magyarorszgon], AL 11
(Spring 1985), pp. 1827. Living Textile 196819781988. A Selection
from Contemporary Hungarian Works of Textile Art (exhibition
Beke Lszl:
catalog), Mcsarnok, Budapest, 1988, pp. 65, 137.
A szocrel klns utlete, in: Gyrgy Pter Turai Hedvig (eds.):
A mvszet katoni. Sztlinizmus s kultra, Corvina, Budapest, 1992,
pp. 109116 [pp. 110, 114] Galntai Gyrgy Klaniczay Jlia (eds.):
Galntai, letmunkk/Lifeworks 19681993, Artpool Enciklopdia
Marten, Cordelia: Action,
Kiad, Budapest, 1996, pp. 196205.
Performance, Happening as Message. Aktion, Performance,
Happening als Sendung, in: Dahms, Otto C. Tania Mller (eds.): Art
la carte. Internationale Knstlerpostkarten seit den 60er Jahren,
Galntai
Neues Museum Weserburg, Bremen, 2004, pp. 8486.
Gyrgy, Hommage Vera Muhina, The Room, Issue 9, Spring/
Pejli, Bojana (ed.): Gender Check.
Summer, 2009, pp. 118121.
Femininity and Masculinity in the Art of Eastern Europe, Museum
Moderner Kunst Stiftung Ludwig, Wien Buchhandlung Walther
Knig, Cologne, 2009, p. 210.
III/III secret police document: Fest dossier, July 29, 1980; July 8,
1981;. July 31, 1984
52
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Gyrgy Galntai: Hommage Vera Muhina (performance with G. A. Cavellini and Jlia Klaniczay), Heroes Square, Budapest, 1980
Photos: Gyrgy Hegeds
54
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1981
30 October 1981
Summer 1981
Artpools First
Mail-Film Project
(Not realized.)
Contributions to / reflections on the call from: dm Blint,
Levente Baranyai, Jzsef Bdis, Pter Bokros, Tams Diner,
Lszl feLugossy, rpd fenyvesi Tth, Elemr Hankiss,
Lszl Hegeds L., Bla Kelnyi, Imre Kocsis, Gbor Lajta,
Endre Lszl, Andrs Lengyel, Oszkr Rihmer, Gza Sska,
Gyrgy Szemadm, Pter Tams, Alz Torday, Gbor
Ulveczky, Ferenc Veszely.
DOCUMENT: call, ideasplansscripts received from the participants
ARTWORKS: in Artpools collection
Art + Post
Mvszet s Posta
(APS no. 7)
III/III secret police document: Fest dossier, April, May 12, August
5, August 27, September 8, October 9, 1981
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55
1981
Grald Minkoff:
Chinese Chess + Instant Hexagram
Knai sakk + Instant Hexagramm
(APS no. 9)
1981
The structure of the exhibition: documents of the Hungarian avant-garde from the 1970s on the floor (Xerox
copies). Artists postcards and mail art works welded into slips (1 slip 1 artist) and hung into space. Shop
windows with mail art objects and bookworks. T-shirts of the artists on the entrance door. Set against the
walls were Rbert Swierkiewiczs first mail art project titled Substitutable Self-portrait and the sheets of Gyrgy
Galntais assembling titled Textile without Textile ( p. 43).
56
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1981
4 December 1981
ART-UMBRELLA
POSTCARD SHOW
(APS no. 8)
Based on the invitation he received for the exhibition
of postcards titled Christmas and New Year Galntai
announced a non official Artpool postcard project: in this
exhibition he presented the uncut sheets of the catalog with
the reproductions of 104 works by 33 participants (given
this format, none of the postcards could be censored).
To see a list of participants, visit www.artpool.hu/Postcard/umbrella/
DOCUMENT: call, original postcards by Galntai sent out with the
call, Artpools invitation, Helikon Galrias invitation
WEBPUBLICATION:
CATALOG: www.artpool.hu/Postcard/umbrella/
ART-UMBRELLA (Mvszet-Eserny), 1981, bookwork-catalog, A6,
offset, with color foil cover, 97 numbered copies ARTWORKS: in
Artpools collection
BIBLIOGRAPHY: Poolwindow No. 14. (October 1981) and No. 16.
Killts a killtson, Poolwindow No. 18.
(November 1981), (call)
Galntai Gyrgy Klaniczay Jlia (eds.):
(December 16, 1981)
Galntai, letmunkk/Lifeworks 19681993, Artpool Enciklopdia
Kiad, Budapest, 1996, pp. 274.
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1982
Artpool, Budapest
20 January 1982
Lecture by
Gyrgy Somogyi
Lecture on mail art / correspondence art and marginal
communications with slide show of works from the Artpool
archives.
DOCUMENT: note by Gyrgy Somogyi
27 January 1982
Lecture by
Gyrgy Somogyi
Lecture on mail art / correspondence art and marginal
communications with slide show of works from the Artpool
archives.
DOCUMENT: note by Gyrgy Somogyi
27 April 1982
Szekszrd
Lecture by
Gyrgy Somogyi
Lecture on mail art / correspondence art and marginal
communications with slide show of works from the Artpool
archives.
DOCUMENT: note by Gyrgy Somogyi
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59
1 982
19821988 (1997)
1982
It was in July of 1979, during one of Artpools Art Tour journeys in Italy, that
we got RAY JOHNSONs mail address from Romano Peli in Parma. Peli has a
serious mail art archive and he organized exhibitions. He was just preparing
the RAY JOHNSON NOTHING exhibition. It was then that we met Cavellini for
the first time, and agreed to do an exhibition in Budapest with him the following
year. It was easy to deal with Cavellini because he responded immediately to
everything, but we didnt get any replies to our letters to Ray Johnson.
* Gyrgy
60
In 1982, the American artist, Ginny Lloyd, who knew Johnson personally, was
visiting Artpool and found it strange that Ray hadnt answered us. I then
decided to make one last try with a postcard action: I made twenty postcardcollages and one after the other, I posted them in twenty days.
The answer arrived soon after, the first send to letter with drawings, demanding
that we send it to Wally Darnell in Saudi Arabia. The drawing or the letter? The
demand wasnt clear to me, so I decided not to passively deliver the letter,
instead I wished to become a part of the action, so I photocopied the drawing.
There were four numbered Fan Club stamps on the drawing, with four
characteristic bunnies, I thought I should rearrange them, in this way, allowing
for further additions.
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On December 22, a letter arrived, referring to the second drawing with the
inscription Thank you for all your communications and a Dora Maar Fan Club
stamp, and finally, a letter with a Yoko Ono Bunny stamp closed the year.
On September 28, 1983 the fourth drawings inscription Thank you for
yaur refers to the former letter (after nine months), and continues with
send to Peter Below, and the drawing: a duck in a cloud with the
inscription DUCK CLOSE and with a ball-point pen OH BOYS ALWAYS THE
SAME STYLE.
The BUDA RAY UNIVERSITY gained more and more participants through the
continuous posting of the first four letters. The University published a book
in 1985 that contained a selection of the letters that had been received up to
that time.
On February 13, 1986 Ray posted the fifth drawing BILL de KOONINGs
BICYCLE SEAT which arrived enclosed with a catalog of the Nassau
Museum, in exchange for the Ray Johnson Artpool Book.
The fifth drawing was the most successful, many answers arrived in a
short time. There were too many answers for the dimension of a book, so
that we had to use another form of publication: the exhibition.
The ARTPOOLs RAY JOHNSON SPACE was shown between 1986 and 1993
14 times in 8 different countries, as part of events or sometimes,
independent programs.
In 1987 the booklet TO LIVE IN A NEGATIVE UTOPIA appeared,
containing a selection of the answers that had arrived to the second letter
since 1982.
March 4, 1988 A letter thanking us for the publication of the TO LIVE IN
A NEGATIVE UTOPIA, demanding that we send a copy to Clive Phillpot in
the Museum of Modern Arts archives + a drawing Please send to Berty
Skuber with the inscription ONE, SCENT, HALF. Verso: by transforming
the photo of the young Johnson, he commemorates the NEW YORK
SCHOOL OF ABSTRACT EXPRESSIONIST CORRESPONDENCE (19471987).
62
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[] At the time of Ginny Lloyds visit [in 1982], Galntai was attempting to
develop the archive and mailing activity of Artpool in a way that resembled
the function of his Chapel Project at Balatonboglr; Galntai envisioned
the Chapel project and Artpool as centers of activity that fueled artistic
collaboration. Given that Artpool developed as an archive and center of
mailing activity as a result of the censorship of the Chapel project,Johnsons
ability to attract international mailing exchange while appearing
nonsensical toEastern European censors suggested that Johnsons
involvement with Artpool would helpthe project thrive. Galntais efforts
to become part of Johnsons mailing network alsoreveal that he saw an
affinity between his artistic project and Johnsons mailings.
E V ENTS
First, Galntai used one copy of this manipulation as a template for hisown
collage and sent the result back to Johnson. This action suggests that
Galntaiwanted to be more than a passive node in the send to mailing
chain and hoped toencourage further communication. More significantly,
Galntai established himself as alocus of activity within Johnsons
international mailing network by sending hismanipulation of the Johnson
collage to every individual on his own mailing list. It wasthis action that
transformed a mailing correspondence between two individuals into
aconnection between two networks, and had the added potential of
expanding Johnsons and Galntais respective realms of influence.
Galntais interpretation of Johnsonsoriginal mailing offered the central
blank space for creative manipulation through theaccompanying message:
Please add and return to Artpools Ray Johnson Space. Thecrudely drawn
bunnies and the ironic fan club stamps seduced the receiver to wonderhow
one could add to the mailing, therefore treating the center of mailing as a
space uponwhich to project a play of desire. Given that Ray Johnson had
already acquired somewhatof a cult status among international artists
interested using the mail for collaboration,Galntais correspondences
underscore the eagerness with which receivers wanted toparticipate in an
1 9 7 9 1 9 9 1
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1982
Source: Roksana Filipowska: Please Add to:The Mailing Practice of Ray Johnson and Gyrgy
Galntai, Masters thesis, Faculty of the Graduate School ofThe University at Buffalo, State
University of New York, Department of Visual Studies, September 2012, pp. 33-38.
64
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26 February 1982
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1982
We started the international correspondence in a very dynamic way, which also helped to build
personal connections. At that time, in 1979, my wife Jlia Klaniczays father was teaching at
the University in Rome, so he was able to send us a letter of invitation allowing us to go there
( pp. 4142.). We made a detour to Milan and paid a visit to the people there whose response
to our circular letter was that they would be happy to receive us. One interesting thing about
this trip: it was then that we got to know the poet Ugo Carrega, who had his own gallery for
experimental poetry in a converted garage. When we made this visit, Peter Frank happened to
be there too, and although we didnt know who he was at the time, we were nevertheless
drawn to each another. (In 1981 he wrote the first and ever since one of the most important
studies on artistamps.) How interesting it is that we stumbled into each other before the story
of artistamps had even begun! These are the kinds of coincidences that helped us on our way
and it is also interesting that we experienced loads of cases like these. If you do your things
well, these kinds of coincidences will help you. Thats why you just have to let things happen.
[]
Source: Kata Bodor: I would like to be connected to the time Im in Interview with Gyrgy Galntai,
the curator of the Parastamp exhibition, in: Parastamp. Four Decades of Artistamps, from Fluxus
to the Internet, exh. catalog, Szpmvszeti Mzeum, Budapest, 2007, pp. 84100. [pp. 84, 87].
(English translation by Krisztina Sarkady-Hart.)
68
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The mail art network doesnt work by itself, and is not a closed (hierarchical) system but is
rather an open self-constructing, self-assembling (heterarchical) system. The ideal of the
individuals building the mail art network is an ideal society, the Eternal Network. In this
network discourse and dialogue keep each other in balance. The dialogues store discourse and
the discourses provoke dialogues. Every individual can be the motor and node that starts up
the network, that brings projects, exhibitions, archives or e.g. museums into being. Thus,
individual productions become part of societal communication and the exhibition is one
manifestation of these. []
In the early 1980s, I sent out a call to various parts of the world, as well as to about two
hundred of my Hungarian acquaintances, to fill out a stamp form. Out of the addressees, one
hundred and fifty, ranging from Gyrgy Kozma to Gza Sska, did as I had asked. Most of
them were not artists but rather creative people, who I had called on because I wanted to test
their approach to such a situation. As I have said already I was curious about the state of the
world, i.e. that parallel state of the world that can manifest itself in such parastamps. The
reason the whole idea was so successful in my opinion was because I had the assumption
that people are too busy and I thought that if I give them too big a task, they wont do it, but if
I only try to get them to do some minimalistic activity, say they are given a blank surface with
a stamp imitation which they only have to fill with something, then they will do that. The other
requirement in the task was that they had to make a commemorative stamp. Everybody has at
least one memory thats important to them. These two things were the secret of this projects
success, which I named World Art Post, but a crucial element of a call is that it must be well
timed. You must have a feel for what people need to think about in 2007, what doesnt need
thinking about, and whats good to think. You know I would like to be connected to the times.
This thing, the interpretation of existence, is an old mania of mine. Since the Balatonboglr
Chapel Studio events I have felt that I am connected to the time Im in, and it was perhaps
there that I began to perceive that what must be done is when it must be done. If I dont do
now what I have to do, I will miss it, and for that Ill be punished. []
Source: Kata Bodor: op. cit. pp. 90, 93.
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6 25 April 1982
1982
Texts written for the exhibition and published in the World Art
Post catalog and the four pages Hungarian supplement:
Beke Lszl: Stamps and Artists Stamps, in: World Art Post, Artpool,
Budapest, 1982, p. 6. J. & G. Galntai: [The exhibition], in: World
J. & G. Galntai:
Art Post, Artpool, Budapest,1982, back cover
World Art Post, in: Catalog supplement for World Art Post, with
Tth Gbor: [The
Hungarian texts, [Artpool, Budapest, 1982], n.p.
stamp-edition is the monopoly of state], in: World Art Post, Artpool,
Tth Gbor: [A blyegkiads llami mono
Budapest, 1982, p. 6.
plium], in: Catalog supplement for World Art Post, with Hungarian
Ungvry Rudolf: The
texts, [Artpool, Budapest, 1982], n.p. (p. 4.)
Mathematics of Artists Stamps (An Abstract Algebraic Analysis of
Effects), in: World Art Post, Artpool, Budapest, 1982, pp. 78.
Wessely Anna: [It is one of the recurrent themes], in: World Art Post,
Wessely Anna: [Mvszetk ritikai
Artpool, Budapest, 1982, p. 6.
kzhely], in: Catalog supplement for World Art Post, with Hungarian
Zborszky Kroly:
texts, [Artpool, Budapest, 1982], n.p. (p. 5.)
[Hlgyeim s Uraim], in: Catalog supplement for World Art Post,
with Hungarian texts, [Artpool, Budapest, 1982], n.p. (p. 1., the text of
the opening speech).
70
15 April 1982
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In the entrance hall: continuous slide projection showing the use of artistamps
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1982
The exhibition in April 1982 (APS 6) and the present publication are the
first tangible results of more than two years of fascinating correspond
ence and organization work, following our decision to create a systematic
and at least in the documentation, a complete collection of artists stamps
in Central Europe.
The idea came up after Cavellinis successful Budapest exhibition which
attracted and provoked many Hungarian artists to participation. We
thought then of organizing a large scale international exhibition, i.e. as
far as that was possible under our present circumstances. We wanted
the whole world to appear in one definite place at one definite time.
From this the project of asking for commemorating stamps evolved
almost by itself and, subsequently, the idea of creating a collection of
artists stamps. We mailed an enormous number of invitations, attempting
to get in touch with everyone somehow connected with stamps. A lot of
people helped us by publishing the news of our project, multiplying the
invitation text, and supplying useful information. Here we wish to express
our gratefulness to Hans Sohm for having enriched our collection with
very valuable, older stamps.
We hope that this publication will, beside briefly surveying the history of
artists stamps, give a taste of that marvelous picture that has opened
before our eyes looking at the day by day arriving projects for memorial
stamps forming, with a disregard to any kind of geographical, political,
or cultural boundaries, several meaningful series.
Our thanks are due to all participants.
72
J. & G. Galntai
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It was not until five years later, in 1987, when I returned to artists stamps.
Commissioned by the Budapest Museum of Fine Arts (namely, Judit Gesk),
I advertised a new call for entries under the title Stamp Images. At this
point, I realized the magnitude of work that Mike Bidner had done during the
previous five years in the world of what he called, the ARTISTAMP. What
happened was that we received an inconceivable amount of stamp art works,
all of various techniques, both unique pieces and copied ones. The collection
housed in Artpool became multiplied, so that the Gallery of Prints and
Drawings at the Museum of Fine Art proved to be too small to exhibit the
entire material. That is why we were bound to select from the entries, quite
contrary to the rules of mail art. Mike Bidner considered presenting his
activities within the Budapest show, but his accelerating disease thwarted his
plan. []
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Our connection with Mike Bidner [Canadian artist and philatelist] dates from
1982, the year when he heard about the WAP catalog, which I sent him on
his request. From that point on, we regularly received his long letters all
printed on matrix printer paper folds and promotion materials. I always
opened these letters in admiration (also somewhat enviously), as during
those years the Hungarian secret service, for reasons beyond my
comprehension, made it shockingly impossible for me to satisfy my interest
in these innocent artists stamps. []
1982
Mark Dicey, Sandra Tivy, Mike Bidner, Don Mabie [Chuck Stake]
at the Correspondence Art Gallery in Calgary, Alberta, August
1986
Bidners note on the recto of the photo: Sandra is wearing a shirt
of Artpool World Art Post stamps made in Paris on cotton material,
silkscreened (I think)
Bidner was working on a huge artistamp catalog and already at the time had
made lists with a computer, etc. In order to make the list accurate, a lot of
correspondence was also needed. Once he sent us a photo of one of his
acquaintances wearing a T-shirt with a stamp pattern on it. The stamp
pattern of the T-shirt that had been bought in Paris was from stamps in our
World Art Post catalog. It came as a surprise to us when at the end of 1987,
Bidner wrote in a letter that his health had drastically deteriorated and he
asked if we would accept his artistamp collection, since with the exception of
Artpool, he hadnt been able to find a museum that would have been happy
to accept it and handle it with the respect it deserved. We regarded his offer
as a great honor. Bidner died of AIDS in 1989. We got his collection and its
documentation in 1990 after the change in the political system in Hungary.1
The ultimate goal of Mike Bidners artistic endeavor was to achieve the
recognition of artists stamps as paraphilately. He never learned it although
he could have possibly been informed somehow that, by mere chance, his
desire had come true, albeit not in Canada, but in Hungary. In the year of
1988, the first comprehensive stamp encyclopedia of the world was published
in Budapest, in which owing to the Stamp Images exhibition as had been
organized by the Artpool in 1987 as many as six entries were devoted to
artists stamps.2
2 Gyrgy
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9 15 June 1982
Ginny Lloyd
at Artpool
4 November 1982
Speach-sound-variations
Beszdhangvaricik
Reading and concert by Kristf Wber and pieces from
Artpools sound archive.
DOCUMENT: invitation
11 November 1982
21 December 1982
Studio preview of
Stampfilm
Blyegfilm
The film by Gyrgy Galntai contains the whole material
of the World Art Post competition based on the accidental
sequence in which the stamps were delivered to Galntai
by the post. The music of the film is a montage by Galntai
from soundworks of the artists participating in the show.
DOCUMENT: flyer
Film: Blyegfilm / Stampfilm, 19821983, 16
mm, black and white, 36 min., produced by Balzs Bla Studio,
Budapest, directed by Gyrgy Galntai
BIBLIOGRAPHY: Hegyi Lrnd: film/mvszet. Killts a magyar
ksrleti film trtnetrl, Filmvilg, 1983/7, p. 9. Galntai Gyrgy
Klaniczay Jlia (eds.): Galntai. letmunkk/Lifeworks 19681993,
Artpool Enciklopdia Kiad, Budapest, 1996, pp. 212.
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1982
Traveling like a tourist, with a borrowed car, through six countries. A personal
meeting with networkers we already knew well from the mail art network,
exchange of ideas, exchange of publications, collecting documentation, collecting
addresses, making photo- and audio documentation, etc.
* Gyrgy
The venues of the meetings had been planned in advance, so during this time
the postal network was also in operation, i.e. throughout the tour greetings
from Europe were coming and going from east to west and back. The final
result of the collecting activity was eight boxes of archive material.
The audio recording were used for Artpool Radio 5s program. The travel
diary was used for a sheet of stamps and some illustrated reports in the
following year for the first four issues of the samizdat art magazine entitled
AL (Artpool Letter).
76
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1983
Artpool, Budapest
Publishing of AL
(Aktulis Levl, Artpool Letter)
1983
78
AL 7 (January 1984)
III/III secret police document: Fest dossier, January 24, January 31,
February 9, March 10, March 22, April 20, April 25, May 6, July 5, 1983;
September (summarizing report pp. 112115.), September 13,
September 23, October 6, November 10, 1983; April 13, 18, October
18, November 6, November 1984; January 31, February 15, 18, May
14, 1985; January 28, 29, April 23, 1986; November 6, 1987; July 1, 1988
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1983
BudapestViennaBerlin
Telephone Concert (APS no. 12)
Telephone Concert event in Budapest, drawing by Gyrgy Kozma, photos by Gyrgy Galntai, Tivadar Nemesi and Jnos Vet (original paste-ups by Gyrgy
Galntai for AL/Artpool Letter No. 4, 1983 pp. 1013.)
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79
19831987
Artpool, Budapest
15 April 1983
Artpool Studio, Budapest,
Kultur Service Studio, Wien, AufbauAbbau, Berlin
RADIO
ARTPOOL
A cassette release, cassettes 18. Made from the sound
recordings for AL (Aktulis Levl topical letter), the sound
documents of the underground art scene and the sound
cassettes posted to Artpool from all over the world a sound
periodical or a pseudo radio published in parallel with the
paper-based periodical. Originally it was planned that every
issue would be made by someone else. The cassettes had
individually designed covers and were copied according to
demand mostly as material for swapping.
To listen to the Radio Artpools cassettes visit
www.artpool.hu/sound/radio/
1983
6 April 1983
A discussion with
Lrnd Hegyi and Gza Perneczky
DOCUMENT: photo
WEB-DOCUMENT: www.artpool.hu/Al/al05/beszelgetes.html
BIBLIOGRAPHY: Beszlgets a kt kvja mellett (Hegyi Lrnd,
Perneczky Gza, Klaniczay Jlia s Galntai Gyrgy beszlgetse),
AL 5 (Summer 1983), pp. 2430.
80
7 May 1983
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1984
27 January 1984
8 January 1984
Malgorzata Potocka
at Artpool
Potocka arrived at the invitation of Balzs Bla Studio to
Budapest. She took part in the editing of the 3rd issue of
the video-periodical INFERMENTAL and had an exhibition
at the Young Artists Club from January 6 to 12. At Artpool
she gave an account of the most important art events in
Poland in the recent years.
DOCUMENT: photo, manuscript of Potoczkas article about the
alternative art scene in Poland (Hungarian translation)
WEB-DOCUMENT: www.artpool.hu/Al/al07/Potocka.html
BIBLIOGRAPHY: [Beszmol Malgorzata Potocka killtsrl, vala
mint tevkenysgrl], AL 7 (January 1984), pp. 4849.
See the bibliography dealing with the reconstruction in 1989 and the
reorganized exhibitions of 20002001 respectively at the events in
1989, 2000 and 2001.
III/III secret police document: Fest dossier, January 12, 25, 30,
February 4, 9,13, 1984 ( pp. 268270.)
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1984
Source: www.artpool.hu/
Commonpress51/catalogue.html
In the art of the 1980s, mail art was a free worldwide network similar to the
Internet. Unlike other art-s, mail art was not a medium or a trend but rather
a chaotic and random interactive interface open to free movement. The
network members were volunteers and participants and/or organizers open
to external and internal inspiration. One of the manifestations of the network
operation was the Commonpress network magazine, coordinated from Poland
by Pawel Petasz. Anyone was free to launch a new topic if he or she requested
a serial number and took it on himself or herself to send the publication to the
participants. After this, the news was put up on the mail art worldwide web.
The topic Hungary was inspired by the imaginative Italian boots of the
Italian poet Adriano Spatolas Italy issue. (Gyrgy Galntai, 2000)
E V ENTS
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83
1984
1984
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21 March 1984
Kreatv Mozgs Stdi
(Creative Movement Studio), Budapest
Dance performance
by Min Tanaka
(APS no. 14)
A project realized with Artpools help and coordination.
DOCUMENT: invitation, poster, photo
WEB-DOCUMENT: www.artpool.hu/Al/al09/Beke.html
BIBLIOGRAPHY: [Beke Lszl rsa Tanaka Min budapesti elads
rl], AL 9 (May 1984), pp. 36.
May 1984
Visits by
Meda Mladek
Meda Mladek came to Hungary in May 1984 on commission
by George Soros to organize and do the preliminary work
for a contemporary art centre in Budapest. She contacted
all the important figures of contemporary Hungarian art, and
came to Artpool on several occasions, based on which she
wanted Jlia Klaniczay to become the director of the planned
Soros Art Centre. That is, until the point when deputy minister
for culture, Dezs Tth, informed her that the plan, according
to which Gyrgy Galntais wife would manage the centre,
would jeopardize the implementation of the entire project.
DOCUMENT: correspondence
BIBLIOGRAPHY: Nagy Kristof: A Soros Alapitvany hatasa a 80-as evek
magyar muveszetere, Etvs Lornd Univ., Faculty of Humanities,
Dept. of Art History, Budapest (dissertation), 2013, 34 p.
1984
28 March 1984
Joan Jonas
at Artpool
During her visit in Budapest, Joan Jonas had a performance
at the Young Artists Club and a video-screening of her
works at the Ernst Mzeum. The New York based artist
gave an interview to Lszl Beke at Artpool. Issue 9 of AL
(Artpool Letter) reported about the events.
DOCUMENT: photo, sound
WEB-DOCUMENT: www.artpool.hu/Al/al09/Jonas.html
BIBLIOGRAPHY: [Beke Lszl beszlgetse Joan Jonassal], AL 9
(May 1984), pp. 2629.
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85
1 May 1984
8 May 1984
1984
30 June 1984
International premiere
of Gyrgy Galntais Stamp Film
at Artistampex
25 June 1984
DOCUMENT: invitations
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10 September 1984
Belvrosi Ifjsgi Hz
( Youth House of the City), Budapest
19 September 1984
Meeting of representants
of international art magazines
Gesprch mit Vertretern
internationaler Kunstmagazine
A meeting and discussion on the invitation of Grita Insam,
an avant-garde gallerist in Vienna, with the participation of
representatives of international art magazines. The only
representatives of the art scene behind the iron curtain
were Jlia Galntai [Klaniczay] and the samizdat art
magazine titled AL (Artpool Letter).
Participants: Art (Alfred Simeschik), Artefactum (Flor Bex),
Artforum (Ingrid Rein), Artpool / AL (Jlia Galntai), Juliet
(Roland Marino), Lapis Arte (Ines Mainieri), Neue Kunst in
Europa (Paula Domzalski), Parachute (Chantal Pontbriand),
Redact (Peter Frank).
DOCUMENT: invitation
A RT P OO L
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87
19851986
1985 1988
May 1985
Budapest
1985 1 9 8 6
9 March 1985
A RT P OO L
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Artpools
Ray Johnson Space
Exhibition at the international festival DArt Room Festival
Europeo di nuovi luoghi dellarte, Bologna (European
Festival of New Places of Art). Hungarian participants were:
Sndor Bernth(y), Gyrgy Galntai / Artpool, Attila Kristf
Nagy, Endre Szkrosi & Konnektor Rt.
Exhibition of Artpools Ray Johnson Space with 56 partici
pants, visual replies to Ray Johnsons 5th Letter.
To see a list of participants, visit
www.artpool.hu/Ray/space/doc860921b.html
DOCUMENT: poster-invitation with the list of participants. About the
festival: poster, flyers, program, sticker of the festival, photo, sound,
video ARTWORKS: in Artpools collection
BIBLIOGRAPHY: Szkrosi Endre: Az lni hagyott mvszet. Fesztivl
Szkrosi
Bolognban, let s Irodalom, November 14, 1986, p. 6.
Endre: Egy msik ember. Eszmlkedstrtneti emlkirat, Orpheusz
Kiad, Budapest, 2011, p. 197.
89
1987
January 1987
13 24 June 1987
Envelopes
Bortkok
ARTWORKS: in Artpools
Stamp Images
Blyegkpek
1987
Artpools
Ray Johnson Space
Exhibition of works of the Buda Ray University project at
Irelands First International Mail Art Exhibition (works by 154
artists).
To see a list of participants, visit
www.artpool.hu/Ray/space/doc870814b.html
DOCUMENT: poster-invitation with the list of participants
ARTWORKS: in Artpools collection
30 October 1987
90
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Artpools
Ray Johnson Space
Ray Johnsons 5th Letter international exhibition of corres
pondence art (dedicated to the 60th birthday of Ray Johnson
and the 100th of Marcel Duchamp 176 participants).
To see a list of participants, visit
www.artpool.hu/Ray/space/doc871101b.html
DOCUMENT: poster-invitation with the list of participants, photo
ARTWORKS: in Artpools collection
BIBLIOGRAPHY: s. k.: Novemberi Utca Galria, Vas Npe, November
6, 1987
11 December 1987
Eszttika Tanszk, ELTE
(Etvs Lornd University, Dept. of Aesthetics),
Budapest
In the Spirit of
Marcel Duchamp
Symposium, organized by Artpool, to commemorate the
100th birthday of Marcel Duchamp exhibition, concert,
performance, video screening.
Program: from 25 pm: videos, slide projection and sound
presentation from the margins of art (Infermentl, Tams
Szentjby, Mikls Erdly, Andrs Szirtes)
57 pm: concerts on Gyrgy Galntais sound sculptures
assembled from ready-made iron pieces (Istvn Mrtha,
Tibor Szemz, Andrs Wilheim, Zoltn Rcz)
from 7 pm: Five-minute lectures (with a chess-clock as
time keeper) by 21 leading artists and art critics in the spirit
of Marcel Duchamp. Lecturers were: Gbor Andrsi, Imre
Bak, Lszl Beke, kos Birks, Dezs Ekler, Lszl Fldnyi
F., Pter Gyrgy, Lrnd Hegyi, zsb Hornyi, Gabriella
Kerncs, Albart Kovts, Endre Kukorelly, Gbor Pataki,
Mikls Peternk, Endre Rzsa T., Taln Sebe, Jnos Sugr,
Endre Szkrosi, Anik Szke, dm Tbor, Gbor Tth
In the framework of the symposium: international exhibition
with the participation of 54 artists.
To see a list of participants, visit www.artpool.hu/Duchamp/MDspirit/
DOCUMENT: invitation, flyer, poster, photo, sound, video
PUBLICATION: Marcel Duchamp Szimpozion 1987, Artpool, Buda
pest, 2007, 62 p. [Five Minutes Lectures of the Symposium]
Hommage Marcel Duchamp, Artpool, Budapest, 2007, 143 p.
[bookwork catalog of the event]
Web-CATALOG: www.artpool.hu/Duchamp/MDspirit/
ARTWORKS: in Artpools collection
13 16 December 1987
1987
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91
In 1987 interdependence is stronger than ever before, and this is especially true for the systems of relations
and chain-like connections generated by disasters. Local workshops, countryside art scenes, neglected little
countries and satellite cultures have now been rendered helpless without one another, and the concept of
national art or art representing various social classes, has lost its viability not because of the emergence of
new doctrines but because of the experiences of everyday life. Our century is afflicted and shaped by
problems, fears and anxieties that are as universal, supra-boundary and inescapable as the answers we are
coerced into by intimidating force.
Chernobyl, acid rain, the global Necropolises dubbed industrial landfills, poisonous gases, holes in the ozone
layer, the absurdly vast arsenal of silent arms now stored away but eager to be fired, and the fishing and
hunting expeditions that destroy entire species recognize no boundaries, just like computers, television,
satellite broadcasting systems, telephone lines, video chains, telefax and teleprinting. The levels of threat and
hope may well be proportionate to one another.
The electronic environment, this post-Gutenberg galaxy, has evolved into a social factor, i.e. a self-determining
domain and thus urges and demands participation in intercultural communication, the great cycle, the
exchange. Let us correspond and send photographs, cassettes and audio materials; transmit signals
perpetually and inscrutably! It is virtually imperative to participate in the multi-player dialogue that is evolving
nowadays, to take part in the Dialogue of the Worlds, a continuous conversation mediating between the most
diverse of experiences and this is the objective of the upcoming symposium, too.
When the Department of Aesthetics of ELTE University provides publicity for the meeting organized
by Gyrgy Galntai (Artpool), it is doing so in the hope of opening up an opportunity for an arts event
through the coming together of aesthetics and living art.
Pter Gyrgy
You are cordially invited to the symposium commemorating the 100th anniversary of Marcel Duchamps birth, to be
held at 2 p.m. on Friday, 11 December 1987 at ELTEs Department of Aesthetics (Budapest V. Szerb utca 2123.)
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1987
ART IS DIFFERENT
Marcel Duchamp is 100 Years Old in Budapest
Duchamp Symposium at the Department of Aesthetics, Elte
1988
Artpools
Ray Johnson Space
International exhibition of correspondence art with 200
participants as part of the mail art show Container con
amore (organized by Jenny de Groot).
To see a list of participants, visit
www.artpool.hu/Ray/space/doc8806b.html
DOCUMENT: poster-invitation with the list of participants
ARTWORKS: in Artpools collection
Artpools
Ray Johnson Space
Exhibition with 211 participants, part of the festival of experi
mental art and literature organized by Jzsef R. Juhsz.
To see a list of participants, visit
www.artpool.hu/Ray/space/doc880617b.html
DOCUMENT: poster-invitation with the list of participants
ARTWORKS: in Artpools collection
Artpools
Ray Johnson Space
Exhibition with 228 participants in the framework of the
festival La posie visuelle a travers le monde (Visual Poetry
Around the World). 5e changes internationaux de posie
contemporaine (organized by Julien Blaine). Hungarian
artists invited to the festival: Gyrgy Galntai, Jzsef R.
Juhsz, Tibor Papp, Andrs Petcz, kos Szkely.
1988
West Berlin
10 October 1988
Vc, Hungary
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1989
1989 1992
10 20 September 1989
Amsterdam
1989
Artpools
Ray Johnson Space
Exhibition with 272 participants (organized by Jzsef Brdosi),
opened by Lszl L. Menyhrt.
To see a list of participants, visit
www.artpool.hu/Ray/space/doc890202b.html
Tardos
BIBLIOGRAPHY: Van Tijen, Tjebbe (ed.): op. cit., p. 85.
Jnos: Eurpa az r ellen. Alternatv fesztivl Amszterdamban,
Magyar Nemzet, September 22, 1989, p. 4.
96
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Lszl Mravik, who had joined the cultural department of the Central Committee of the Hungarian Socialist
Workers Party around this time, also did not come to the discussion. He explained his absence in his friendly
letter to Galntai on display at the reconstructed exhibition by citing reasons of a personal nature, and
at the same time found excuses for the system: Had it been up to me but it was not I may very well
have not supported the opening of the exhibition. At the time I and some of my colleagues wanted to achieve
a certain change in the art institutional system through implementing significant changes in regard to those
working in it. Just to mention one obvious example, if I had stood by your exhibition, I would never have
managed to place Katalin Nray at the head of Mcsarnok and thus open the way for the latest trends in
Hungarian art, which does not exactly enjoy the support of the higher circles. [] In hindsight, we know of
course that publicity is the only way, albeit not necessarily a measure, for everything. The current
assessment of the event in 1984 is certainly false
Source: Tams Sznyei: Az utols betiltott killts [The Last Banned Exhibition], Vilg, January 4, 1990
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1989
1990
216 February 1990
Underground Art
During the Aczl Era
Fldalatti mvszet
az Aczlkorban
Documentary exhibition in the framework of the Liberal
Nights cultural series of SZDSZ (Alliance of Free Democrats).
Exhibition and slide-show of documents and artworks of
non-official art of the 1970s in Hungary from the Artpool
Archive, curated by Gyrgy Galntai. (The title of the event
referred to the dark period just left behind under the regime
of Gyrgy Aczl, the key figure of the Hungarian cultural
policy from the 1960s till the mid 1980s.) After the opening:
Literary Program (organized by dm Tbor) then discussion
with the survivors of the period.
1990
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MarchDecember 1990
Mveldsi s Kzoktatsi
Minisztrium (Ministry of Culture and Public
Education), Budapest
Negotiations on making
the Artpool archives
available to the public
DOCUMENT: correspondence, notes
BIBLIOGRAPHY: Boros Gza: Mzeum a margn, Vilg, March 22,
1990, pp. 45.
Franklin
Hidden Story.
Samizdat from Hungary
& Elsewhere
Freedom / Oppression:
Central European Artists
in Response
In 1989, Artpool was invited by the Visual Arts Research
Studios of the Arizona State University to help form a team
for their visiting artists project: Freedom/Oppression: Central
European Artists in Response (project coordinators: Dan
Mayer and John Risseeuw). Three artists, namely Pter
Forgcs, Gyrgy Galntai and poet Gyrgy Petri, were
invited to Arizona to collaborate with the staff of the Studio.
The result of their co-operation was the bookwork titled
PETRIfied forEAST.
Yet, the art bureaucrats of the time felt that these works
were no less than a sink of iniquity. They felt it was not
permissible for certain young radicals to ridicule the
carefully designed path of development, especially when
they themselves refer to what they are doing as anti-art.
It is unacceptable. Some great and intricate plot is in the
making. So the officials transferred the files to the
competent department of the ministry of the interior.
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1990
26 November 1990
Lecture with slide projection by Gyrgy Galntai and Jlia
Klaniczay at the Arizona State University following a poetry
evening by Gyrgy Petri.
Document: correspondence, flyer, photo WEB-DOCUMENT: www.
artpool.hu/bookwork/PETRIfied/ BOOKWORK-Publication: PETRI
fied forEAST, Visual Arts Research Studios, Tempe (AZ), 19901994,
cooperative bookwork by Gyrgy Galntai, Gyrgy Petri and Pter
Forgcs, 3 volumes (26x28,5 cm, 15+8+10 pages) in slipcase, edition
of 225 copies, signed by the authors Film: Arizonapl, 1992, 53 min.
(director and cameraman: Pter Forgcs)
BIBLIOGRAPHY: Kaney, Sharon: Break Down the Walls, State Press
(Arizona State Universitys Morning Daily), 1990. november 16, p. 11
TVRADIO: The Pyracantha Press, video podcast, ASU
(notice)
Libraries, The Library Channel, August 7, 2007
1991
SpringSummer 1991
Fvrosi nkormnyzat
[Municipality of Budapest], Budapest
Negotiations on making
the Artpool archives
available to the public
After apparently unproductive negotiations with the cultural
ministry, Gyrgy Konrd recommended to Artpool to submit
an application to Budapests lord mayor, Gbor Demszky,
in order to establish and operate a complex contemporary
art institution, the Artpool Art Research Center. The project
was realized in March 1992 with the support of Dr. Mikls
Marschall, the deputy lord mayor responsible for cultural
affairs, although with a far narrower scope of activities
than originally planned by Artpools founders. The Artpool
archives and library were opened to the public at 10 Liszt
Ferenc Square. (This building once housed the offices
of the Budapest Fine Arts Directorate, which repeatedly
banned Artpools activities in the 1970s.)
DOCUMENT: correspondence, application, project description,
notes, plans, etc.
13 December 1990
1991
102
Artpools
Ray Johnson Space
Nemzetkzi kapcsolatmvszet / International Correspond
ence Art, Ray Johnsons Five Letters exhibition with 316
participants (organized by Kroly Halsz).
To see a list of participants, visit
www.artpool.hu/Ray/space/doc910919b.html
DOCUMENT: poster-invitation with the list of participants
ARTWORKS: in Artpools collection
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1991
Endre Szkrosi and Richard Martel sounding Interleg Sounds, Gyrgy Galntais chrome steel sculpture
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INTERIOR MINISTRY
III/III-4b sub-division
TOP SECRET!
Authorized by:
Jen Fldesi border patrol major-general
Deputy Minister
Subject: summary of the secret
investigation into individual
under code name Painter
R E P O R T
On the basis of a licensed proposal we have since August 1979 been conducting a secret
investigation to uncover and stop the hostile activities of the artist Gyrgy G a l n t a i
(xxxxxxxxxxxxxxxxxxx), who is not a party member and resides at 68/b Frankel Le St. in
district II of Budapest.
We have established that Gyrgy Galntai continues to pursue rebellious activities directed
against the partys general and cultural policies. He has consolidated his ties with prominent
members of the domestic opposition and offered to assist them in their hostile activities.
He continues to operate and expand his archives established under the title Art Pool with no
official permission. To foster the popularity of this this year too he produced thousands
of new pieces of propaganda material and distributed them to his contacts. The printing work
was carried out by his friends working in various state printers using materials appropriated
from public property. He paid over fifty thousand forints for this. At present, he maintains
contact with some three thousand Western citizens mainly through written correspondence. In
tandem with his expansion of foreign contacts he is making every effort to draw in young,
Hungarian artists of the fine arts and to consolidate his cooperation with them. Every time
he carries out an action he links up with 150-200 Hungarian citizens.
Due to the very deliberately selected themes, his propaganda materials and calls to action
encourage participants to produce works of art, the hostile content of which is politically
objectionable. Consequently, there is an increasing amount of material among the mail sent to
the archives with an intended hostile content. In many cases contributors sent in texts, calls
for strikes, hostile newspaper articles and pictures sympathizing with public disturbances in
Poland and praising the activities of the Solidarity movement. In several cases mail has
been sent in belittling the leaders of the Soviet Union and of other socialist countries.
In addition to promoting his own activities, Galntai has attracted the attention of his
domestic contacts to foreign exhibitions and events and has encouraged them to participate
in these. It has been the case that based on Galntais efforts individuals who have
answered his calls for various competitions were sent compilations from Western countries
with a fine arts content of a hostile nature, and also were offered new opportunities
for their art. One such example was the propaganda material initiated and propagated by
Ruggero Maggi, an Italian citizen, which urged the production of anti-violence works of
art linked to Poland. Galntai reproduced this invitation and distributed it among his
fellow artists.
In addition to continually building up his collection, he has also increased his activities in
regard to organizing exhibitions and various actions. He has staged several exhibitions from
material collected from both Hungary and abroad. His events continue to contain activities
consciously directed against the partys cultural policies and the manipulation of the jurying
of works of art.
[]
Photocopy by Trtneti Hivatal [History Office] of the cover of the personal dossier named Fest [Painter], opened at the III/III department of the
Security Services on October 16, 1979, to collect secret reports and decisions about Gyrgy Galntai and Artpool
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From June 15, 1982, Gyrgy Galntai and his wife went on a month long trip as tourists to
Western European countries. He turned to the Mutual Aid Foundation for European Intellectuals
for help to cover his travel expenses. During his trip, he sought out several individuals with
whom up to now he had only maintained contact through written correspondence.
Upon his return home from the West in order to exploit the experiences he gained there he set
out the aims of his further activities. It is his objective to facilitate activities directed
at artistic rejuvenation and the development of a healthy art circuit.
Influenced by certain international events, he increased his efforts to build up contacts.
He met more frequently with Ottilia Solt and Andrs Nagy, as well as with the other leaders
of SZETA (Foundation to Support the Poor), who involve him in the actions of their organization.
Upon the request of the leaders of SZETA, he screen-printed materials for them, advised them
on how to do printing work, and helped them with the acquisition of certain basic materials.
He contributed graphic art works to their planned anthology. His visits with Solt and co
since they live very close to each other take place almost on a daily basis.
Fired up by the successes of the domestic opposition, he is planning the reproduction and
distribution of propaganda material that will be similar to a samizdat office but will
operate on an artistic basis. His idea is to make several copies of the most interesting
materials collected in his archives and to then sell them from his own flat. Initially, he
wants to reproduce the material using the screen-printing device and photographic equipment
that he already owns.
He supports and promotes the ambitions of those of his contacts who act against official
cultural policy and are engaged in hostile activities.
[]
We fundamentally completed the tasks we set in our work schedule.
We applied a 3/a operative technical tool (telephone bug) in our investigation.
We maintained a close K monitoring [opening and sometimes confiscating mailings] of the
individual and his close contacts [].
Through the application of K monitoring and 3/a operative technical tools [telephone bugs]
in our secret investigations under the code names Studio and Initiator, we obtained some
valuable information.
We carried out continuous preliminary research to find potential agents among his wide
range of contacts. We made proposals for examinations to be carried out in regard to six
individuals. We personally contacted four of these individuals. We recruited an individual on
a patriotic basis with the cover name Krpti.
We continued to expand the opportunities to gather information of our embedded patriots
under the cover names of Zoltn Pcsi, Kalocsai and Gyri. We successfully embedded
secret agents with the code names Erika and Gl employed by the Interior Ministrys
III/III 4-a subdivision. We received information about the activities and plans of Painter
and his main contacts in due time.
Coordinating our activities with the competent county departments, we were successfully
able to monitor his contacts in the provinces. We established good relations with the
III/III Departments of the Police Headquarters in Szolnok and Komrom counties.
Our work with the III/III-b department of the Budapest Police Headquarters was successful,
as it was with departments III/III-2 and III/III-5 of the Interior Ministry.
We subjected the information received to continual assessment. We have informed the upper
leadership of all of Galntais hostile activities, plans and actions.
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We have further improved our signalization activity [informing the competent party,
state, social and economic organizations about a particular individuals actions committed
against society- transl.]. On the basis of an authorized proposal, we carried out signalization
in five cases in the first half of the year and three in the second half. Thanks to the
information we provided the relevant state and cultural bodies were able to limit and hinder
the activities of the individual targeted and his close contacts by the implementation of
the appropriate political measures.
In the second half of the year we carried out verbal signalization:
1.) We informed the director of the Arts Foundation of the Hungarian Peoples Republic
that Gyrgy Galntai continues to disseminate hostile propaganda material from abroad
and encourages his contacts to participate in hostile actions.
[]
In order to prevent and hinder the hostile-opposition activities of the Artist and his
close contacts and limit the number of his Western contacts, we have initiated a permanent
halt upon approximately five hundred pieces of propaganda material and mail items with hostile
content arriving from abroad. We have also suggested the retention of materials in some cases.
The increasingly hostile activities of our targeted individual with the cover name Artist,
his ever greater efforts to build up contacts both abroad and domestically, and his propaganda
material deceptively sent as official mail that he has disseminated in large numbers,
are impeding our international cultural ties. During his actions he has pursued his activities
with foreign individuals who have sent a great many hostile works of art. He actively
supports the activities of the radical opposition and has participated in some SZETA actions
as well as in the planning and writing of their propaganda materials. He is now working on
a plan to set up a samizdat office with an artistic theme.
Due to the intensification and diversification of his hostile activities, we recommend
that the operation of the 3/a operative tool (telephone bugging) applied in this secret
investigation to monitor the targeted individual be extended to December 31, 1983.
B u d a p e s t, December , 1982
number: 4/5-1213.
in 3 copies
Do.
Tj.alo. [Intelligence subdivision]
Tj.ti.
Excerpts from sszefoglal jelents Fest fn. bizalmas nyomozsban [Summary Report of the secret investigation
of the individual under the code name Painter], BM III/III-4-b alosztly, TH O-19618/2, pp. 91-98 (December 1982),
English translation by Krisztina Sarkady-Hart
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Submitted by: secret agent,
cover name Zoltn Pcsi
Received by: police captain
Tibor Horvth
Time: 31 August 1983
Place: Public
R E P O R T
Gyrgy Galntai began to consider the idea of putting together an illegal publication
of considerable length to be distributed monthly at the beginning of 1982. The publication
primarily extends to the area of the fine arts. Thus far, four issues have been published,
marked with AL and made with dry copying (with Xerox or similar techniques). However,
Galntai intimated in June 1983 that he was on the way with issue 5, and that forthwith
he wished to issue a regular periodical possibly every month. On this occasion I will
attempt a brief evaluation on the basis of the first four publications.
The idea of putting together a regular illegal publication of considerable length was not
unexpected on Galntais part. For years, he produced one- or two-page publications on a
regular basis, and, more rarely, even longer ones. These were usually issued under the title
Art Pool Window, and disseminated free of charge to addresses in Hungary and abroad as mail
art. By recourse to his earlier experience, he was able to significantly expand these and
found a more widely distributed periodical from the beginning of 1983. He no longer gives
this out for free but rather with no permission or official approval whatsoever has begun
to distribute copies for the set price of 50 forints each. He usually sells them personally at
exhibitions and gatherings. From the very first issue, he has sought to maintain a degree of
the appearance of legitimacy. He came up with the weak concept that the booklets containing
texts throughout and where pictures merely serve as illustrations, are graphic art; and to
confirm this he puts the works in envelopes with a set of three numbers printed on each one.
(The first one-digit number [1.23and 4] indicates the volume of the periodical. The second
number, separated from the first by a slash indicates the serial [printing] number within the
given periodical we are dealing with, while the third one is the number of the issue.) Every
series consists of 50 copies. Thus far Galntai has had 200-250 copies made of each of the four
issues, and he has sold most of them. He makes it easier to sell them by distributing checks
to his own current account into which people can pay the money into later if they have no cash
available. My acquaintance received a copy of issues 2, 3 and 4 in this way, for which he had
to pay a total of 180 forints).
Galntai in contrast to the cynical wheeling and dealing of the so-called samizdat makers
who even tricked the opposition has found it difficult to make up his mind to ask for money
for his material. On the one hand, he fears retributions. However, what is more awkward for
him than this is that in regard to his earlier publications, he declared it a principle that
they did not serve any kind of business aim whatsoever; and this aspiration is precisely
encapsulated in what he said: art is not business. He has therefore, to his embarrassment,
contradicted himself. However, according to Galntai, the production costs come to several
tens of thousands of forints, which he cannot cover if he does not ask for money for the
issues.
The title of Galntais periodical is AL. Although this is an abbreviation, there is actually
not a longer version of this title for the publication, and this is because Galntai believes
that AL is an abbreviation for numerous different names. He listed some of them on the back
cover of a call for projects issued in the summer of 1983 titled Hungary Can Be Yours!):
Actual Letter, Art Letter, Alternative Letter (where of course the word alternative refers
to an underground alternative to officially unsanctioned forms of art), and Artpool Letter.
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Galntai is fond of playing with the idea that every reader is faced with the task of working
out what the title AL stands for themselves, and he believes that the more interpretations
are made, the better.
However, the AL publication is not just a continuation of Galntais earlier activities,
as a new element has appeared in it, which from a political perspective is far more damaging
than the earlier ones and thus is worthy of closer observation from the point of view of state
security. I have identified the following three main problem areas:
- Open support for and propagation of the cause of the radical opposition and within this the
samizdat makers;
- a more intense rallying than ever before of the domestic avant-garde, underground fine arts
groups and individuals, and the formation of a kind of permanent link between them,
- the uncritical propagation of the most extreme, coarse and destructive tendencies within
the fine arts avant-garde.
Of these only the second had typified Galntais activities, in a far more muted form.
The following is a detailing of the three problem areas listed above.
The publication contains materials that support and propagate some of the initiatives of the
radical political opposition. This is especially conspicuous because although AL is essentially
published as a fine arts periodical these pages have nothing to do with the fine arts
whatsoever. For example, pages 12-13 of issue 2 openly advertise the publication titled In
Black, which was a product of one of the most consistent actions of SZETA [Fund Supporting
the Poor](as well as of other groups in the opposition). Although these pages emphasize the
fine arts supplement, on page 12 anyone can see the names of those writers and poets including
for example Gyrgy Petri, Istvn Ersi, Zsolt Csalog and other well-known radical dissidents
whose writings appeared in the publication. In the same issue, on pages 14-26, there is
a lengthy review of Istvn Ersis lecture at the Young Artists Club. Even before publishing
the first AL issue, Galntai planned to use as much unedited, uncut interviews and conversations
recorded on tape as possible. However, here he published the minutes almost word for word
of a lecture that launched a most crude attack upon our cultural policy and was fundamentally
against our entire politics. For example, one of Ersis connecting lines bluntly implies
that there are stooges and police informers in the hall and issues a warning to the
individuals presumed to be present to inform the authorities in an accurate way, since
distortions had appeared in their reports thus far. One of the objectives of his writing,
titled I Caught a Fly at the Minister, is to denigrate the cultural minister and the policy
he represents. (He describes politics as merely determined by personal interests, relations
and friendships.) In issue 3, Galntai even published Gergely Bikcsys response to the Ersi
material. This writing which, among other things, is evocative of the events of 1956 while
at the same time also at variance here and there with Ersis lecture essentially presents the
same view and only serves to strengthen Ersis declarations. This author is just another
radical dissident.
The second problem area:
During the period between 1970 and 1973, when Galntai was active in Balatonboglr, he was
already playing a decisive organizational, community-forming role. He brought together and
connected the divided and isolated avant-garde groups from the fine arts and to a lesser
degree from theater, film, music and literature. On occasions, this activity even extended to
Hungarian artists abroad (e.g. in Yugoslavia). However, the publication titled AL far more
efficiently performs this task than Galntai could ever have dreamed of in Balatonboglr (or
after it). The various gatherings are soon forgotten and the superficial conversations often
carried out in a drunken state do not leave a lasting impression. Despite the protracted
activities of the Chapel Studio, Galntai was not able to acquaint many people with one
another personally. However, the new periodical now keeps 200-250 individuals in contact with
one another on a permanent basis. (This is Galntais true objective anyway, as he has openly
proclaimed in sympathetic circles). News of events, which would otherwise remain the private
affairs of 3-4 people, now reaches hundreds and their ripple effect gives rise to further
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debates. Isolated groups and individuals can become informed in detail about each others
activities, and if Galntai succeeds in keeping up the pace he has set so far with little
delay. Even though it is clear that rivalry among dissidents will not come to an end because
of the existence of AL, there is no doubt that the publication rallies and homogenizes the
fine arts avant-garde. After reading the issues, the circle of 200-250 concerned will be far
better informed about their own activities than they were before the publication of the
periodical. However powerless and inert some artists may be, we have no reason to reject the
assumption that the information published in AL will increase the number of meetings
between individuals and - setting a chain reaction in motion will forge together the
avant-garde circles, which until now were dispersed. After reading the articles many will
clearly be enthused to see exhibitions and actions by individuals whose activities they were
thus far only vaguely or indeed not at all aware of. The publication aspires to be
interesting by including accounts that grab peoples attention.
The third problem area:
The activities of the avant-garde fine artists in Hungary were very diverse at the end of the
60s and the beginning of the 70s, and have continued to diversify ever since. These include
both moderately and crudely destructive, provocative and politically damaging and morally
questionable initiatives. Although in Galntais periodical the moderate and quality artists
and authors are also featured (such as Lrnd Hegyis thorough study, as well as the
conversations by Zsuzsa Simon, Bak and Albert in issue 4 [from page 19]), the chief emphasis
is given to the radicals. It is typical that in dozens of writings the now deceased Tibor
Hajas and his activities are praised and all but worshipped (for example Lszl Kistams
article on page 60 of issue 4), similarly to those of Tams Szentjby, now living abroad.
These people embody aggressive, destructive (and in Hajas case sick and sadistic) aspirations
(Be Forbidden!). More important than this is that their followers, i.e. the initiators of
similar actions in our country at present, are accorded ample space in the publication.
For example, issue 3 contains an account (from page 12) of the action by Jnos Szirtes titled
Avanti, which in regard to its character is an integral continuation of Hajas destructive
performances designed to shock the audience and the most crude appearances of the INCONNU
group. Apart from this, a reoccurring theme is the activity of Jnos Vet, who was a close
colleague of Hajas.
Thus, on the one hand, the publication acquaints its readers with the radical opinions of the
primarily political and non-artistic opposition, with samizdat publications. On the other
hand, it connects the fine arts avant-gardes (film, music, theater), which had thus far been
divided and scattered, and brings together different generations of the aforementioned avantgarde artists, old and young, and in addition increases the influence of the opinion leaders,
such as Lszl Beke and Mikls Erdly. Thirdly, the periodical strengthens the most aggressive
and destructive tendencies (Hajass legacy), which would otherwise only provoke feedback in
far smaller circles.
It is, therefore, worth raising the question of whether Galntai intends his AL for an
exclusively domestic audience or for a foreign one.
After all, the title of the publication is an English abbreviation, and every issue includes
a one-page abstract in English as a supplement, which provides a brief summary of the issue.
Based on this, it could be assumed that the periodical mainly targets an international
audience. However, it is the opinion of the writer of these present lines that ninety percent
of the publication is nevertheless written for a domestic audience, and serves to advance
domestic underground aspirations. The chief aim is not to inform foreign readers but rather
the three objectives that I outlined earlier. Apart from a few Hungarian migrs, the booklets
provide foreign artists who are unable to read Hungarian with scant information indeed.
As far as illegally circulated Hungarian publications go, Galntais periodical has a high
standard of execution; however, if compared with the color Xerox technology and other
processes now used in Western countries, the publication is poor and boring. With few
exceptions, the names featured in the booklets are completely unknown abroad. It is quite
likely that many foreign artists regard Galntais activities as a form of self-advertising,
and a futile attempt at stubborn self-propaganda. Foreign readers can find some better known
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names at the beginning of the issues, in the travel articles. However, these are written
with the expressed aim of informing Hungarian readers about foreign locations. We will bring
our analysis to a close by asserting that, although one of the meanings of AL is Artpool
Letter, the art collection and this publication represent two extremes of his activities.
In Hungary, Artpool is a unique documentation, which, if objectively analyzed and made more
broadly available to a wider audience and indeed to circles of researchers and art historians,
could provide the opportunity for a thorough survey of the fine arts aspirations in Western
countries. The work that Galntai has invested in the development, organization and obtaining
of the pieces of the collection is significant in regard to both quantity and quality, and
this activity can be classified as mostly being acceptable. In contrast, AL works to the
benefit of the radical, aggressive representatives of the domestic political opposition and
the fine arts avant-garde, and clearly damages the realization of the fundamental principles
of our arts and cultural policy.
Zoltn Pcsi
Notes:
The secret agent with the cover name Zoltn Pcsi focused on the assessment of Gyrgy
Galntais publications and activities. Any information deemed valuable from an operative
point of view will be used in our informative reports.
B u d a p e s t, September , 1983.
Tibor Horvth, police captain
Source: Pcsi Zoltn fn. tmb. jelentse a Galntai Gyrgy ltal forgalmazott AL c. mvszeti kiadvnyrl [Report by
secret agent, cover name Zoltn Pcsi, about the art publication AL distributed by Gyrgy Galntai], BM III/III-4-b
alosztly, TH O-19618/2, pp. 148-155. (September 1983), English translation by Krisztina Sarkady-Hart
TO P
SECRET
115
TOP SECRET
TOP SECRET
TOP SECRET
INTERIOR MINISTRY
III/III-4b sub-division
TOP SECRET!
Authorized by:
Jen Fldesi, police major-general
Deputy Minister
Subject: summary of the secret
investigation into individual
under code name Painter
R E P O R T
On the basis of a licensed proposal we have been conducting a secret investigation since
August 1979 to uncover and hinder the hostile activities of the artist Gyrgy G a l n t a i
(xxxxxxxxxxxxxxxxxxxxxx), who is not a party member and resides at 68/b Frankel Le St. in
district II of Budapest.
We have established that Gyrgy Galntai continues to pursue rebellious activities directed
against the partys general and cultural policies. He has consolidated his ties with prominent
members of the domestic opposition, participated in some of SZETAs actions, offered to assist
them in their hostile activities and carried out the multiplication and distribution of
illegal materials.
He continues to operate his archives established under the title Art Pool with no official
permission. This activity has become more directly targeted and more akin to that of the
hostile opposition. His samizdat publication titled Aktulis Levl [AL / Topical Letter]
has been appearing since January 1983. He has produced six issues with a circulation of
2-300 copies each so far.
The compilation of the publication, which can be classified as being intermittent, sets out
with the premise that it can include everything without any selection. A great part of the
articles are a glorification of underground art, its propagation and call for the
rehabilitation of its representatives who have gone abroad. Articles can also be found which
maliciously smear the work of official bodies. Some articles are written in a highly biased
way and call attention to the existence, activities and actions of the hostile opposition.
They openly propagate the anthology published by SZETA under the title In Black (Feketben),
and seek to popularize Istvn Ersi, Lszl Rajk, Mikls Haraszti and other individuals.
The first five issues of the Aktulis Levl were produced in the MM. National Leadership
Training Centres printing office, while the sixth issue was produced in Fotoelektronik I. Sz.
using material appropriated from state property. Galntai dispatched his publications to
several foreign individuals and sells them to his domestic circle of contacts for 60 forints
each. The Hungarian College of Fine Arts, the Secondary School of Fine Arts, the Museum of
Fine Arts and the Directorate of the Baranya County Museums also purchased issues. Galntai
has thus far made an illegal profit of some 65-70 thousand forints from the sales of his AL.
Because of Galntais activities listed above, it is the opinion of department III/I of
the Interior Ministry that there was a strong suspicion of his violation of press laws,
as a result of which it has been legally established that criminal proceedings can be
launched. At the same time because of his pursuing of publishing activities that qualify
as economic activities requiring a license the individual can be held accountable for
the act of bungling by way of launching infringement proceedings.
He actively supports the hostile activities of the opposition and participates in the
planning and production of some of their propaganda materials. He has used his apartment
to store illegally produced hostile materials and gave these to various individuals to
distribute. He has been in constant contact with Ottilia Solt, Andrs Nagy, Mikls Haraszti,
Lszl Rajk and Gbor Demszky.
TO P
SECRET
117
TOP SECRET
TOP SECRET
TOP SECRET
He continues to support and promote the ambitions of his contacts who oppose the authorities
through the pursuance of hostile activities. From this basic standpoint, he provides help to
Pter Bokros and Tams Molnr, the leaders of the Inconnu Group.
The above named persons used our target individuals guidance in compiling their latest
hostile publication and received support in its reproduction.
In recent years, Galntai has established ties - mostly through correspondence with some
three thousand Western citizens. As a result of the steps we have taken, the number of people
with whom he remains in contact is now a few hundred.
A realigning of his domestic circle of contacts is perceptible. In tandem with the everincreasing number of hostile individuals in the domestic opposition, the number of young
people with whom he has established ties during the production, reproduction and distribution
of the publication titled Aktulis Levl has also gradually increased. During this illegal
reproduction work, he has established an acquaintance with 18 printing experts in various
state companies.
We fundamentally completed the tasks we set in our work schedule.
We extended the operation of the 3/a operative technical tool (telephone bug) and applied it
to his closest contacts (xxx) to varying degrees.
The application of the telephone bug was extremely useful and from an operational standpoint,
a lot of useful information came into our possession. We were able to apprise ourselves of his
plans, ideas and actions in time.
We continued to maintain a close K monitoring (opening and sometimes confiscating post)
of the individual [].
We derived important information especially in respect to his networking efforts.
We carried out continuous preliminary research to find potential agents among his wide range
of contacts. We made proposals for examinations to be carried out in regard to three
individuals.
We continued to expand the opportunities to gather information from our embedded patriots
under the cover names of Zoltn Pcsi and Kalocsai. Through our network of agents we
obtained data on the target individuals contacts with individuals of the hostile opposition,
as well as on his illegal reproduction and distribution activities.
We were successful in planting a patriot under the cover name Victor and another under the
cover name Bla Gl in the employment of the IMs III/III-4-a sub-division in the
environment of the Painter and his most important contacts.
In our efforts to limit and prevent the hostile activities of the target individual we
successfully worked with departments III/III-2 of the IM and III/III-b of the Budapest Police
Headquarters, as well as with the III/III departments of the police headquarters of Szolnok
and Bcs-Kiskun counties.
We continually assessed the materials we obtained. We kept the top leadership informed of his
hostile activities, actions, illegal magazine reproduction and distribution activities.
We continually dispatched the issues of his illegally published sheet titled Aktulis Levl
to them within this framework, and at the same time we suggested that the Information Office
of the Executive Council should carry out a conversation with Gyrgy Galntai, ordering him
to terminate his illegal activity. Furthermore, we indicated that the Ministry of the Interior
was planning to launch legal proceedings against him on suspicion of violating press laws.
118
TO P
SECRET
TOP SECRET
TOP SECRET
TOP SECRET
In order to prevent and hinder the hostile activities of our target individual and his close
contacts and to limit the number of his Western contacts, we have initiated a permanent halt
upon approximately 650 pieces of propaganda material and mail items with hostile content
arriving from abroad. We have suggested the selective retention of materials in some cases.
In order to prevent and limit his samizdat production and reproduction activities, we have
devoted greater attention to dissolving his opportunities to print. We carried out secret
investigations in two cases. We verbally informed the director-general of the National
Pedagogic Library and Museum and the economic director of the National Leadership Training
Centre. The passing on of this information resulted in halting his opportunities to print
at the above institutions.
The hostile activities of our target individual under the cover name Painter have
intensified and become more varied.
He is devoting ever greater energy to the illegal reproduction and distribution of his
publication titled Aktulis Levl. The ties linking him to hostile opposition elements have
grown and he supports the implementation of their hostile ideas and plans.
In summary, it can be established that the hostile activities of the target individual can be
expected to persist, and we will therefore continue to pursue the secret investigation in
accordance with Measure 4-1501/83 of the Interior Ministry. We have prepared a Plan of
Action, the main emphasis of which is the limitation and prevention of his hostile
activities.
We recommend that permission for the operation of the 3/a operative technical tool (telephone
bug) introduced for monitoring be given for the duration of the investigation.
We recommend that the secret investigation be continued until December 31, 1984.
B u d a p e s t, February , 1984.
Source: sszefoglal jelents Fest fn. bizalmas nyomozsban [Summary Report of the secret investigation of the
individual under the code name Painter], BM III/III-4-b alosztly, TH O-19618/2, pp. 234-239. (February 1984),
English translation by Krisztina Sarkady-Hart
TO P
SECRET
119
MINISTER FOR
CULTURE AND EDUCATION
Gyrgy Galntai
artist
Budapest
July 1992
Dear Mr. Galntai,
1992
ARTPOOL ART
RESEARCH
CENTER
20 March 1992
Budapest
Opening of
Artpool Art Research Center
Dr Miklos Marschall Vice-Mayor of Budapest inaugurated
the Center, which was realized with the help of the
Municipality of Budapest.
Open week from May 2327: Gyrgy Galntai, founder of
Artpool, guides the visitors.
During the presentations, one could see and listen
simultaneously to 510 topics presented in different ways,
such as exhibitions, installation, portfolio, slide-projector,
video and sound-show, electronic message display etc.
Additional material was available in the Centers bookstore,
such as art-books, scholarly books, catalogs, magazines,
sound cassettes and sound CDs, postcards, etc.
122
T H E
YE A R
OF
I NTROD U CT I ON
1992
Opening Exhibition
Nyit killts
DOCUMENT: invitation, photo
WEB-DOCUMENT: www.artpool.hu/1992/920323_e.html
128
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T H E
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OF
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Tkr Mirror Spiegel Miroir, an international project by Lszl Beke originally shown in Galntais Chapel Studio in Balatonboglr in 1973.
(Exhibition installation at Artpool by Gyrgy Galntai, 1992)
Works by Angelo de Aquino, Gbor Attalai, Mihly Balzsovics, Andrs Baranyay, Ben Vautier, Canada Art Writers (David Zack), Gustave Cerutti,
Dalibor Chatrny, Tibor Gyor, Dra Maurer, Tom J. Gramse, Klaus Groh, Jerzy Kiernicki, Jir H. Kocman, Romuald Kutera, Pter Legndy, Jnos Major,
David Mayor, Christian Megert, Anette Messager, Steffen Missmahl, Gza Perneczky, Francis Picabia (reproduction), Sndor Pinczehelyi, Martin Schwarz,
Jrg Schwarzenberger, Mieko Shiomi, Zdzisaw Sosnowski, Petr tembera, Tams Szentjby, dm Tbor, Endre Tt, Janos Urban, Jir Valoch
1 9 9 2
T H E
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OF
I NTROD U CT I ON
129
1992
Second Exhibition
Msodik killts
VIDEO Presentation
Aktions Kunst International (International Action Art) film
by Valie Export (Hungarian text by Dra Maurer)
He! Viva Dada 2e Festival de la Libre Expression
(The Second Festival of Free Expression) a film about
the event held in Paris, at the American Center in 1965,
organized by Jean-Jacques Lebel
Polyphonix 4 festival of sound poetry in Paris, 1982
To see more about the films, visit www.artpool.hu/fluxvideolist.html
Sound Presentation
T H E
YE A R
OF
I NTROD U CT I ON
131
1992
1992
16 20 July 1992
jkapolcs Galria / Newkapolcs
Gallery, Kapolcs, Hungary
T H E
YE A R
OF
I NTROD U CT I ON
133
1992
Exhibition of the sent and received works and results of the copy-art workshop
88 artists participated in the electro-graphic visual communication on fax. The newsletter Artpool Faxzine was faxed daily from the session to artists all around
the world.
136
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T H E
YE A R
OF
I NTROD U CT I ON
Documents of the event and pages of Artpool Faxzine, faxed daily to participants all around the world
1 9 9 2
T H E
YE A R
OF
I NTROD U CT I ON
137
1992
DECENTRALIZED WORLD-WIDE
NETWORKER CONGRESS
1992
DECENTRALIZED WORLD-WIDE
NETWORKER CONGRESS
BUDAPEST SESSION, ARTPOOL, 2426 AUGUST 1992
Documents of the event and pages of Artpool Faxzine, faxed daily to participants all around the world
138
1 9 9 2
T H E
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OF
I NTROD U CT I ON
Artpool Art
Art-Umbrellas on Postcards
Selection from the Artpool project of 1981 (APS no. 8). ( p. 58.)
1 9 9 2
T H E
YE A R
OF
I NTROD U CT I ON
139
1992
1992
Exhibition of collective stampworks by 500 artists from the Artistamp Museums collection (video snapshot of the exhibition)
One sheet from the Global Postale 84 artistamp edition by Ed. Varney & M. de Courcy (Canada, 1981)
140
1 9 9 2
T H E
YE A R
OF
I NTROD U CT I ON
Display of issues of two important network magazines from Artpools collection: COMMONPRESS (19771984), founded by Pawel
Petasz (Poland), and DOC(K)S (1976-1987), edited and published by Julien Blaine (France)
Artpool contributed to several issues of the two magazines, and published Commonpress 51 (Hungary) in 1984, which at the same time
documented the banned exhibition Hungary Can Be Yours. ( pp. 8184.)
1 9 9 2
T H E
YE A R
OF
I NTROD U CT I ON
141
1992
1992
Installation of selected works from the Art-Umbrella Postcard Show, a project by Artpool in 1981 (APS no. 8) ( p. 58.)
142
1 9 9 2
T H E
YE A R
OF
I NTROD U CT I ON
NETWORKER POST
Networker Post sheet by Pig Dada [Simon Baudhuin] from the Networker Post project
The project, initiated at the Budapest Session of the Decentralized World Wide Networker Congress in 1992, resulted by 1994 in a collection
100 stamp-sheets by 100 artists; a photocopied edition in 100 copies was produced by Artpool.
1 9 9 2
T H E
YE A R
OF
I NTROD U CT I ON
143
1992
1992
Flux Flag
Fluxus Zszlk
Artpools open-air exhibition of Flux Flags in the framework
of the Budapest Autumn Festival. Artpool invited 100 artists
to commemorate the 30 years of the Fluxus Movement. 42
artists from 18 countries participated by sending Flux Flags.
The open-air show was inaugurated by Gyrgy Galntai,
who read the quotation sent by Ken Friedman and realized
his conception. A bookwork catalog is documenting the
exhibition.
PROGRAMS realized during the the exhibition:
2 October 1992
Sound Exhibition: Collective improvisation in space and
time, organized by the White Noise Group
3 October 1992
Performance by Pter Rnai and Jlius Koller, artists
from Bratislava, performance by Jnos Vet, concert by
Helyettes Szomjazk
4 October 1992
Concert by Orchestra 900709 (Tams Kopasz, Gbor
Gerhes, Gyula Jlius, Sndor Czak, Dr. Bla Mris),
performance by va Sznt
DOCUMENT: call, invitation, program, photo, video
BOOKWORK-CATALOG: FLUX FLAG, Fluxus Zszl, Artpool, 1992
(A4, monochrome and color photocopy, 94 pages, printed in 100
numbered copies)
PUBLICATION: Ken Friedman: Fluxus 1992, Artpool fzetek (Artpool
Booklets), Artpool, Budapest, 1992, 20 p.
WEB-CATALOG: www.artpool.hu/Fluxus/flag/
ARTWORKS: in Artpools collection
144
T H E
YE A R
OF
I NTROD U CT I ON
1992
FLUX FLAGS
Flux Flags by Eric Andersen, Ugo Carrega, John M. Bennett, Shozo Shimamoto, Peter Rnai, Jol Hubaut (Liszt Ferenc tr, Budapest)
1 9 9 2
T H E
YE A R
OF
I NTROD U CT I ON
145
1992
9 31 October 1992
San Francisco
Hungarian
Stamp Artists
Exhibition with the pages of the bookwork catalog of the
1982 rubber stamp action in Budapest at the Young Artists
Club ( pp. 6567.). Organized by Bill Gaglione.
DOCUMENT: poster
23 November 1992
Budapest
Personal
Net Mail Delivery
146
1 9 9 2
T H E
YE A R
OF
I NTROD U CT I ON
Subjective Artpool
Artpool Subjectif
19801992
T H E
YE A R
1 9 9 3
OF
F L U X U S
147
1993
1993
Group photo in the exhibition (before the Flux Flag by Charles Dreyfus): Sarenco, Gyrgy Galntai, Jlia Klaniczay, Charles Dreyfus, Julien Blaine
148
1 9 9 3
T H E
YE A R
OF
F L U X U S
1993
Artpool has chosen seven of its projects from the period of 19801992 for this
multi-media show:
Homage to Vera Muhina is a symbolic performance dating back to 1980, performed by Jlia
and Gyrgy Galntai in Heroes Square, in Budapest.1
World Art Post from 1982 was the exhibition of artists stamps that made Artpool inter
nationally well-known. The 750 stamps by 550 artists from all over the world can be seen
on video.2
In addition to the original stamped sheets, Artpool reconstructs the space and the installation
of another action from 1982, titled Everybody With Anybody. During the exhibition visitors
have the opportunity to use the rubber-stamps on display.3
Five simultaneously working slide projectors will show a selection from the international
network-project of the Buda-Ray University, active between 1982 and 1988.4
The drawings of those children who participated at the 1992 Childrens Audio-visual And
Electronic Workshop, organized by Galntai in Kapolcs, Hungary, belong to another network. 5
1992 was the year of the Decentralized World-Wide Networker Congress. The Budapest
Session was held by Artpool from August 24 to 26. With the help of the original faxes, this
part of the exhibition is meant to document these encounters mediated by the fax-machine.6
1 pp.
2 pp.
3 pp.
4 pp.
5 pp.
6 pp.
7 pp.
1 9 9 3
5254.
6872.
6567.
5964.
132133.
136138.
144146.
T H E
Flux Flag was the title of Artpools latest international project, for which 42 artists from 18
countries have sent original works. The complete collection is exhibited in Marseille. [] 7
The exhibition Subjective Artpool shows a special field of the relationship between image and text,
the possibilities of the free and boundless flow of creative information. The Artpool Art Research
Center in Budapest is an active member, documenter, inspirer and researcher of this field,
and of others.
YE A R
OF
F L U X U S
149
1993
Flux Flags from Artpools collection. In the exhibition space: Jlia Klaniczay and Gyrgy Galntai
Reconstruction of the installation of the Everybody with Anybody project from 1982 with a Fluxus alphabet containing letters of various fonts.
FLUXMOST [FLUXNOW] pages 1 and 4 of the zero issue of a planned fluxus magazine, originally designed
to report on the events of Artpools fluxyear (4 pages, 1993). On page 1: introduction by Lszl Beke, art historian
to the research on Fluxus in Hungary, on page 4: What is Fluxus a short description of Fluxus by Lszl Beke
150
1 9 9 3
T H E
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F L U X U S
1993
ARTPOOL FLUX
FLUX EST [Flux Evening], the opening event of the exhibition Artpool Flux (video snapshots)
154
1 9 9 3
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YE A R
OF
F L U X U S
1993
ARTPOOL FLUX
1 9 9 3
T H E
YE A R
OF
F L U X U S
155
1993
ARTPOOL FLUX
Endre Tt:
Zero demonstration,
Viersen (Germany), 1980
(postcard)
156
1 9 9 3
T H E
YE A R
OF
F L U X U S
Vernita Nemec
ARTPOOL FLUX
10 April 1993
Fluxus objects
by Ben Vautier, Joseph Beuys, Robert Filliou & Joachim
Pfeufer, George Maciunas, Alice Hutchins, George Brecht,
Geoffrey Hendricks, Yoko Ono
Fluxus MUSIC
DOCUMENT: program, handout
T H E
YE A R
OF
F L U X U S
157
1993
4 March 1993
Budapest
1993
FLUX DE BOUCHE
I got hold of the text of Ursonate
in 1979, after I heard it read by
Hans Hausdrfer, which made
a great impression on me. At the
same time the idea occurred to me
that this piece had more potential
than a mere recital.
I worked on Ursonate for years,
only stopping for small intervals.
I didnt just focus on learning the
piece by heart but also on finding
an individual meaning for every
line and every sentence since
otherwise performing it would
have been superficial, empty
and meaningless.
First I recited various parts of
Ursonate in various improbable
places: in pastures, railway stations,
Amsterdam ZOO, flats, streets and
market-halls.
Then I performed the complete
version in more plausible
surroundings: in cafs, theaters,
youth clubs and literary salons.
What I experienced was that
Schwitters work still gets through
to people even today. I was gently
removed from the canteen of
a Catholic arts academy in Tilburg
in the middle of my performance,
so I finished it on the schools stairs.
In contrast, there were
some members of the audiences at
other venues who flung their arms
around me after the performance.
The current version was made
in co-operation with director Paul
Jonker; we wielded the performance
from Dadaist and Futurist elements
and then designed the set and the
costumes, adapting them to the
four-part structure of the piece.
I also integrated the most recent
innovations in the areas of using
the voice and vocal improvisation;
for example, those of Jerzy Grotowski
and David Moss, to mention but
two extremes.
By doing so I believe I acted
in Schwitters own spirit, even
though I deliberately ignored some
of his original instructions.
Jaap Blonk
158
T H E
YE A R
OF
F L U X U S
22 April 1993
Vienna
Professional visit
to galleries in Vienna
15 May 1993
WEB-DOCUMENT:
Meeting
Anne Tardos and
Jackson Mac Low
WEB-DOCUMENT:
3x4
Exhibition by Gbor Altorjay, Mikls Erdly and Tams
St.Auby (Tams Szentjby): 12 objects from the second
half of the 1960s, introduction/interpretation by Lszl Beke.
During the exhibition: presentation of the videotape and
printed documents of the first Hungarian happening that
took place on 25 June 1966 called Az ebd [Lunch] (in
memoriam Batu kn).
DOCUMENT: letter, invitation (Hu, En), press release, photo, video
WEB-DOCUMENT: www.artpool.hu/1993/930521_e.html
BIBLIOGRAPHY: Drdai Zsuzsa: Fluxus vagy? Flux-koncert. 3x4,
Fluxus News. [3x4: Gbor
Magyar Narancs, May 27, 1993, p. 41.
Altorjay, Mikls Erdly, Tams St. Auby], Umbrella, October 1993, p.
Martos Gbor: j repertor. Artpool idutazs, Magyar Hrlap,
76.
Barna, Frances: Fluxus. Dissident art: still
June 14, 1993, p. 17.
crazy after all these years, The Budapest Sun, June 2430, 1993, p. 8.
15 18 July 1993
jkapolcs Galria
(Newkapolcs Gallery), Kapolcs, Hungary
26 April 1993
Budapest
Avant-garde
lecture by Dniel Erdly
Assistant: Rodolf Herv
DOCUMENT: invitation
1 9 9 3
T H E
YE A R
OF
F L U X U S
159
1993
20 April 1993
1993
3 x 4
Tams St.Auby (Tams Szentjby): Portable trench for three, 1969 (reconstruction, 1993)
1 9 9 3
T H E
YE A R
OF
F L U X U S
161
1993
Reconstruction of the space and the installation for a creative stamp-action first realized in 1982 for the rubber
stamp event Everybody With Anybody at the Young Artists Club in Budapest, and also presented in Marseille
during the Subjective Artpool exhibition in 1993. ( pp. 6567, 150.)
In Kapolcs, participants were also stamping creatively on their own clothing and/or bodies. Comparing the three
events, one could conclude, that the city was more visual and the countryside more concrete.
1 9 9 3
T H E
YE A R
OF
F L U X U S
163
1993
GEOFFREY HENDRICKS
Fluxus artist Geoffrey Hendricks, renowned for his poetic, self-mythological objects, such as his famous sky imagery painted on
pieces of canvas, ladders, drying clothes, and cars. He was exploring new paths of the poetics of experience and played a pioneering
role in the early development of performance art. His performances between the 1960s and the 1990s are now regarded as classics
of the genre. Hendricks had a seminal role in numerous now legendary fluxus ceremonies, such as the controversial Flux Mass
organized in the chapel of Rutgers University, his own fluxus divorce from his former wife and colleague Bici Forbes, the Fluxus
Wedding of George and Billie Maciunas, as well as Robert Watts FluxLux funeral mass and scattering of ashes.
(Translation of the text from the back of the invitation.)
1 9 9 3
T H E
YE A R
OF
F L U X U S
165
Artpool Art
8 September 1993
1993
Geoffrey Hendricks
Exhibition. Several decades of performance and work with
Fluxus documented in video, photographs, books and
postcards.
At the opening Performance by Geoffrey Hendricks
A Once in a Lifetime Chance to See the Flux Navy
DOCUMENT: invitation, list of exhibited works, photocopies of the
exhibited works and documents, photo, video
WEB-DOCUMENT: www.artpool.hu/1993/930904_e.html
BIBLIOGRAPHY: (bb): Flgos fluxus. Pucr fest szappanbubor
kokkal, Mai Nap, September 5, 1993, p. 10.
rms Attila: A
fluxusflotta elindul, Magyar Narancs, September 23, 1993, p. 37.
Hornyi Attila: g? Festk? Geoffrey Hendricks killtsa, Magyar
Gergely Mariann: Kedves,
Narancs, September 30, 1993, p. 34.
reg, gsznkk csizmk. Geoffrey Hendricks, Balkon, 1993/1, pp.
Duna-kapcsolat (ArtpoolZeronet) Szeptember 410,
3738.
Beszl, September 4, 1993, p. 32. Artpool-sz, Magyar Narancs,
Fluxus News. [Geoffrey Hendricks
September 2, 1993, p. 8.
appeared], Umbrella, February 1994, Vol. 17, No. 1, p. 28 (notice)
6 September 1993
Budapest
Audiovisual Talk
sound poetry evening
by Paul Dutton
Geoffrey Hendricks: Sky Car, 1979 (postcard)
Danube Connection
Duna-kapcsolat
Art Projects of Telecommunication in the 80s
Accompanying program to Danube Connection. Docu
ments (portfolio, photo, CD) of several communication pro
jects (19801992). Exhibition curated by Robert Adrian X.
(Vienna). The exhibition was an opportunity for publishing
Network Utopias. The Art of Being Everywhere, an Artpool
Booklet with a selection of Hungarian translations from the
texts of the recently held On Line Symposium (Graz, 1993).
DOCUMENT: video, flyer (Hu, En)
WEB-DOCUMENT: www.artpool.hu/communicationproject.html
PUBLICATION: Network utpik. A mindenttlevs mvszete, Rsz
letek az 1993-as On Line szimpozium anyagbl (vlogatta: Robert
Adrian X.), Artpool fzetek (Artpool Booklets), Artpool, Budapest,
1993, 16 p.
166
Artpool Art
1 9 9 3
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Danube Connection
ELECTRONIC COMMUNICATION HAPPENING
The answers received (by mail or fax) from the world on the topic Why communicate?
were exhibited and integrated in the communication.
Video snapshots of the event
T H E
YE A R
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169
1993
Danube Connection
ART PROJECTS OF TELECOMMUNICATION
IN THE 1980s
1993
Projects shown:
Artists use of telecommunication (conference at the San Francisco Museum of Modern
Art with the help of intercontinental Slowscan TV and Computer Communication, 1980)
The world in 24 hours, 1982 (a world-wide 24 hour telecommunications project organized
for Ars Electronica 82, Linz)
Wiencouver IV, 1983 (a Slow-scan TV and Telephone Music project between Western
Front, Vancouver and Blix, Vienna
Konzert ber Telefon 1983 BudapestViennaBerlin telephone concert organized together
with Robert Adrian X. and Helmut J. Mark from Vienna. The Budapest partner was Artpool
( pp. 7980.)
Kunstfunk, 1984 (A 7 day Slow-scan TV project)
Hearsay, 1985
Planetary-network / laboratorio ubiqua 1986 (project for the Venice Biennale 1986)
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City-Analysis
Vrosanalzis
In the course of the City-Analysis fax-action, organized
by the FAME-rnykktk art team as an event for the
Budapest Autumn Festival, 22 artists worked on different
parts of Budapests map using electrographic techniques.
At the opening day of the Festival, September 24, 1993,
starting at nine a.m., participants each settled in one of
the community centers of the 22 districts of Budapest
were trying to fax the results of their creative interventions to
their fellows. By the end of the day, 22 new Budapests were
created, which were exhibited as a closing event on Vigad
square (in the center of Budapest) at the open-air exhibition
22 BUDAPESTS on September 25 and 26. The 6th district
center of the event was the Artpool Art Research Center.
To see a list of participants, visit
www.artpool.hu/fax/varos/analizis00.html
DOCUMENT: Budapest Autumn Festivals program brochure
WEB-DOCUMENT: www.artpool.hu/fax/varos/analizis00.html
25 September 1993
tr in front of Artpool
Budapest
Ben Vautier
in Budapest
Invited by Artpool in the framework of the Year of Fluxus.
Lecture, exhibition and performance of the French artist
Ben Vautier. (A program of the Budapest Autumn Festival in
cooperation with the French Cultural Institute).
24 September 1993
Budapest
1993
24 September 1993
Budapest
, manuscript of the
T H E
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1993
The Limits of Art. Identity and Modernity Lecture by Ben Vautier at the French Institute
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Many names of streets and squares have changed all over Hungary
following the change of the regime. Street name signs with new names
were added next to the old ones with no changes but a slash. This inspired
me in 1993 to rename the Franz Liszt square (Liszt Ferenc tr) in the 6th
district of Budapest to BEN vauTiER during Bens show in the framework
of the Budapest Autumn Festival, 1993. (Gyrgy Galntai)
Video snapshots of the events
Street name signs for BEN TR fixed at the temporarily renamed LISZT square
Ben writing on the edge of the podium: On this podium you can
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1993
1993
Tout, rien et nimporte quoi (Everything, Nothing and Anything) event by Ben and the audience at Bens
podium, installed in front of Artpool on the Liszt Ferenc square.
Video snapshots of the events
The assistants of the spontaneous event were Jlia Klaniczay and Gbor Tth. Further participants were Jonas
Mekas, Antal Juszuf, the Yugoslavian Scholars and the audience.
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Many names of streets and squares have changed all over Hungary following the change of
the regime. Plates with new names were added next to the old ones with no changes but a
slash. This inspired me in 1993 to rename the Franz Liszt square (Liszt Ferenc tr) in the 6th
district of Budapest to BEN vauTiER during Bens show in the framework of the Budapest
Autumn Festival, 1993. Pronouncing BEN you can also understand BEM, so that people
listening superficially could believe that the squares name refers to the famous general Bem
fighting in 1848 in the Hungarian revolution. Many people asked whats wrong with Franz
Liszt? Is he considered a communist or what did he commit? But none knows whether the
best story was true or if an opponent of our fluxus show has invented it.
It is said that a woman became unwell and the one who called the ambulance reported the
Bem square of the 6th district to the ambulance officers who went to the Bem square of
the 2nd district since this is the only one nominated to the general. The secretary of the
Committee of the Conservation of the Cityscape issued an official letter reporting the case
of the regrettable misunderstanding and suggested another aesthetic solution or the
removal of the illegal nameplates.
I am demagogue
Ben
The eight BEN TR plates on the corners of the joining streets of the square were in a kind of
dialogue with the fifteen huge banners hanging on the branches of the trees, which hold signed
critical sentences, such as: I AM EGOIST (BEN), I AM A LIAR (BEN), etc. Following the official
letter, these six-meter long photocopied banners started to disappear from the high without
leaving a trace. This was also a kind of dialogue, a bit unforgettable black and white humor.
(Letter of Gyrgy Galntai to Jean-Jacques Lebel, 2000)
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Dear Jean-Jacques,
Here you have the story of a humorous incident that happened at the open-air exhibition of
Ben Vautier in Budapest in September 1993.
23 October 1993
19 October 1993
1993
9 October 1993
Budapest
FLUXUS MUSIC:
The Everyday Event
FLUXUS-MUSIK:
das ganz alltgliche Ereignis
Lecture by Ren Block with video examples and discus
sion. Greetings: Barbara Sietz (director of Goethe Institut).
A common project of Artpool and Goethe Institut.
DOCUMENT: correspondence, invitation, programflyer, program
brochure of Goethe Institute, video
Web-document: www.artpool.hu/1993/931019_e.html
BIBLIOGRAPHY: Fluxus-zene: a teljesen htkznapi esemny
(Videopldkkal), let s Irodalom, October 15, 1993, p. 8. (Tsss):
Tohuvabohu drban. Fluxus-zene: a htkznapi esemny, Magyar
Narancs, October 28, 1993, p. 40.
Banana
Consciousness
Anna Banana, American/Canadian performer and
bananologist on her European tour stopped at Artpool
to show her videos about the Banana Olympics in 1975
and 1980 and reported about the state of her research
on banana syndrome. Members of the audience had
the opportunity to do for the first time in Hungary the
Bananaskin-Rorschach Test.
Artpool Art
2 December 1993
Budapest
letmunkk / Lifeworks
oeuvre exhibition of Gyrgy Galntai
Ernst Mzeum,
30 YEARS
OF FLUXUS
Work in progress, an ongoing show of documents by fluxus
artists and about the history of Fluxus. Fluxus library and
archive of more than 100 books and catalogs, la carte
videos and sound documents, slide shows.
Milan Knk
The introduction of Czech fluxus artist Milan Knk (videos)
and the presentation of his oeuvre with the participation
of Lszl Beke and va Krner, art historians. (Knk
unfortunately was unable to attend.)
DOCUMENT: correspondence, invitation, video
Web-document: www.artpool.hu/1993/931202_e.html
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1993
Endre Szkrosi
Gbor Tth
Lszl feLugossy
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17 7
1993
BANANA CONSCIOUSNESS
Anna Banana has been part of the International Mail-Art Network for almost two decades, and is considered
as one of the pioneers of Canadian performance art. At the start of her career she developed her own
Bananology: in 1971 she launched her newsletter, the Banana Rag, and established an archive, called the
Banana Rank, systematizing all the information about this popular tropical fruit. On her last European tour
she was invited to the Artpool Art Research Center in Budapest, where she presented her video recordings of
the Banana Olympics of 1975 and 1980, and conducted scientific banana research among the audience
based on the Bananaskin-Rorschach test, which explores new psychological depths.
[] Everybody had fun at the Banana Olympics. People looked at them as a pleasant way of relaxation, and
for us they were artistic events. We had a kick out of other things like this, for example, when we welcomed
the Italian master Cavellini in California. We received him as the uncrowned king of the Network and actually
seated him on a throne. The street processions and carnival-like scenes organized in his honor were joined
by some of the passers-by, which we were very happy about.
[] What was your goal when
you set out on your European
banana campaign, which had
twenty-five venues?
The 1993 European tour was to
research the psychological
underpinnings of the exhibit
I put on with it: Proof Positive
Germany is Going Bananas;
over 100 items taken from the
German press relating to
bananas. [] When I went to
Stuttgart, there was a food
exhibition on in the technology
museum, and linked to that
they organized a banana day.
I saw posters of a reggae band
called Radio Banana in Berlin,
and in Sierksdorf by the Baltic
Sea I had the chance to see the
worlds first Banana Museum.
There are specialized banan
ologists there, too, but I differ
from them in the sense that
my interest is focussed on the
fruits presence in (mail) art.
I dont approach my subject
with external objectivity, but
instead use it as an extension of
my personality and my behavior.
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MILAN KNK
As a closing event of Artpools Year of Fluxus, Lszl Beke and va Krner, art historians, presented the oeuvre
of Czech fluxus artist Milan Knk on December 2, 1993.
Lszl Beke
T H E
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1994
THE YEAR OF
MIKLS ERDLY
AT ARTPOOL
PUBLICATION: Artpool 1994 (documentary yearbook)
Web-document: www.artpool.hu/Erdely/EMcontenthu.html
BIBLIOGRAPHY: Hornyik Sndor Szke Annamria (comps.), Szke
Annamria (ed.): Kreativitsi gyakorlatok, FAFEJ s INDIGO. Erdly
Mikls pedaggiai tevkenysge 19751986, Gondolat Kiad MTA
MTKI EMA 2B Alaptvny, Budapest, 2008, pp. 10, 496, 499.
1994
Self-Assembling Afternoons
nsszeszerel dlutnok
Meetings, lectures and discussions in order to reveal and
make accessible for research the life-work of Mikls Erdly.
During the whole series of lectures exhibitions, slide and
video presentations of Mikls Erdlys works.
DOCUMENT: notes, documents of research and organization,
invitation, flyer, poster, video, sound
BIBLIOGRAPHY: Erdly ve, Magyar Narancs, March 17, 1994, p. 8
nsszeszerel dlutnok, Magyar Narancs, March 17,
(notice)
nsszeszerel dlutnok az Artpool Mv
1994, p. 26 (notice)
szetkutat Kzpontban Galntai Gyrgy vezetsvel, Magyar Narancs
B. E.: nssze
(Snoblesse Oblige), April 7, 1994, p. 27 (notice)
[sszeszerel
szerel dlutnok, Magyar Hrlap, April 12, 1994
dlutnok ], Magyar Narancs (Snoblesse Oblige), April 28, 1994, p.
Forgcs va: nsszeszerel beszlgetsek, Balkon,
28 (notice)
1994/9, p. 32.
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18 March 1994
25 March 1994
13 April 1994
15 April 1994
20 April 1994
Pl Nagy
22 April 1994
29 April 1994
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1994
DOCUMENT: video
Translation of the text from the invitation for Dra Maurers lecture
A Half of a Man is hidden by a Screen:
[]
1994
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13 May 1994
FAFEJ
Meeting of the participants of the course entitled Fa ntzia
fej leszt gyakorlatok (Fantasy-Improving Exercises). Thought
motivator: a treatise upon the pedagogical activity of Mikls
Erdly, published in 1983 in the periodical called Magyar
Mhely (No. 67) by Ildik Enyedi (film-director).
1994
10 June 1994
17 June 1994
24 June 1994
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183
16 July 1994
jkapolcs Galria
(Newkapolcs Gallery), Kapolcs, Hungary
24 August 1994
Budapest
Passivity Exercise
Passzivitsi gyakorlat
Video event by Gyrgy Galntai in the performance program
(organized by Jnos Szirtes) not realized because the
necessary technical equipments were not provided by the
organizers.
DOCUMENT: invitation-flyer
BIBLIOGRAPHY: A Diksziget performance-programja, Magyar
Narancs, August 11, 1994, p. 29. Diksziget 1994 Eurowoodstock,
Magyar Narancs, August 11, 1994, p. 30.
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1994
Mikls Erdly:
A kltszet mint n-sszeszerel rendszer
[Poetry as a Self-Assembling System]
(1973)*
We say that poetry is able to organize itself
without outside interference.
It is possible to obstruct this self-organization
and people have always been doing just that ,
but after a certain interval of time poetry molds
these obstructing elements along the lines of its
own nature and gradually incorporates them.
Its organization is not merely formal but simulta
neously formal and conceptual hence it is
called poetic.
1994
Since the organic world is likewise a selfassembling system, it is not surprising that the
poetic quality residing in the very fact of life is
also able to create itself and to continually renew
itself.
Objects, texts, etc., just as molecules in the
primordial soup, in the course of their free
(random) movements seek out their own
geometric loci, taken in the poetic sense.
Humans are left with the task of on the one
hand, noticing the existing poetic features, and
on the other hand, by adding and projecting
their conceptual stock-pile, transforming into
poetry the already extant formal-esthetic
beauties (pebbles, landscape, etc.)
If your room is untidy enough, or if you are obliged
to keep too many objects in it; if your interests
are wide-ranging enough and especially if the
room is the scene of at least your periodical
activities, you must have noticed that certain loci
give rise to poetic nodes; expressive concatena
tions organize themselves without your conscious
participation.
(Finally you end up not daring to touch anything,
lest you disrupt these flowers grown by your
room.)
In the exhibition hall these piles will confess
their poetic destinations more readily than when
embedded in their original environment, and often
they possess a more intense and at the same
time more delicate content than constructions
made expressly for the purpose of exhibition.
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30 May 1994
Budapest
PETRIfied forEAST
book presentation
Gyrgy Konrd (writer) presented the bookwork of Pter
Forgcs, Gyrgy Galntai and Gyrgy Petri. The Visual Arts
Research Studio at the Arizona State University conceived
a collaborative project for a bookwork in 1989 with the
topic: Freedom / Oppression: Central European Artists in
Response. Artpool was requested to coordinate the project.
The bookwork was designed and a maquette completed in
1990 in Arizona as a collaborative work by Pter Forgcs,
Gyrgy Galntai and Gyrgy Petri. The 225 copies of the
publication were produced by the students of ASUs visual
studio. ( p. 101.)
DOCUMENT: correspondence, distribution list of the copies of the
publication, invitation, photo, video
Web-document: www.artpool.hu/bookwork/PETRIfied/
BOOKWORK-PUBLICATION: PETRIfied forEAST, Visual Arts Research
Studios, Tempe (AZ), 19901994, cooperative bookwork by Gyrgy
Galntai, Gyrgy Petri and Pter Forgcs, edition of 225 copies,
signed by the authors (26x28,5 cm, 15+8+10 pages 3 volumes in
slipcase)
BIBLIOGRAPHY: Forgcs, Galntai, Petri, Szirtes, Magyar Narancs,
TVRADIO: The Pyracantha Press, video
May 12, 1994, p. 8.
podcast, ASU Libraries, The Library Channel, August 7, 2007
Manuvre Nomade
or the Virtual Protocol
Nomd Manver
avagy a virtulis protokoll
Festive opening of the Consulate of the Nomad Territories
in Budapest. The ambassadors of the Territories, the
members of the artist collective INTER/LE LIEU, issued
passports for those who applied for citizenship. Videos from
the performances and installations of the collective whose
members are: Jean-Yves Frchette, Richard Martel, Nathalie
Perreault, Alain-Martin Richard, Jean-Claude Saint-Hilaire.
DOCUMENT: correspondence, invitation, flyer, press material (Hu,
, passport request form, passports, original
Fr), photo, video
prints of the rubberstamps used
Web-document: www.artpool.hu/1994/940530_e.html
PUBLICATION: Richard, Alain-Martin (ed.): Territoires nomades. Une
manuvre de membres du collectif Inter/le Lieu. Premire tape: mai
et juin 1994, ditions Intervention, Qubec, 1995, 185 p.
BIBLIOGRAPHY: Delagrave, Marie: Membres dInter/Le Lieu en
tourne europenne. Pour linstauration des Territoires nomades, Le
Cron, Marie-Michle: Passeport pour les
Soleil, May 6, 1994
territoires nomades, Le Devoir, May 12, 1994. [Nomd Manver],
Magyar Narancs (Snoblesse Oblige), May 26, 1994, p. 19 (notice)
Nomd Manver, Magyar Narancs, May 26, 1994, p. 8 (notice)
-lukcs-: Nomd kztrsasg. Konzultus a nacionalizmus ellen, Esti
Hrlap, May 31, 1994
Nomd tlevelek hontalanoknak, Blikk, June
15, 1994
Antal Istvn: tlevl, let s Irodalom, June 24, 1994, p.
16.
Tillmann J. A.: Nomd manverek, Magyar Narancs, June 30,
1994, p. 32 ( p. 189) Martos Gbor: dvzlet Nomdibl (-ba),
A Ht /Bukarest/, July 8, 1994
Martel, Richard (ed.): Lart en actes.
Le Lieu Centre en art actuel. 19821997, Editions Intervention, Qubec,
1998, pp. 241245.
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11 May 1994
Budapest
A few weeks ago, I and quite a few visitors to Artpool came into possession of a world passport which
was one of a kind. The special, blue passport was issued by the Budapest consulate of Territoires Nomades /
Nomad Territories. (Being a nomad institution, this consulate was open in Budapest after Berlin and Cracow
for a single day, and then moved on to Genoa, Marseille and Barcelona.) Thanks to the action of the Canadian
Inter/Le Lieu group, Artpool, which housed the transitional consulate, turned into an Office for this short time
with a window simultaneously opening onto several worlds. One of the symbolic views involuntarily opened
onto the everyday horror of the old(?) ancient regime and evoked the unequalled memories of hours (days/
weeks) spent in the rooms of the Pass and Grace Distribution Office of the late Peoples Republic of Hungary,
since no one could get a passport without having to wait, queue up and stand about. (Filling in forms, storing
and processing data, and taking and printing photographs are time-consuming not only in Magyaristan but
also in Nomadistan.) Remembering the unpleasant memories of old was not the only thing applicants could do.
While waiting for the clerks in white uniforms to do their jobs, the nomads filling the rooms of the consulate
were able to have a look at the Inter/Le Lieu groups video materials and at Mikls Erdlys bookshelf while
sizing each other up and engaging in jovial conversation. (Looking at the shot of Erdlys bookshelf blown up
into the original size and covering an entire wall, the nomads could ponder about the prospects that opened up
to the artist of blessed memory and wonder about what lay hidden in the scant books with torn spines)
The video documentation revealed that the traveling envoys of the Nomad Territory, i.e. the members
of the Qubec art group, not only excelled in inventing and filling in travel documents since Jean-Yves Frchette,
Richard Martel, Nathalie Perreault, Alain-Martin Richard, Jean-Claude Sain-Hilaire previously had exhibitions,
performances, installations and worked as critics, editors and teachers. Finally, the passports were ready, the
visas stamped in, the revenue paid, and after a handshake we were initiated as fully-fledged members of the
Nomad Territory. I myself was given passport number 204, from which I concluded that at the time this
fictitious territory was not exactly overpopulated. (The action series continued and as the number of nomads
reaches one million, a seat will be granted us in the UN)
If the carriage in the coat of arms of the passport were not so obviously different from heraldic
traditions and if it were set in a crest, this passport is so perfectly made that it would probably easily grant its
user entry into one of the recently proclaimed Central Asian CIS princedoms.
The nomads heraldic animal is a real nomad vehicle that was made exclusively of wood, to the last
nail as it were, about two and a half thousand years ago; it was found in the Altai Mountains and is preserved
in the Hermitage Museum. These data are already contained in the great book by Gilles Deleuze and Felix
Guattari titled Mille Plateaux (A Thousand Plateaus. Capitalism and Schizophrenia 2), in the chapter about the
nomads; therefore, it can be safely assumed that this book served as inspiration for starting the Inter/Le Lieu
group. All the more so since this chapter was later published in the Semiotexte series in America as a separate
volume by Sylvre Lotringer.
So what is nomadology which inspired action artists through a book written by philosopher-psychologist
co-authors? Gilles Deleuze said the following in an interview: we took a keen interest in nomads because they
are a group outside of history; they are excluded from it but they metamorphize only to reemerge somewhere
else: in unexpected forms amidst the fading lines of a social field. In other words, the nomads represent a pattern
that offers a way out of the systems and institutions that gradually entangle virtually everything: it offers
a passage, slipping through cracks, communication between different contexts. And this is by no means indifferent
to us urban dwellers, since, figuratively speaking, we ourselves are all becoming nomads to a greater or lesser
degree. We change our location several times a day: in one hour we find ourselves surrounded by trees in
a garden, while in another we are in a highly trans-technicized landscape. The people, the population changes
around us in the same way, as we disappear from one place and reappear in another: we suddenly notice the
staggering amount of chrome steel blue surfaces and turbo-solarized bodies surrounding us. However, we do
not become real nomads just by alternating the location of our lives. Real nomads do not need to be bound to
one place above all else, to some sort of reality segment or segmentary reality, they do not blend into moulds
fashioned by the prevailing power fields and dictated by established styles and genres; instead, they move
between these structures. Nomads offer an alternative to the swamp of authorities, the inertia of institutions,
and the terror of passivity. This holds true today as much as it did before. If not from our personal experience,
we know it from Max Weber that if an organism once comes into being, it strives to subsist and operate: it looks
for and finds for itself a role, a function, a commissioner, a reason and an operator. That is what makes the
spreading and proliferation of the Nomad Territory especially noteworthy, since they reclaim territory for freedom
by ridiculing institutional operation, deceiving it and turning it inside out by using such pacific, playful and
artistic gestures that could be successfully adopted in other areas. What is more: they are worthy of being
propagated. Were the mass proliferation of such initiatives to happen, it could even transpire that the logic of
public affairs is not as exclusively legitimate as is suggested by todays political panorama restricted to a tri- and
rectangular horizon.
(J. A. Tillmann, 1994)
* J.
A. Tillmann: Nomd manverek [Nomad Maneuvers], Magyar Narancs, June 30, 1994, p. 32. (English translation by Krisztina
Sarkady-Hart.)
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Nomad Maneuvers,
Nomad Territory. The Inter/Le Lieu group*
2 6 October 1994
Budapest
Polyphonix 26
International Sound Poetry Festival
1994
The audience in the Kolibri Theater with Istvn Ersi and Ernst Jandl in the
first row (video snapshot)
190
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2 October 1994
Budapest
Polyphonix 26
Evening of International Sound Poetry
At the opening night of the Polyphonix Festival, internationally renowned artists of the genre, poets and performers, presented circa 10-minute samples of the most varied
trends of poetry (concrete poetry, sound poetry, action poetry), and Polish Futurist poems were also performed. Host
of the evening: Tibor Papp, poet, member of Association
Polyphonix.
The dog barks but the caravan keeps going a Hungarian proverb
meaning approximately: Time and tide wait for no man.
Originally published in: Polyphonix 26 (catalog), Artpool, Budapest,
1994, p. 2.
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4 October 1994
Francia Intzet / Institut Franais
de Budapest, Budapest
6 October 1994
Budapest
Transfuturist Sounds
Transzfuturista hangok
Closing event of the Polyphonix Festival. Sound poetry
evening of the Russian artists Rea Nikonova and Serge
Segay
DOCUMENT: invitation, manuscript for the program, program, video
Web-document: www.artpool.hu/1994/941006_e.html
191
1994
25 October 1994
Magyar Kpzmvszeti
Egyetem (University of Fine Arts), Budapest
1994
THICK MARGIN
VASTAG MARG
The Radio in Artpool, Artpool in the Radio
On the Radio Petfi and Radio Bartk broadcast of sound
works by Mikls Erdly and other contemporaneous
sound documents from the Sound Archives of Artpool with
commentaries by Gyrgy Galntai (editor: Gbor Nmeth).
DOCUMENT: flyer, thank you letter of the Literary department of
Magyar Rdi, sound
BIBLIOGRAPHY: Vastag Marg II. (rdimsor), RTV, December 18,
TVRadio: Magyar Rdi (Petfi), November 20,
1994, p. 44.
December 18, 1994; replay: Magyar Rdi (Bartk), November 21,
December 19, 1994
Artpool Art
192
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19 January 1995
Budapest
ORLAN
I want my body to be the scene of debates Lecture and
video presentation of the French multimedia artist and bodyperformer Orlan with the assistance of Lszl Beke. Orlans
aim is to control her body; she gets her face transformed
by operations. She answers the questions posed by the
audience during the live broadcast of the operation.
DOCUMENT: invitation/press release (Hu, En), photo, video
BIBLIOGRAPHY: Orlan Budapesten, Magyar Narancs, January 26,
1995, p. 10 (notice) Drdai Zsuzsa: Orlan, j Mvszet, May 1995,
pp. 2124.
Performance Art
A performansz
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1995
1995
Lszl Beke
Endre Szkrosi
Source: Mikls Peternk: Beszlgets Erdly Miklssal 1983 tavaszn [Conversation with Mikls Erdly, Spring 1983], rgus, Vol. 2., No. 5, 1991, pp. 7778
and p. 79. (Translated by Jim Tucker.)
Performance, this new genre of creative art is at least twenty years old. This series of lectures will be launched by the fundamental
question whether it is possible to revitalize it. (The answer is, obviously, yes.) The long and short term antecedents of performance
(especially happening, fluxus event and body art) in Hungary and abroad will be examined. An overview of the relationships between
performance and other genres or branches of art, i.e. installation, painting, sculpture, theater, music, poetry, video, dance, etc. as
well as sports, transport and fashion will be given. Authors/creators will be invited and their works analyzed.
The lecture series is chiefly designed for art academy students and students of art history, but we welcome all those interested.
Presenters who have already confirmed their participation include Lszl Fldnyi F., Pter Gyrgy, Gbor Klaniczay and Sndor
Radnti.
The theme of the first three introductory lectures: The antecedents of performance, its beginnings and general characteristic
features.
(Lszl Beke)
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1995
12 May 1995
17 May 1995
This idea had left its mark on those radical efforts which, a hundred
years later, were not about saving art from life but strived for
turning life into art. At the turn of the century, the reformers aim
was to liberate art entirely, yet this revolution not only broke the
traditional frames of art but radically undermined the European
notion of art. Thus it is not by chance that the expression
happening appeared exactly at this moment throughout all the
different linguistic areas. There is a heroic idea inherent in it
which is always subjected to failure that only an aesthetic view
enables us to see life as an integral whole again.
, manuscript
19 May 1995
Lszl Fldnyi F.
(Translation of the text from the invitation.)
7 June 1995
T H E
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Lszl Fldnyi F.
OF
P ERFOR M A NCE
195
1995
196
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20 30 April 1995
1995
198
25 April 1995
Articule, Montreal
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Horizontal Radio
International project forming part of the Ars Electronica in
Linz, Austria. 24 hour-long radio broadcast from 14 countries
at the same time. Artpool Radios program, partly material
of the sound archive and partly live broadcast from the
Studio 13 of Hungarian Radio, could be heard on 23 radio
stations in the world (the program was the co-operation of
Artpool and the Hungarian Radio, coordinator: Istvn Szigeti).
Participants of the live broadcast: Balaton (Mihly Vg,
Imnuel Olh, Simon Wahorn), Spiritus Noister (Endre
Szkrosi, Csaba Bese, Attila Dra, Zsolt Kovcs, Katalin
Ladik, Zsolt Srs), Gyrgy Kozma, Kok, Jen Menyhrt,
Gyrgy Bp. Szab and others. Disk-jockey: Lszl Lugosi
Lugo, anchorman: Gbor Nmeth.
1995
International Festival
of Performance-videos
36 hour-long screening of performance-videos. Works
by 300 artists from 20 countries, classics and current
representatives of Hungarian and international performance
art (conception and selection of the works by Gyrgy
Galntai) a preview of the autumn program planned for
Budapest.
See the list of participants on the poster of the exhibition
( pp. 203204)
DOCUMENT: international call, notes, press material, invitation,
program, poster Video-WORKS: in Artpools collection
BIBLIOGRAPHY: Bta Gbor: Blueskocsmtl a tejcsrdig.
Kermiavirgok nylnak a Mvszetek Vlgyben, Magyar Hrlap,
June 13, 1995, p. 15. B.M.Z.: Artpool 95 a performance jegyben.
ldztets utn rvbe rve, Bks Megyei Nap, June 20, 1995, p. 5.
V. Gy.: Pntektl: Mvszetek Vlgye, Npszabadsg, July 3, 1995,
V. Cs.: Fldrvers s rockoperett. A mvszetek vlgye
p. 19.
Kapolcson, Magyar Nemzet, July 3(?), 1995, p. 10. Ismt Kapolcs,
Mvszetek Vlgye.
Magyar Narancs, July 6, 1995, p. 10 (notice)
Performansz-vide Fesztivl az Artpool Mvszetkutat Kzpont
[jkapolcs
szervezsben, Beszl, July 6, 1995, p. 43 (notice)
Galriavideo mozi. Nemzetkzi Performance Video Fesztivl],
Pesti Msor, July 1319, 1995, p. 52 (notice) Videolgia, Vlgyfutr,
July 1518. 1995, p. 5. [Nemzetkzi performance-vide fesztivl],
Magyar Narancs (Snoblesse Oblige), July 1319, 1995, p. 21 (notice)
Szkrosi Endre: A mvszetek fldje, let s Irodalom, August 11,
TVRADIO: TV1, July 31, 1995 (Stdi 95, Mzsa)
1995, p. 10.
; Magyar Rdi (Petfi), July 12, 1995 (Reggeli cscs)
26 September 1995
Budapest
Jean-Jacques Lebel
at Artpool
Talk with the artist with the participation of Lszl Beke
and Tibor Papp and video show about his works.
J.-J. Lebel is active in many fields and trends of art. His
name is connected with the famous/infamous happeningfestivals in Paris (1964, 65, 66) and the organization of the
Polyphonix Festivals of Sound Poetry.
DOCUMENT: invitation, video
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Artpool
1995
Catalog and poster of the event with a list of the videos presented
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24 November 1995
ELTE BTK (Etvs Lornd
University), Budapest
1 December 1995
www.artpool.hu
Launching the
Artpool website
Being the first among Hungarian art institutions, Artpool
launched its website with continuous updates.
BIBLIOGRAPHY: Hlzati hrek. j URL cmek, Infopen, February
Dombos Tams: Kedvenc WWW oldalaim,
1996, p. 25 (notice)
Papp Tibor: Kpnk az
Infopen, JuneJuly 1996, pp. 3637.
Interneten. Prizsi levl, Magyar Hrlap, April 13, 1996, p. 13.
Demszky Gbor: Hogy szabadon kommuniklhassunk. Megnyit
szavak egy killtshoz. Budapest az Interneten, Eurpai utas,
Trk, Andrs: Digital Budapest. Artpool
January 1996, p. 6.
Research Center, Budapest Review of Books, Summer 1996
Artpool Research Center, Inter Art Actuel, No. 65, June 1996, p. 77
Beke Lszl: Magyar internet: knyvtrak s magyar
(notice)
mvszet, in: Magyar Tartalom, Soros Alaptvny Kulturlis s
St. Auby
Kommunikcis Kzpont, Budapest, 1997, pp. 6162.
Tams: Szrfl/zni przon, in: Magyar Tartalom, Soros Alaptvny
Kulturlis s Kommunikcis Kzpont, Budapest, 1997, p. 92.
Blint Anna: Garden of Communication. Artpool Art Research Center
website, Convergence. The Journal of Research into New Media
Sz. T.:
Technology, Vol. 4, No. 2, Summer 1998, pp. 116118.
Hlzat. Artpool.hu, Magyar Narancs, November 2, 2000, p. 39.
Magyar mvszetkutat kzpont, Klick Netlap, December 10, 2002
Markovits Ferenc: Kortrs mvszek vlgye a weben,
(notice)
Starbuck, Honoria Madelyn Kim:
Metro, October 8, 2003, p. 13.
Clashing and Converging: Effects of the Internet on the Correspon
dence Art Network, PhD Dissertation, University of Texas, Austin, 2003,
pp. 3942, 83, 252, 296, 471.
1 December 1995
Radio, Budapest
Related event:
17 October 1995
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1995
1996
23 25 April 1996.
(Artpool), Skopje
Curriculum Vitae
Segment/Porte:
Paris Venice Budapest Skopje
Artpool connected to the project by Evgenija Demniewska
through fax and the internet. Curriculum Vitae is an interactive
art event consisting of segment-events that take place
simultaneously in different places, interconnected by post,
telephone, fax and internet. Locations / participants: Paris:
Galerie Multimedia ISEA; Venice: International Conference
of Museums and Exhibitions, Museum Correr; Budapest:
Artpool Art Research Center; Skopje: City Museum.
DOCUMENT: correspondence, faxes and photocopies, web pages
Web-document: www.artpool.hu/events96.html#C
Artpool at the
Hungarian Institute in Paris
Des mains / Hands exhibition of the international graphic
project.
See the list of participants on the poster of the exhibition ( p. 210)
3 7 June 1996
Budapest
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Staatliches
20 September 1996
Rotterdam
Artpool Art
Fluxus Videos
at Artpool
Presentation of fluxus videos from the Artpool archives
related to the exhibition Fluxus in Germany from 1962-1994
at Mcsarnok / Kunsthalle.
To see a list of videos, visit www.artpool.hu/fluxvideolist.html
DOCUMENT: flyer, program poster Mcsarnok Autumn 1996 and
Winter 1996/97
BIBLIOGRAPHY: Fluxus, Magyar Narancs, December 5, 1996, p. 11
Szkrosi Endre: A lthat fluxus. Fluxusvidek az Artpool
(notice)
Videarchvumban, Magyar Mhely, No. 102, Spring 1997, pp. 38
Beke Lszl (ed.): Fluxus. Defincik s idzetek, Mcsarnok,
45.
Budapest, 1996
Picture Poetry
Kpkltszet
Open-air signpost exhibition on Liszt Ferenc Square organ
ized from Artpools international visual poetry collection
and staged as part of the Budapest Autumn Festival. Works
by 28 Hungarian and foreign poets in which punctuation
marks were not used as linguistic but rather as visual
elements.
See the list of participants on the invitation reproduced here.
DOCUMENT: invitation, press release, Budapest Autumn Festivals
program brochure WEB-CATALOG: www.artpool.hu/pictpoetry.html
BIBLIOGRAPHY: szi fesztivl, Magyar Narancs, September 19,
1996, p. 10 (notice)
Kpkltszet, Magyar Narancs, October 10,
1996, p. 11 (notice) Kpek a lmpn. Liszt Ferenc tr, Npszabad
sg Magazin, October 26, 1996, p. 7. TVRADIO: MTV, October,
November ?, 1996 (Mzsk, Krz?)
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211
1996
2, 4, 9, 11 October 1996
Center, Budapest
16 October 1996
Budapest
1996
9 October 1996
Budapest
HYPER
MEDIA
Launch of Artpools collection of essays titled HYPER Text +
Multi MEDIA as part of the Budapest Autumn Festival, and
an exchange of ideas on the theme. The latest issue of the
Artpool booklets series contained the historically important
writings by the best known authors in this field (Vannevar
Bush, Ted Nelson, George P. Landow, Ian Feldman, Chuck
Clifton / Douglas Engelbart) translated into Hungarian for
the first time.
The publication was presented by Jnos Sugr, Mikls
Peternk and gnes Ivacs.
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8 November 1996
Budapest
27 November 1996
Budapest
15 November 1996
Budapest
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1996
Simultaneity
Egyidejsg
1 March 1997
Szpmvszeti Mzeum (Museum
of Fine Arts), Budapest
DOCUMENT: program
Artpool Publications
19701997
Exhibition of Artpools publications curated by Guy Bleus
from his collection.
Correspondence Art of
Ray Johnson
Ray Johnson
kapcsolatmvszete
16 March 1997
1997
1. UNI/vers(;)
The series of bookworks titled UNI/vers(;), which formed
part of the Peacedream project, was published by Guillermo
Deisler (19401995), a Chilean artist who had lived in Bulgaria
and then in the GDR and Germany. An interesting feature of
this anthology of visual and experimental poetry, compiled
along the characteristics of an assembling, is that the order
of the pages was determined by the readers: everybody
could create their own reading. Every page was made on the
same subject by a different artist, thus the content of each
issue remained the same despite the diversity introduced by
the different authors.
Presenting how an old idea works with new technology,
the preserved copies of UNI/vers(;) at Artpool could not
only be viewed at the exhibition, but Artpool also created
an online version on the occasion of the exhibition, which
was made of one of the 1988 issues of the series.
WEB-CATALOG: www.artpool.hu/univers/
(Continued on p. 220)
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The Garden of
Correspondence Art *
Landscape architecture on the internet:
http://www.artpool.hu/RayJohnson.html
The internet work is the representation and demonstration of exchange.
Since the internet work is an open work, it is possible to regard it as a
work of art throughout all its phases, from the very appearance of its idea.
Each genuine work can be interpreted on several levels, in fact, this is
what ensures its validity over time and amidst changing viewpoints. Each
interpretational level, constitutes a network on its own, which, in turn,
interacts with the other levels, forming complex sets of networks. Each
element of such a construction might well be related to another element,
and to other constructions as well. Subsequently, the work is but a piece of
land to cultivate, e.g. a garden. To preserve the permanence of the work is
thus to preserve its alterability.
Thus the task of the future artist is not to create so called works but to
construct, and cultivate territories that can relate to one another. Such
territories enrich, or can enrich one another. This is at the core of
exchange. The network and the exchange supports the presence and
functioning of a work created by a single person in a broader field, in
other contexts, and in different cultures. The increasing evolution of the
electronic network, that is the internet, amazingly promotes the work
done before. Exchange on the internet means linking the information
(text, or image) contained by a web page to any piece of information,
located at any part of the net but relating to it.
Works created by single persons relate to one another and can be exchanged
as bits of information. Exchange can also happen outside this network as it
did earlier, in the form of printed publications, or museum exhibitions, etc.;
the difference is, however, that the exchange on the internet is much faster,
and information can be continuously updated. This enriches exchange with
entirely new dimensions. One can, at the same time, be near or far to the
one with whom he or she is exchanging information.
1997
The Ray Johnson Web Site team at Artpool: Jlia Klaniczay (editing),
Gyrgy Galntai (conception and design), Lszl Tlgyes (web technique)
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19 March 1997
23 April 1997
Budapest
1997
220
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Projects by Artpool
at the Budapest Autumn Festival
DOCUMENT: installation plan, press material, Budapest Autumn
Festivals flyer, invitation
BIBLIOGRAPHY: Budapesti szi Fesztivl, Magyar Narancs, SepK. Cs.: Exhibitions: something for
tember 25, 1997, p. 12 (notice)
hungry eyes, Budapest Week, September 25 October 2, 1997, p. 12
Kassk a magasban, Magyar Narancs, October 2, 1997,
(notice)
p. 12 (notice) Raktr-lat, Balkon, 1997/1011, p. 46 (notice) [Raktrlat cmmel rendezvnyek az Artpool P60 Galriban], Magyar M
hely, No. 104, Autumn 1997, p. 89. Gosztonyi Ferenc: Szanatrium 2.
projekt. Artpool P60, Balkon, 1997/1011, p. 20.
Storeroom-Exhibition | Raktr-lat
Sanatorium 2
Exhibition and series of events, a sequel to the Sanatorium 1
project held in May at the unused villa building of the
Psychiatric Institute in Vlgy Street.
During the exhibition, on the 3rd and 4th of October: public
reading, music and film evenings were held at 6 p.m.
Following each others instructions, some thirty painters,
intermedia students from the Art Academy, and recent
graduates of art held discussions in numerous genres
(painting, drawing, installation, sculpture, music, film etc.)
about a shared subject what anxiety, phobia or hypo
chondria they had related to the broader theme of sana
torism. (Curator: Dra Maurer.)
To see a list of participants, visit www.artpool.hu/1997/970926m4.html
DOCUMENT: invitation, flyer, poster, video
ROADS BEAUTIFULLY
CONVERGE WITH THE
CHOSEN WANDERERS
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2 October, 1997
Transart Communication
performances
Performances by Christina Della Glustina, Julie Andre
Tremblay, Andr Stitt Catherine Waller Kate Ellis, Seiji
Shimoda, Blint Szombathy Milan Mumin in the program
of the Transart Communication 9, Festival of Action Art
and Multimedia Works organized by STUDI ERT
(Nov Zmky). Other venues of the Festival: Nov Zmky
(Slovakia) and Mcsarnok / Kunsthalle, Budapest.
DOCUMENT: installation plan, invitation, poster, flyer, video
CATALOG: Transart Communication 1997, Studio ert, Nov Zmky,
Slovakia, 1997, ca. 50 p.
BIBLIOGRAPHY: Transart Communication, Magyar Narancs (Snoblesse
Oblige), October 2, 1997, p. 3 (notice) Pika Nagy rpd: Vigyzat!
A szavak lni is tudnak. Transart Communication Fesztivl a M
csarnokban s az Artpool P60 Galriban, 1997. oktber 13, Magyar
Mhely, No. 105, 1997/4, pp. 7982. (Tsss): Majomkenyrfa. Transart
Communication, IX. Nemzetkzi Multimedilis Mvszeti Fesztivl,
Jump Magazin, Winter 1997, pp. 2728.
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Painter dossier
of the III/III Dept.
The establishment of the History Office in 1997 (today:
Historical Archives of the Hungarian State Security) made it
possible to research the dossiers kept by the secret service
about the Chapel Studio in Balatonboglr, Gyrgy Galntai
and Artpool. The three volumes of the Fest (Painter)
dossier which Gyrgy Galntai made accessible online
contain the reports kept by informers and operatives
who accurately watched and continuously obstructed the
activities of Artpool from its foundation up to the change in
the political system.
To consult the dossier visit www.galantai.hu/festo/ (in Hungarian)
See some English translations on pp. 108119, 268270
DOCUMENT: correspondence (Artpool Ministry of Interior
Historical Archive) Web-document: www.galantai.hu/festo/
BIBLIOGRAPHY: Mark Gyrgy: Vlaszfle Kszegk ferdtseire, let
Galntai Gyrgy: Tisztelt
s Irodalom, September 4, 1998, p. 5.
Mark Gyrgy!, let s Irodalom, September 11, 1998, p. 6. B. Nagy
Anik: Kedves Pcsi Zoltn!, Beszl, December 2001, pp. 111112.
Rcz Johanna: Nem hajland magyarul beszlni Galntai Gyrgy
Sznyei Tams: Nyilvn
besgja, index.hu, March 22, 2005
tartottak. Titkos szolgk a magyar rock krl 19601990, Magyar
Narancs Tihany-Rv Kiad, Budapest, 2005, pp. 634, 640, 692, 694
696. Dr. Haberman [Pcsi Zoltn fednev gynk] e-mailje Galntai
Gyrgynek s Klaniczay Jlia vlasza, March 2005, www.galantai.hu/
dokumentum/PecsiZoltan.html; quoted by: Najmnyi Lszl: Spions.
A Hromsg titka (Hatodik rsz), Balkon, 2010/6, p. 24. Fuchs Pter:
Szabadsgbrtn. A szocialista kultrpolitika ellenbzisa: Artpool,
Najmnyi
Hamu s Gymnt, Vol. 44, Summer 2009, pp. 4655.
Lszl: Spions. A Hromsg titka (Hatodik rsz), Balkon, 2010/6, pp.
Sznyei Tams: Titkos rs. llambiztonsgi szolglat s
2124.
irodalmi let 19561990 (12.), Noran Knyveshz, Budapest, 2012,
Vol. 1.: pp. 10311032, Vol. 2.: pp. 7071, 79, 82, 233, 290, 293, 334,
729733, 860, 891892, 924, 945946, 954. Tabajdi Gbor: A III/III
krnikja, Jaffa Kiad, Budapest, 2013, pp. 358359.
Mcsarnok /
1998
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4 April 1998
Opening exhibition:
Popodrome Espace-temps Rel No. 1 / Real SpaceTime Poipoidrom No. 1
Reconstruction of the 1976 Budapest installation by Robert
Filliou and Joachim Pfeufer, and presentation of installation
documents and projects from various artists sent for this
occasion at Artpools invitation or earlier material from the
Artpool Archive and collections (i.e.: video installations,
video documents of installations, sound and music installations, text installations, posters of installations, projects,
fluxus-, mail art- and web-diagrams, etc.). Exhibition introduced by Lszl Beke.
See the preliminary list of participants on p. 230. For the final list, visit
www.artpool.hu/1998/981019m2.html
DOCUMENT: international call and questionaire (Hu, En), loan
agreement (Poipoidrom), invitations (Institut Franais and Artpool),
flyer, video Web-document: www.artpool.hu/Fluxus/Filliou/
PUBLICATION: Beke Lszl Blint Anna (eds.): Poipoi, Artpool
Mcsarnok, Budapest, 1998, 40 p. (with the help of Institut Franais)
Szke Annamria (ed.): Diagramok: Gondolat-trkpek, Artpool
Mcsarnok, Budapest, 1998, 51 p. CATALOG: Az installci ve az
Artpoolban: Installci projekt / The Year of Installation at Artpool:
Installation Project 1998, Artpool, Budapest, 1999, 32 p.
Web-catalog: www.artpool.hu/Installation/
2 June 1998
Sance Filliou
Kntor Istvn Monty Cantsin? Amen!
installation / video / performance
DOCUMENT: invitation, press release, video
BIBLIOGRAPHY: Monty Cantsin Budapesten, Magyar Narancs, May
K. H. P. : A Paulay Ede utca szelleme,
28, 1998, p. 10 (notice)
Magyar Hrlap, June 6, 1998, p. 20.
20 March 1998
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1998
1998
Source: 1/2 + 1/2 = filliou/pfeufer Le [ou la] Popodrome Espace-Temps Rel Prototype 00, catalog, Yellow Now,
Lige, 1975 (the English translation by Bea Hock was published in: The Year of Installation at Artpool: Installation
Project 1998, catalog, Artpool, Budapest, 1999)
Prototype 00 of Poipoidrom
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1998
Video snapshots of the opening in the reconstructed space of Fillious Poipoidrom and of the exhibition interior
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229
1998
T H E
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231
1998
Yoko Ono in her exhibition Half A Wind Show, Lisson Gallery, London, 1967
(detail) (Reproduction from documents in the artists file at Artpool)
232
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Luisella Carretta: Within the Mary Kellys House and Shroud, installations, Cill Rialaig, County Kerry, Ireland, No. 1997
1998
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233
1998
234
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1998
Shozo Shimamoto: Building Crash Project, 1992 (published in AU, No. 116)
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Phil Dadson: Conference of Drums, sound sculpture, Brick Bay Sculpture Park (New Zealand), 2000
1998
The installation consists of 7 carved slit-drum poles, each with tuned wooden and steel tynes projecting from the outside edges of the centrally located
slit-drums, which double as resonator / amplifiers. A set of long wires span the edges of the 7 slit-drum amplifiers, to be played as part of the ensemble.
Aeolian wind tones are also produced by breezes through the vertically strung wires and by edge-tone activation of the slit drum cavities.
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(2) Why did you choose to make installations and not anything else?
AKENATON / DOC/K/S (France) We began doing installations thinking that it was the best
way for the enrichment of poetic language allowing to their multiplicity of modes. In the beginning
it was also a way to go beyond the boundaries of academic visual poetry which seemed then to
roam the art galleries and books and overlooked altogether certain developments of
contemporary art.
Vittore BARONI (Italy) I have always been interested in several disciplines at once, so I started
with photos, collages and assemblages and the next logical step was installations, that I did at
home, in my garden, in the streets of Forte dei Marmi and in front of the town art gallery. Its a bit
difficult to tell the difference between the installations and happenings I did at the time because
I always liked a certain amount of intervention from the part of the audience.
Gyrgy GALNTAI (Hungary) During my art studies I got more and more convinced that
where I had to search for art was outside art. In this sense, I think installing is a working method
and/or the operation means of the art strategy, therefore I cannot start working without having
worded my aim, at least in the form of questions.
Jean-Franois ROBIC (France) Installation is one way among others, that permits to work
more spatially and concretely with objects or chosen materials. In my works, installation can be
related to a place (rarely), or connected with my copy-art and mail-art work. It can be bound with
my sculpture work when it exceeds simple assembling of fixed materials to extend in space due to
relations among objects.
(3) What do you think of your own works?
Vittore BARONI (Italy) They are-were a part of my life, I never pursued a regular art career
so my activities are not measured in terms of public success and acceptance, they are much more
part of a private ritual (like mail art), because I truly feel and believe the official art world today is
nothing but a commodity, a money game ruled by power elites not creativity and intelligence, and
as such it does not interest me much.
Lilian A. BELL (USA) The installation is a place for enigmatic states where transformation can
take place. It consists of peculiar anecdotes in a dreamy staged world is the event about to
happen or has it already taken place? Within this ambiguity can my objects relieve themselves of
past representations, or are they dependent on their pre-existing reality?
Gyrgy GALNTAI (Hungary) In my work I dont aim at completion, so these works are
continuable, they can be connected to each other or even to other peoples works. Each piece is
an answer to a question that had been asked and they only gain importance if they find, in a
poetical sense, their geometrical place (i.e. they are installed) in a correlation that is larger than
they themselves are.
(4) What do you think the difference is between your own work and other installations?
Lilian A. BELL (USA) Audiences frequently borrow parts of the installation and return them a
few days later. Sometimes they take (and dont return) materials like xeroxed papers that look like
they were meant to be picked up like information sheets. I get frantic phone calls from gallery
directors about such things who think that the sanctity of the art has been violated!
*Published in: The Year of Installation at Artpool: Installation Project 1998, catalog, Budapest, Artpool, 1999, 32 p.
See the complete project documentation with all the answers online at www.artpool.hu/Installation/
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Bruno CAPATTI (Italy) For the most part, in my work performance and installation are
connected. Performance produces installation or installation is the space for the performance and
performance alter this space. Contents of performance and installation are the communications
and the network of interactivity.
Luisella CARRETTA (Italy) It is difficult to comment on the differences between ones own
work and that of another artist. An artists energy is directed at penetrating as deeply as
possible into his/her own field of research and it consequently becomes difficult to be
sufficiently open towards other poetic directions, especially those that depart radically from
ones own.
Billy X. CURMANO (USA) I am not constrained by academia or the commercial market. I allow
my personal vision, inner being and spiritual forces to guide me. Several installations have been
constructed in remote or obscure locations and, in fact, may never be discovered; or if discovered
will raise questions of how, why and by whom they were constructed.
Gyrgy GALNTAI (Hungary) Ancient civilizations cave paintings as well as the way more
modern societies used art objects with political, religious or civil decorating purposes are all
installations; so man has always installed. If we consider that the language of the times before
the existence of language and writing was installation we also have to ask what is the important
reason for such a wide-spread use of the same idea today? The principle of installation
(everything is open and constantly changing) allows everything that has happened so far or is
yet to happen to be clearly arranged and understandable. Art installations provide opportunity
for all medial possibilities, thus they are able to join, as hypermedia, the unified structure of
data. In this context the individual (the artist) is not an author but a permutator.
(5) What do you think of the relationship of traditional artwork and installation?
Derek Michael BESANT (Canada) Installation is all context. We can look at a ruin of an
ancient city and see it as an installation, even though those who built it did not see that concept.
Bruno CAPATTI (Italy) The installation utilizes the real space for representation. The
traditional work represent the space. In this work the space and the time are virtual, in
installation they are real. The installation invades the space and also the space of mind.
Gyrgy GALNTAI (Hungary) I mean by traditional artwork the artwork which has become
a commercial product manipulated or dispossessed by the financial world or by religious,
ideological, or political powers, and thus has become the object of anti-art manipulations. The
owner of a traditional artwork uses it for installing his/her own interests of power: uses it for nonartistic purposes. Artists say that installation does not want to be art but the means of thinking,
imagination, the freedom of the mind, progress, survival and communication; and as such
information.
Sabrina LINDEMANN (Netherlands) I think that making installations has already become
a tradition. For me installation is more exciting than other mediums, because of its totality.
It speaks to all of my senses. I can walk into it, sometimes I can even touch, smell, hear it. I will
be always part of it, if I like or not.
(6) What is the size and material of an installation determined by?
AKENATON / DOC/K/S (France) The meaning determines first of all the material and the size.
Dmitry BULATOV (Russia) Installations made without size and materials are also possible.
1998
Gyrgy GALNTAI (Hungary) Concept, intention and interest. If the artist only wants to be
able to see his/her concept, it may as well be realized in virtual space, in digital images without
size and material. If the customer wants to own it, in that case, intention and interest are the
determinant factors.
Rod SUMMERS / VEC (Netherlands) The place and space generally determines the size.
Materials are selected to relate to the concept of the work.
(7) Could you mention the installation you consider to be the largest and the smallest one?
Dmitry BULATOV (Russia) With the appearance and development of the internet and various
technologies, physical sizes are no more significant for the art of installation.
Monty CANTSIN (Canada) The universe encoded in the DNA of a mouse.
Gyrgy GALNTAI (Hungary) Metaphorically saying, the smallest can be a guess and the
biggest can be an open mind.
Emilio MORANDI (Italy) There are no limitations in the phenomenon installation, it is in strict
relation with space, time, form, light, sound.
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Danny McCARTHY (Ireland) Yes. Definitely please ask me. Anywhere, anytime.
Emilio MORANDI (Italy) I make installations in any type of environment if it corresponds to my
communicative necessities, also at request.
(12) What do you think of preserving an installation?
Luisella CARRETTA (Italy) I see installations more as an ephemeral creative gesture than a work
which is fixed in time.
H.R. FRICKER (Switzerland) I often include a mechanism of self-destruction. (Writing in a landscape covered with snow)
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Gyrgy GALNTAI (Hungary) An installation preserves itself depending on its own abilities,
that is to say, it is preserved if someone has any spiritual interest in it. The installations made
before and after art like other products as well will still be downloadable and present in the
unimaginably far future in the form of images generated by the digital code.
Istvn GELLR B.(Hungary) Photography, video, measurements, descriptions together
could perhaps preserve somewhat, though the installation is the art of the moment.
Rod SUMMERS / VEC (Netherlands) Some elements and documentation may be preserved
(perhaps even recycled by the artist), but, by & large, when the period of the installation is over
the physical elements should be disseminated, but I would make no strict rules on this subject.
Patricia TAVENNER (USA) Fine and it is important to do so. But for me an installation is
experiential and documentation of that installation is not. Big difference.
(13) Can the value of an installation be estimated and how?
Vittore BARONI (Italy) Like it or not, everything has a value in this world, its the law of offer
and demand that will determine the prices.
Gyrgy GALNTAI (Hungary) The spiritual value of an installation can be estimated by the
number of the good links and, consequently, by the duration of its existence. If it is regarded as
a consumers product its monetary value is market-dependent, as in the case of any other
products.
Julius KOLLER (Slovakia) The value of an artwork has a flux-character, its time changeable,
moving. Experts can only propose hypotheses.
Luca PATELLA (Italy) I am not too much interested in financial values. But an artistic value
can be estimated depending upon the circumstances and the artists desire
W. Mark SUTHERLAND (Canada) Are we talking about value in $, if so, then one could say
that in the value of an installation in this period of late-capitalism is whatever the art market
can bare. However, I must confess that the ongoing between money and art mystifies me.
(14) How does copyright apply to installations preserved only in documents?
Vittore BARONI (Italy) If any dispute arises, the person with the smartest lawyers will win!
Personally, I am against copyright in general, its an outdated concept in a post-modern world
run by digital technologies, that function through the massive dissemination, download and
reproduction of data.
1998
Gyrgy GALNTAI (Hungary) Artists usually do not bother with copyright, it is the owners
who do so. The practice of copyright is an attack against the spiritual value of an art work, for
the author and his/her work is a gift from nature; and the present copyright is unfit for defending
it. In the distant future copyright will be replaced by the right of the author when the
institutions and/or the states will offer the authors conditions in which they can work for their
full self-realization for the benefit of mankind. In this sense there will be no authors any more
but permutators.
Authorship is a result of a critical decision regarding the product, so copyright is
institutionalized criticism. The words critique and criminal come from the Greek krinein and the
Latin cernere, which mean something like break in the sense of break apart or break the
law. We have known these double meanings at least since the Enlightenment (and especially
since Kant), as it became clear that the one criticized saw the critic as a criminal, as did the
critic the criticized. To read a text critically is to take the writer to be criminal and to commit a
crime against him. The whole thing is steeped in a criminal ambience. (Vilm Flusser).
The goal of permutable installations is to be received and then to be changed and passed over.
If the word author is replaced by the word permutator, and criticism is replaced by
discourse, we will perhaps use the word exchange instead of copyright.
Tatsumi ORIMOTO (Japan) I dont need copyright of installation in document.
Alberto RIZZI (Italy) No copyright on art, please.
Baudhuin SIMON (Belgium) No copyright, no fees, no elitism, no jury only exchange, help,
fraternity.
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19 30 October 1998
Artpool P60, Budapest
(forming part of the Budapest Autumn Festival)
Mikls Erdly:
{SIDEWALK}
{JRDA}
Open-air signpost exhibition in connection with Erdlys
ongoing oeuvre exhibition at Mcsarnok / Kunsthalle. The
signposts installed on the 28 lampposts are quotations
from a strange untitled writing of Mikls Erdly (19281986).
DOCUMENT: invitation, Budapest Autumn Festivals program
brochure WEB-CATALOG: www.artpool.hu/Erdely/jarda.html
BIBLIOGRAPHY: Blint Anna: Szvegrtelmezs [Erdly Mikls
{JRDA} c. mvhez], www.artpool.hu/Erdely/jarda_txt.html, 1998
Artpool. Utcn, Magyar Narancs / MaNcs (Snoblesse Oblige),
[Erdly Milks: Jrda], Open,
October 29, 1998, p. 3 (notice)
Sznyei Tams: Bizonyos
October 1320, 1998, n.p (notice)
szabadsg. Jan Hoet mzeumigazgat, Magyar Narancs / MaNcs,
October 22, 1998, pp. 2425. TVRADIO: Tv3, October 1998 (72
ra)
FIRE
BOTH
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Opening event:
Endre Tts First Sidewalk Tablet (I am glad to have stood
here) at the entrance of Artpool P60, inaugurated by art
historian Pter Sinkovits. The bronze casted tablet installed
in the pavement is the first lasting piece in public domain of
Endre Tts Im glad to series.
(The work was stolen by unknown perpetrators in 1999, so
in 2000 Artpool had the tablet recast with support from the
Cultural Committee of Budapest and installed it in its
original place.)
Gyrgy Galntai
1998
My Unpainted Canvases were conceived as pieces of concept art, but with his slogan Nothing Is Nothing
Tt entered the territory of behavior art. This means that his behavior is crucial to his art, since everything
that happens to him through his ideas is manifested as art. In his gladness works the symbol of nothing,
i.e. the zero-symbol 0, becomes an independent shaping tool with which anything can be expressed. In his
ideas, in the nothing, gladness, rain, and later in his mine-yours works, he created mature pieces of
correspondence art. By using non-traditional media his documents, the nothing-, gladness-, and absent
pictures are simultaneously present in the mail art network. From the late 1980s onward, Tt returned to the
use of traditional media. In these (absent picture) paintings his gladnesses were temporarily left unseen.
While My Unpainted Canvases are about what would make him glad if he could see them, his absent pictures
made fifteen years later imply what he is glad to have made disappear.
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I am glad to have stood here is Endre Tts first sidewalk table, which
he designed in 1996 to be placed in front of the entrance of what was to
become the Artpool P60 exhibition space. At first, the sign in bronze, sunk
into the asphalt, appears to be a commemorative plaque designating the
place where a noteworthy event occurred. In contrast, the style of the text
resembles tourists writing their name on monuments that will outlive
them. The absences in the case of the commemorative plaque: when, until
when, and why the person stood here, and once he did, who is this Endre
Tt? a tourist? (By the way, Tt is definitely a space-time-traveller.) For a
tourist, a dusty asphalt sidewalk is not typically the place that would outlive
him. So what are we talking about here?
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19 30 October 1998
Artpool P60, Budapest
(part of the Autumn Session of Artpools
International Installation Festival)
Ernst
Rzsa pressz
19761998
Summary document exhibition about the art actions in
Rzsa Pressz in 1976 and the history of the Rzsa Circle.
The exhibition was curated and opened by va Krner.
In 1986 Gyrgy Galntai began to compile the photo
graphs, performance documents, manuscripts and other
works related to the art events held in Rzsa Pressz for a
planned Artpool publication. He also conducted interviews
with several contemporaneous participants (kos Birks,
Andrs Halsz, Zsigmond Krolyi, Kroly Kelemen, Andrs
Koncz, Andrs Lengyel, Pter Sarkadi, Ern Tolvaly). After
the changes in 1989, va Krner, who used the materials
collected in Artpool, continued this research. Artpool loaned
more than a hundred photographs and negatives, as well
as numerous original works to the exhibition at the Ernst
Museum, but these with the exception of a few items
were never returned to Artpool.
DOCUMENT: receipt by Mcsarnok (Ernst Mzeum) of the works and
documents lent for the exhibition by Artpool, invitation, photo
18 December 1998
1998
Polischizoid aleatoric
demontage 21, 1979,
made using collages
from 19681969 and their
prints made in 19781979
(fiberboard, 100275 cm).
S. A. once said that he did
not make the picture.
He was only a tool
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Gyrgy Galntai
The destruction of his own works through reuse, and the integration of his old works
into new ones are rooted in an approach which, looking at it from the perspective of
the past, respects only intellectual values. From the perspective of the future every
work can be part of the probable, and I would like to quote Flusser here: Future
and possibility become synonyms, time becomes synonymous with becoming more
likely, and present becomes the realization of possibilities in form of images. Future
turns into multidimensional compartments of possibilities that unravel outward
toward the impossible and inward toward an image realized in the present.1 In this
context the individual (the artist) is not the author but rather the permutator.
* Gyrgy
Galntai: Aleatoric
Demontage or Picture
Installation? Introduction
to the S. A. pages,
www.artpool.hu/Altorjai/
galantai_en.html (translated
by Krisztina Sarkady-Hart)
[]
1 Vilm
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The Uncle Gaga pictures (1971) are calligraphies made with drip technique, thus
from a retinal perspective nothing new appears to have taken place. Dezs Korniss
had already made non-figurative calligraphic pictures between 1956 and 1963 and
drip painting spread in Hungarian art under his influence. The Altorjai pictures
introduced real change by being recreated conceptually through their titles and
thus they made a fundamental break from their already known antecedents. The
relationship between a picture and its caption became one of installation, where
the picture is an aleatoric notation while the title demontages (disassembles) the
picture. This relationship between picture and its title as a basic principle
contextualizes Altorjais entire oeuvre.
I NST A L L A T I ON
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1998
Sndor Altorjais invention provoked highly critical feedback in the press and
prior to this in the party (Hungarian Socialist Workers Party MSZMP), and it
was because of this that from then on cultural policy classified him as banned.
This was why his work Excuse me! was banned in 1976. As a response Altorjai
had the title of the picture changed to Painting for the blind (Excuse me!).
From this it transpires that in Altorjais case innovation did not take place in
the picture but rather in the context. For him the picture was not independent
of the context; it was not a constant since he saw the picture rather as a kind
of communication or discourse. In this context the art becomes a mere tool,
and the expression of ethics and attitude becomes more important. It is
therefore no coincidence that in 1981 Altorjais friend, Mikls Erdly expressed
what had to be done in his proclamation titled The Features of Post-neoavant-garde Attitude2 in his Optimistic Lecture.
1998
The entry of post-neo-avant-garde attitude art has not yet been included in
any scientific art publication or indeed in any artistic science publication. If at
some time in the future there will be such an entry, Sndor Altorjai will be
given a good place there, i.e. in a Flusser-like sense he is the artist of the
future. (From now on the road leads not from the past into the future but
from the future into the present.3)
(1998)
2 Tartshullm
[Permanent
Wave], Blcssz Index
antolgia, 1985, p. 143.
3 Flusser, op. cit., p. 150.
4 AL (Artpool Letter) No. 7.,
January 1984, Sndor
Altorjai supplement, p. 23.
246
p.s.: I have always known that being successful in this rat race of vicious
(idiocy) stupidity and corrupt dim-wittedness can only be humiliating, and
would only make man even more ignoble and idiotic []4 Sndor Altorjai
In Hungarian: Galntai Gyrgy: Aleatorikus demontzs vagy kpinstallci? Gondolatok Altorjai
Sndor killtsa kapcsn. Altorjai Sndor (19331979) trgymunkinak killtsa, Balkon,
1998/10, pp. 2829.
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17 January 1999
artpool.hu
Web-document:
Queens Library
Transmit.
Fluxus, Mail Art, Net.works
Mcsarnok /
Context As
Kontextus ahogy
28 February 1999
Mcsarnok / Kunsthalle,
Budapest (in the program of Internet Galaxis 999)
Internet as an infinite
context-automaton
Az internet mint vgtelen
kontextusautomata
Artpools activity on the internet a presentation by Gyrgy
Galntai and Jlia Klaniczay.
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1999
DOCUMENT: invitation
24 March 1999
1999
248
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Gyrgy Galntai:
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1999
Some text-contexts
they asked me for something for an exhibition in my honor and I wrote
back nothing on a blank page, and this was what I had to contribute, the
word nothing on a blank page. (Ray Johnson)
Nothing is not nothing in something, but nothing in nothing. Something is
not something in nothing but something in something. (Mikls Erdly)
Feeling the soul, explaining things without words and representing this
feeling is what has led me to the monochrome, I believe. (Yves Klein)
pure Taoism, pure Zen when you get down to that, which is a point that I
often get to in my work. I used to do events called nothings and Im involved
with just absolute space, with no art, [] no statement, no nothing.
(Ray Johnson)
Feeling the soul, explaining things without words and representing this
feeling is what has led me to the monochrome, I believe. (Yves Klein)
After the first monochromes by Yves Klein I signed five paint color samples.
(Ben Vautier)
Kicks as works of art, certified. To come up with an idea and then forget it.
(Ben Vautier)
Nothing is nothing. (Endre Tt)
1999
Gyrgy Galntai: Context Zero Points / Monochrom and Nothing, space-installation, Artpool P60, Budapest, 1999
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14 April 1999
Artpool P60, Budapest (the photo
and sound documentation could be seen till April 23)
5 14 May 1999
Context Trap
(re-contextualisation of a 1985 work)
Kontexus-csapda
(egy 1985-s munka re-kontextualizlsa)
A presentation by Jnos Sugr and the related exhibition.
On May 5, before the presentation, Jnos Sugrs 50
minutes long film titled Persian Walk was screened at the
BBS Toldi Cinema.
DOCUMENT: invitation, email invitation, video
BIBLIOGRAPHY: Hornyik Sndor: A lthatatlan mvszet kontextusai.
Sugr Jnos killtsa, j Mvszet, August 1999, pp. 2324, 4748.
Hegyi Dra Hornyik Sndor Lszl Zsuzsa (szerk.): Parallel
Chronologies. How art becomes public Other revolutionary
traditions. An exhibition in newspaper format, Tranzit.hu, Budapest,
2011, p. 25. Lszl Zsuzsa tranzit.hu: Self-financed exhibition by
Gyrgy Jovnovics and Istvn Ndler, in: Parallel Chronologies. An
Archive of East European Exhibitions (Blog Archive), http://tranzit.org/
exhibitionarchive/gyorgy-jovanovics/
1999
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15 31 October 1999
The Streetlight
(after Vilm Flusser)
Az utcai lmpa
(Vilm Flusser nyomn)
Open-air signpost exhibition forming part of the Budapest
Autumn Festival (adaptation of texts by Vilm Flusser;
conception, selection and typography/design: Gyrgy
Galntai).
DOCUMENT: invitation, Budapest Autumn Festivals program
brochure WEB-CATALOG: www.artpool.hu/kontextus/utcai/
BIBLIOGRAPHY: szi Fesztivl, Magyar Narancs / MaNcs, October
14, 1999, p. 7 (notice)
Flusser a magasban, Magyar Narancs /
MaNcs, October 21, 1999, p. 8 (notice) Az utcai lmpa/The Street
light, Lb-beli dolgok/Foot-ware, Index. A mvszet helysznei/Places
of Art, No. 2, SeptemberOctober 1999, (notice) [A Budapesti szi
Fesztivl keretn bell szabadtri tblakillts], Fenyvesi jsg,
November 1999, p. 4 (notice)
18 31 October 1999
Artpool P60, Budapest
(forming part of the Budapest Autumn Festival)
Foot-Ware
Lb-beli dolgok
188 participants from 33 countries. Works, documents and
videos displayed included foot-concepts, metaphysical
boots, foot-boxes, philosophical shoe works, sole sculptures,
footprints, fluxus socks, etc.
See the list of participants on pp. 260261.
DOCUMENT: call (Hu, En), email call (Hu, En), invitation, email invitation
and program (Hu, En), handout, list of participants, Budapest Autumn
Festivals program brochure, photo, video
Web-CATALOG: www.artpool.hu/kontextus/footware/
ARTWORKS: in Artpools collection
Interarchiv
1999
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THE STREETLIGHT
(after Vilm Flusser)
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CONTE X TS
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1999
1999
FOOT-WARE
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FOOT-WARE
1999
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FOOT-WARE
1999
Gbor Attalai: I can be foolish too / Idiotic Manner 1-2, photographs, 1973
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Bea Hock
* Bea
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259
1999
The idea of the Footware exhibition was conceived when Galntai saw the catalogue of an inter
national festival of shoe art. The extremes of shoe design (when the shoe suddenly revolts and
starts speaking about its own self, and when hardly, if at all, tolerates the foot any longer when
it chooses to perform and to show off Julia Veres, shoe designer, Amsterdam) challenge the
contradictory relationship between usefulness/practicality and uselessness/artistic license, or, in
other words, the relationship between mans devotion to the material and the spiritual. Slides
presenting such extreme cases from the above-mentioned festival are continuously projected
during the shows opening hours. Video works are also continuously shown a female (bare)foot
is walking on glass jars (Galina Myznikova, Russia: Work with banks); a black stilettoed female
foot is pawing the head of Hungarian performance artist, FeLugossy (Long Live the World and
Expand). One could go on as usual and keep mentioning all the remarkable pieces in the show, but
this is somewhat contradictory to the stance of the present exhibition. Just think about it: the
more than 300 works by 118 artists from 33 countries were not exposed to any qualitative
selection. Here we have all in one place everything from snapshots, drawings, and mail art pieces
straightforwardly or loosely addressing the theme Footware (Klaus Groh, Germany), to responses
to contemporary wars (Sandor Gogolyak, Yugoslavia: War Impressions), to a great many conceptual
works and objects (Marshall Anderson: Foot-wear and tear tweed, time and mapping), to the
score of a chance-operated walk in Budapest (Andras Wolsky: One Day Chance). These works
are all assembled here, coming from everywhere, created in the past and in the present. The
time frame these works straddle is amazingly expanded albeit delightfully unplanned. You can
look as far back as to the early seventies to see what artists worldwide were doing back then
footwise and to compare and comprehend why the early works of Hungarian artists Dra Maurer
(Vs Mayday parade on an artificial ground, 1971!) or Gbor Attalai (I can be foolish, too, 1973!)
were this time classified into the categories political-artistic or national. []
Ernst Mzeum,
Hommage
Dick Higgins
28 December 1999
1999
BIBLIOGRAPHY: Kamilla-napi mvszet. Rongysznyeg az avantgardenak, Npszava, December 28, 1999, p. 12 (notice)
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2000
THE YEAR OF
CHANCE
AT ARTPOOL
In Artpools call for the project, anyone who had the time
and inclination could participate in the exhibition with a work
of their choice. In the space of constant creation in the
company of the other works displayed site-specifically
every participant was able to find a place he or she liked
best. On the leap day of the 24th of February, as part of a
fun closing event, all the visitors had the chance to choose
and take with them a piece they thought or felt to be close to
them as a present. If more than one person chose the same
piece, the decision was reached by the throw of a dice. The
artists who made the works were awarded appreciation
prizes which were received in the form of symbolic artists
money. The artists money was converted on the 5th of May
2000 as the opening act of the artists money exhibition.
Participants: Mrton Barabs, Mikls Zoltn Baji, Andrs
Bohr, Mrton Cserny, Eszter Kinga Deli, Gyrgy Galntai,
Tibor Gyor, Balzs Gyre, Istvn Halmi-Horvth, Tams
Ilauszky, Andrs Kapitny, Tams Kaszs, dm Kokesch,
Katalin Ladjnszky, Anik E. Lrnt, rpd Luzsicza,
Norbert Magurszky, Ede Maller, Gyula Mt, Dra Maurer,
Gza Nyry, Gyrgy Rczei, Eszter gnes Szab, Jzsef
Tasndi and others.
Chance
2000
Accidental Exhibition
and Leap Day Event
Vletlen killts
s Szknapi event
T H E
YE A R
100 Fluxus Buck (United Eternal Network) by Artpool Fluxus Bank (Gyrgy Galntai), 2000
OF
C H A NCE
265
2000
5 19 May 2000
Virtual lecture
by Gyrgy Galntai
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2 0 0 0
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OF
C H A NCE
Artpools Collection of Artists Money, whose first items had been the 1 rena pengar of Lundada Bank and the
anti-dollars of The Anti-Bank of Canadada, includes a wide range of money graphics and objects: cheques,
invoices, lighters, and money toilet paper. The collection consists of 2300 items and enlarges itself through
the mail art network and the humor of everyday business and politics. The closer we get to the disappearance
of money, the more expressive we regard money.
ex posto facto [Julie Jefferies]: 1 Fluxus Buck (United Eternal Network), 1995
Altered 1 Fluxus Buck (United Eternal Network) by A.1. Waste Paper Company [Michael Leigh], 1996
Artpools 1 Fluxus Buck (United Eternal Network) altered by ex posto facto and Lothar Trott, 1996
The latest part of the collection is called Fluxus Buck, that is artists money circulating in the United Eternal
Network produced and modified in various forms (a project started by Julie Jefferies aka ex posto facto in the
USA in 1994). ARTPOOL FLUXUS BANK has also issued its own 1 and 100 bucks in 7000 copies.
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2000
268
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Inconnu Group:
O est l'Inconnu?, 1984
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INCONNU had submitted another, maybe even more aggressive work of art.
From a wood board mounted on the wall approximately 10 cm long nails stick
out in a chessboard arrangement. A crumpled up paper map of Hungary, much
smaller than the board, is pinned on the nails. Beneath, on a table black
paint drops, imitating congealed blood, are sprayed on a heap of broken
glass. The meaning of this work of art in a minimal interpretation might
be that our homeland is humiliated and tormented. However, both the board
and the nails being painted red, may bring further association (the red
color being the symbol of the international workers movement, com munism
or particularly the Soviet Union).
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2000
2000
Inconnu (Pter Bokros, Mihly Cscsei, Mikls Kovcs, Tams Molnr): Hungary, 1984
270
Bla Kelnyi: Hungary, installation, 1984 (white silk, cullet, black paint)
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Mcsarnok /
Akademie der
25 September 2000
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2000
5 16 June 2000
Artpool P60, Budapest
(prolonged till 30 September)
2000
28 Edes
28 Ede
Open-air signpost exhibition forming part of the Budapest
Autumn Festival (and the Ede Day Festival in Paulay Ede
Street). Brief descriptions of historical figures with the first
name Ede [Edward], now all dead with the exception of Ede
Teller, were pasted on signposts: twenty-eight completely
different, outstanding Hungarians, or people turned
Hungarian well or lesser known scientists, artists and
politicians who, independently of each other, built a country
and the world. Conception and typography/design: Gyrgy
Galntai.
DOCUMENT: invitation, email invitation, Budapest Autumn Festivals
program brochure
Web-document: www.artpool.hu/veletlen/naplo/1013e.html
BIBLIOGRAPHY: Budapesti szi Fesztivl, Magyar Narancs, October
[28 EDE; Folytatott Mvszet], Pesti
5, 2000, p. 8 (notice)
[oktber 14.EDE-NAPI
Est, October 1925, 2000, p. 60 (notice)
FESZTIVL], Pesti Est, October 1218, 2000, p. 61 (notice) [28
EDE; Folytatott Mvszet], Pesti Est, October 26 November 1,
[Folytatott mvszet; 28 Ede], Index. A m
2000, p. 53 (notice)
vszet helysznei/Places of Art, No. 7, SeptemberOctober 2000
Van egy kis utca a Terzvrosban, az Andrssy t
(notice)
rnykban, Fesztivlvros, September 2000, p. 4. Metz Katalin:
lljunk meg egy tncra!, Magyar Nemzet, September 21, 2000, p. 15
(notice) Kpzmvszet s Mdiamvszet, Joy, October 2000, p.
Meglepetsek az szi Fesztivlon, Pesti Msor,
134 (notice)
Kanizsai Andrea: Ede-nap a vigalmi
October 511, 2000, p. 15.
utcban. Gangtra Rday Mihllyal Tncsznhz a boltban,
Ede, Magyar Narancs
Npszabadsg, October 7, 2000, p. 32.
tereza: Nem
(Snoblesse Oblige), October 12, 2000, p. 46 (notice)
csak Edknek!, Pesti Est, October 1218, 2000, p. 76 (notice)
Devich: Opera a ruhatrban. Megnylt a Budapesti szi Fesztivl,
Magyar Nemzet, October 14, 2000, p. 15. Ede-napi programok, Np
Rnes Judit: A tervezett
szava, October 14, 2000, p. 19 (notice)
vletlen nnepe, avagy Ede-napi komoly vigadalom, Magyar Hrlap,
28 Ede, Magyar Narancs (Snoblesse
October 14, 2000, p. 13.
Oblige), October 26, 2000, p. 46 (notice) TVRADIO: Short reviews
in the cultural news of Est FM, InfoRdi and Budapest Rdi
Add to art
Folytatott mvszet
The opening event linked to the first Ede Day Festival, on
14th October, in Paulay Ede Street, then closed down:
Biker and Walker Concert (concerto) between Heged
Street and Artpool P60.
The exhibition was a selection, reconstruction and inter
active show of the various types of network projects that
were organized in the previous twenty years and in which
the works co-authored by several artists manifested the
determining element of the accidental.
See the list of the exhibited projects on p. 273.
DOCUMENT: exhibition installation plan, invitation, email invitation,
program, Budapest Autumn Festivals program brochure, Ede Day
Festival program-leporello, video
Web-document: www.artpool.hu/events00a.html
BIBLIOGRAPHY: [28 EDE; Folytatott Mvszet], Pesti Est,
[oktber 14.EDE-NAPI
October 1925, 2000, p. 60 (notice)
FESZTIVL], Pesti Est, October 1218, 2000, p. 61 (notice) [28
EDE; Folytatott Mvszet], Pesti Est, October 26 November 1,
[Folytatott mvszet; 28 Ede], Index.
2000, p. 53 (notice)
A mvszet helysznei/Places of Art, No. 7, SeptemberOctober
2000 (notice)
Reconstruction of the rubber stamp installation and events Everybody with anybody (1982 and 1993)
272
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28 Edes
Open-air signpost exhibition at Liszt Ferenc tr, Budapest
on the occasion of the Ede Day Festival
The millennium project as a topical concrete project that
offers the theme of national and historical self-evaluation as
the object of consumption has hidden potential for us to
study national history as a series of evolutionary chance
events. Evolutionary chance event means that there is no
hopeless situation, i.e. every situation holds unimaginably
more potential than what we recognize. Things always
happen one way or another (Hungarian proverb). Every
day is a good day (John Cage). Everyone can have a good
idea (Ben Vautier).
28 Edes: twenty-eight completely different, outstanding
Hungarians, or people who identified themselves with
Hungarians well or lesser known scientists, artists and
politicians who, having recognized the evolutionary
chance events, independently of each other, built a country
and the world in the most varied of professional fields.
Website: http://www.artpool.hu/veletlen/naplo/1013.html
ADD-TO ART
Exhibition at Artpool P60 (Budapest VI, Paulay Ede Street 60)
Opening event, on 14 October, starting with the tolling of
the bells at midday: biker and walker concert.
The exhibition can be seen until 6 p.m. on the day of its
opening, and from 46 p.m. on Wednesdays and Fridays
until October 27.
A characteristic art trend in the late sixties and the
seventies was process art, a mutant of minimal art and
concept art which also worked with time. Add-to art differed
from this firstly in that the simultaneous process pictures
were replaced by pictures added as discourse or pictures
modified in an add-to process, and secondly, it turned the
creative process into a collective activity and integrated the
element of chance.
Add-to art is a consequence of interactions that are open
to information, tolerant, flexible and intelligent. The first
question is what can continue, why and how. The answer to
this question is given in the form of an action and the
cooperation of the participants is given meaning in the form
of a joint work.
The presented Add to art projects in chronological order
(original works, installations, documents, video and slide
projection):
Creativity visuality film by Dra Maurer (197577/88)
Homage to Vera Muhina story of a living sculpture (1980)
Operation Round Trip by G. A. Cavellini and Gyrgy
Galntai (1980)
Image in an image envelope-works (198186)
Art-Umbrella add-to-postcards by Hungarian artists
(1981)
Substitutable Self-Portrait international project by
Rbert Swierkiewicz (1981)
Cloud Museum international project by Andrs Lengyel
(1982)
Everybody with anybody rubber stamp event and
exhibition (1982)
World Art Post international artistamp project by Artpool
with 550 participants (1982)
Stamp+rubberstamp works by Hungarian artists
Buda Ray University a visual communication network
(1982)
ACTUAL FINE ART EVENT / Indigo group (1983)
Brain cell international project by Ryosuke Cohen (1985)
Add-to-drawings by children done during the Audiovisual and electronic being together a creativity training
and exhibition with children in the Newkapolcs Gallery
(1992)
Electronic Communication Happening (1993)
22 Budapest fax-event of the rnykktk group (1993)
Passivity exercise project by G. Galntai to the memory
of Mikls Erdly (1994)
NETWORKER BRIDGE by G. Galntai, card images from
international stamp images (1994)
Monument Square (transformation of the Budapest
Millenary Square on postcards), international project (1997)
Website: www.artpool.hu/veletlen/naplo/1014.html
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Add to art
2000
Add to art
Translation of the invitation for the Biker and Walker Concert:
in Paulay Ede Street, starting from the midday ringing of the bells.
Big city dwellers arriving at the street concert continue the
totally organized serial music of the midday ringing of the bells
aleatorically, or as an expression of their intellectual freedom
they divorced from the musical sound and made noise music.
The two directions represented by so-called art and so-called
communication sometimes overlap and not a single sound is
threatened by the silence that would extinguish it. The musical
world, in which bikers and walkers take turns continuing each
others music, is made into a competition piece by the walking
bass, jumping melody, passage and recapitulation. The
compelling force of attraction of the street temporarily
transformed into a concert comes from its natural development,
and its novelty enriches people. The new music is no longer
called modern by the audience of the century (and at the
same time its maker) since it transcended the world of Late
Romanticism.
Greetings,
Gyrgy Galntai
274
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Galeria
Type Writer
r gppel
An exhibition on samizdat publications organized by the
Open Society Archives that, among others, included
Artpools samizdat publications and the tools used to
produce them, along with secret documents of the Ministry
of Interior from the 1980s.
DOCUMENT: correspondence, notes, list of lent works, invitation,
video
BIBLIOGRAPHY: Sznyei Tams: Szembesls a szabad szval. r
Gppel. Killts a szamizdatrl, Magyar Narancs, December 7,
Szombathy Blint: A lthat underground, Kritika,
2000, p. 35.
February 2001, pp. 4647.
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2000
276
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Chance Art
VLETLEN MVSZET
International exhibition of chance works of Hungarian artists
and quanta sent for the CHANCE FUTURE network project
of Artpool from the fields of international humorism, provincialism, dilettantism, ethnism and fluxus.
Opening event: excerpts from the chance opera Nice Air by
Kristf Wber, performed by Zsuzsanna Flp.
See the list of participants on the invitation reproduced here (on the
right) and next page
DOCUMENT: call, invitation, email invitation, poster, video
WEB-DOCUMENT: www.artpool.hu/veletlen/naplo/1231e.html
www.artpool.hu/Chance/project.html
ARTWORKS: in Artpools
collection
28 December 2000
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2000
8 28 December 2000
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2000
2000
280
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2000
2000
282
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2000
2000
284
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2000
2000
John Held, Jr: A Brief Tour of the 20th Century Alternative Arts, artistamp sheet, 2000
286
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287
2000
2001
2001
THE YEAR OF
IMPOSSIBLE
AT ARTPOOL
24 January 2001
Artpool P60, Budapest
Tt Tangos Loves in the Chance Club
19 30 March 2001
288
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2001
19 29 June 2001
Impossible, or struggle
for the materialization of the concept
Lehetetlen, avagy kzdelem
a fogalom trgyiastsrt
Exhibition of former and current students of the Hungarian
Academy of Fine Arts. Curator: Dra Maurer.
29 June 2001, closing event: Lszl Bekes lecture and talk
with the participants of the Impossible exhibition.
See the list of participants on the invitation here reproduced and in
the web catalog excerpt next page.
DOCUMENT: conceptions by the artists, invitation, email invitation,
photo, video
WEB-CATALOG: www.artpool.hu/lehetetlen/avagy/kiallitas.html
ARTWORKS: the presented video-works in Artpools collection
9 August 2001
5 24 October 2001
CHECK-IN / CHECK-OUT
suitcase works
Exhibition project of Ready to International Conference,
Exhibition, Workshop, Screenings, Performances (Prague,
38 October 2001). Organizers: Internationales Knstler
Gremium and the Foundation and Center for Contemporary
Arts Prague, curator: Milos Vojtechovsky. Artpool sent a
suitcaseful of its own publications to the exhibition.
DOCUMENT: correspondence, list of publications sent to the show,
program
290
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291
2001
2001
15 October 2001
Artpool P60,
Impossible Realism,
the Territory of Fluxus and Conceptual art
Lehetetlen realizmus,
az ramls s a fogalmi mvszet vidke
Large-scale study exhibition about the context of, and
parallels between, Hungarian and international fluxus and
conceptual art, featuring original works and reproductions
by international and Hungarian artists (forming part of the
Budapest Autumn Festival). Curator: Gyrgy Galntai.
See a list of the artists presented on the invitation reproduced next
page.
30 October 2001
Guided tour by Lszl Beke and Gyrgy Galntai for Art
Academy students
DOCUMENT: invitation, email invitation, Budapest Autumn Festivals
program brochure, video
WEB-CATALOG: www.artpool.hu/lehetetlen/real-kiall/
BIBLIOGRAPHY: Haiku s lehetetlen, Magyar Narancs, October 25,
Az olyan milyensge. Az ramls s a fogalmi
2001, p. 8 (notice)
mvszet vidke, Magyar Narancs (Snoblesse Oblige), October 25,
Gerzov, Jana Tatai Erzsbet (eds.):
2001, p. 46 (notice)
[Conceptual Art at the Turn of Millennium]. [Konceptulne umenie na
zlome tiscroc]. [Konceptulis mvszet az ezredforduln], AICA
Section Hungary, Budapest Slovak Section of AICA, Bratislava,
Csandi-Bognr Szilvia: Msodik mvszettrt
2002, pp. 45.
net, Balkon, 2009/1112, pp. 2629. TVRADIO: short reviews in
the cultural news of Est FM, InfoRdi and Budapest Rdi
292
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293
2001
2001
IMPOSSIBLE REALISM,
the territory of flux, concept and
conceptual art
294
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Projects submitted to
Artpools call,
as well as selected works
from the Artpool Archives
[] This show grew out of a symposium organized by the Slovak and Hungarian
sections of the AICA (International Association of Art Critics) called Conceptual Art at
the Turn of the Millennium. Bratislava had already held a Slovak conceptual show, but
Budapest had never had one, so the president of the Hungarian section asked me
or Artpool to organize a Hungarian conceptual show. I responded that I was not so
interested in conceptual art itself, but rather in something between conceptualism
and fluxus, and would gladly work with the objects informed by them, with the
differences and similarities in the information relevant to these objects, from any
country and any time from Duchamp to the present.
First I must note that I never distinguished between original works, copies, reproductions
and reconstructions in the study exhibitions I put together, as I consider everything
to be original information in context. The realism of the Fluxus Region applies to
all art, to the interchangeability of art and life, while the realism of the Conceptual
Region truly casts off the concept of art altogether. I thought that I could gain new
information by examining these regions together in the area of impossible realism,
and associating each piece to the most everyday themes. An effort was made to
represent each theme with the greatest possible number of pieces from anywhere at
all, independent of the date of their creation and place of origin.
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2001
2001
Impossible Realism,
exhibition interior
(Gyrgy Galntai:
Reconstructed
Flux Ping-pong table
and rackets of
George Maciunas)
My greatest experience was to discover a third time of difference beyond fluxus vs.
concept, a region distinct from both of them, yet related, one that in Poland had
already been called contextual art. Surprisingly, this term is applicable to all the
good works of all Central and East European neo-avant-garde artists. Surveying anew
the works of Hungarian artists, I established that everything not a mere epigone of
fluxus or concept, but a true relative thereof, was contextual. Clearly, contextual art
here differs from its western counterparts by dint of arising in a different cultural
environment.
Now that we have contextual art, I would make a bold assertion: George Maciunas Flux
Ping Pong Table & Rackets is much more contextual than fluxus works. Why is this?
Its obvious precursor is John Cages prepared piano and the broken and cacophonous
pieces written for it, which are the musical equivalents of the Zen dictum that every
day is a beautiful day every sound is a beautiful sound. In response to this,
Maciunas prepared sports equipment uses humor to consider the impossibility of
following the familiar rules, and of attempting action without rules. The preparations
of Cage and Maciunas, and the divergence in their purpose, are the best illustration
of the difference between fluxus and contextual approaches. For Cage, everything is
music, and everything is information. With Maciunas, humor lets us experience the
manner in which things exist. This kind of contextual essential interpretation is an
East European specialty. To make this experience available, I reconstructed Maciunas
work for Impossible Realism. This can now be tried out at the Fluxus East exhibition
as well. (Gyrgy Galntai)
296
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2001
Endre Tt: Telegram, 1972 [I send you this telegram because you are there and I am here]
298
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Andrej Tisma
Ray Johnson
Blint Szombathy
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300
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Galeria Centralis,
eM K E
D eL A
Exhibition of DLA degree students of the Hungarian
Academy of Fine Arts. Exhibition, idea, curator: Gyrgy
Jovnovics.
DOCUMENT: invitation, email invitation, poster, video
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2001
2002
THE YEAR OF
DOUBTS /
DOUBLES
AT ARTPOOL
2002
MEMORIES
OF THE FUTURE
A JV
EMLKEI
Documentary exhibition of the 10-year-old Artpool Art
Research Center (an event of the Budapest Spring Festival).
Opening of the exhibition by Mikls Marschall, executive
director for East- and Central-Europe of Transparency
International, who inaugurated the center as deputy major
of Budapest exactly 10 years ago.
DOCUMENT: invitation, email invitation, flyer, Budapest Spring
Web-document:
Festivals program brochure, video
www.artpool.hu/ketseg/kozpontiz2.html
BIBLIOGRAPHY: Tzves az Artpool, Magyar Narancs (Kultra),
Stark R. Lszl: A jv emlkei,
March 21, 2002, p. 8 (notice)
Hock Bea: Szmok az
Magyar Hrlap, March 12, 2002, p. 13.
Artpool jvjbl. A jv emlkei: a 10 ves Artpool dokumentumkilltsa, j Mvszet, August 2002, pp. 2526. TVRADIO: M1,
March 2002
302
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2002
Opening of the documentary exhibition of the 10-year-old Artpool Art Research Center (video snapshots)
Gyrgy Galntai, Mikls Marschall, Jlia Klaniczay
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Jnos Betlen
Ferenc Krmendi
Pter Mt
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303
2002
An exhibition to document Artpools 10-year history. Artpool P60, 20 March 3 April 2002
(excerpts)
[] 2002 is The Year of Doubt/Doubles in Artpool; the Hungarian word ktsg references both
meanings. At first glance, the connotation doubles and doubleness were more dominant in the way
the exhibition was installed. In the dual structure of the installation, envisioned and real events were
juxtaposed; i.e. Artpools calls for projects and exhibition invitations were displayed next to the submitted
works and their photo documentation, thus establishing a correspondence between the realized, visible
products and the non-visible reality of ideas surrounding them. Artpool itself could also be seen as a
visionary thing that has been realized. The simultaneous sameness and difference of the above two
dimensions were meant to be represented by the temporary parallel space built with styrofoam panels.
These secondary walls [] served as the display surface for texts describing the envisioned projects,
while the visual documents of the realized works were placed on the real brick walls, under glass panes
like at any usual exhibition. However, the temporary and unfixed nature of the virtual mobile walls also
suggested that [h]ere the connections between the exhibits are more important than when the events
actually took place (c.f. Gyrgy Galntais project description, www.artpool.hu/ketseg/kozpontiz.html). []
It seems as if doubt, the other connotation of the title-word would set out to deconstruct the title itself.
As if it doubted the very idea of doubleness, especially when it is accompanied by an intellectual
attitude like Galntais, so persistently trying to leave behind traditional structures of thinking and
virtually besotted with the idea that old concepts are no longer valid or at least not in the same way as
they used to be, and in order to preserve their validity of any sort, they need to be looked at differently
and need to be re-formulated. At any rate, the Artpool project is not based on dualities in the sense of
ill-reputed dichotomies. It does not focus on mutually exclusive pairs of concepts, and it does not set up
opposites but rather parallels between these concept-pairs. This approach leads the entire project
toward what seems to be the most obvious match of reality when viewed from this angle: the parallel
realities and the holo-fields contained in them. The holo-field is the space where all information has been
always already present, and therefore everything that up to now was explained with mysticism, divine
inspiration or similar concepts no longer needs to be the object of fear, awe or mysticism it is enough
to acknowledge that what we used to call inspiration is for example actually energy received from the
holo-field. Is this good for us? What change will this make? For instance, it might change the already
shaky conventional model of the artist-self and artistic attitude according to which the artist is a medium,
a (divine) mediator. Recent tendencies in art history have already challenged the concept of the genius,
and beside exceptional talent, the beneficiary social circumstances have already been recognized as
another condition contributing to winning the title of genius. The theory about holo-fields proposes
that these non-conventional forms of energy are occasionally bestowed on certain individuals
can it be that this proposition also aims to re-think creative attitudes and subjectivity? [ ]
In the Call for Projects issued for the 5+1 = 2 exhibition [] the doubtful/dual parallel structure of the
world is primarily applied to the duality of, and the paradoxes between, the imaginary and the real
worlds (as it was already the case with the installation of the documentary exhibition). Any additionally
arising mutually exclusive, contrasting, parallel or other doubts/doubles will be a function of the projects
submitted to the call since the exhibition-event will be eventually assembled from the ideas [of these
artists] that are out there independently, yet are capable of mutually influencing one another. []
The fact that Artpools operation is defined by annually changing worldviews, i.e., that each year is
devoted to the exploration of a new phenomenon, represents a highly refreshing approach underlying
the changing worldviews. []
Both the mobility of perspectives and the certainty which issues from the transience of the yearly
alternating agendas that there will definitely be something changing have always carried the element
of doubt. Moreover, this openness to the unfixed and the adaptable, which produces the next interim
worldview through constant self-revision is not only an extremely attractive artistic-creative, research
and even life strategy, but is apparently also the key to a long life.
*Bea Hock: Szmok az Artpool jvjbl. A jv emlkei: a 10 ves Artpool dokumentum-killtsa [Numbers from Artpools
Future. Memories of the Future: the Documentary Exhibition of the 10-year-old Artpool], j Mvszet, August 2002, pp. 2526.
(English translation by Krisztina Sarkady-Hart.)
304
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D O U B L E S
28 May 2002
SOUND / IMAGE
HANG KP ms
2002
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O F
D O U B T S
D O U B L E S
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2002
306
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D O U B L E S
2002
Endre Szkrosi: Egy l-dadaista vers: Fogda-dal (1) [A pseudo-dadaist poem: Fogda-dal (literally: Jail-song) (1)], 1978
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307
2002
kos Szilgyi: Score for Hal hlaimja [Thanksgiving Prayer of a Fish], 1987
308
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D O U B L E S
26 June 2002
2002
3 August 2002
Sziget Festival, NET.RT, Budapest,
www.artpool.hu
DOCUMENT: correspondence
Web-document: www.artpool.hu/ketseg/tudat_e.html
20 september 2002
**
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2002
Endre Tt: Evergreen Book, 1971 (cover and inside of the bookwork edition published by Verlag Irodalmi Levelek, Kln Budapest, 1990)
Colin Naylor: The Book Of The Sphinx (A parable of the endless), 1974 (Beau Geste Press, Cullompton, Devon, England)
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Liliana Landi: In rapporto a, 1976 (Altro/La Nuova Foglio Editrice, Pollenza, Italy)
Vincenzo Ferrari: Oe, 1976 (Altro/La Nuova Foglio Editrice, Pollenza, Italy)
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12 September 2002
(Doubt Club)
2002
DIXI PARTY
A meeting in tribute to Dixi (Jnos Gmes 19432002,
a cult figure of the Hungarian avant-garde art scene) and
an exhibition of related Artpool documents. Tribute concert
by the Balaton group with spontaneous improvisations.
The event was curated by Gyrgy Galntai.
The online Dixi research site was created from the documents
collected for the exhibition.
DOCUMENT: invitation, email invitation, Dixi Chronology, video
Web-document: www.artpool.hu/ketseg/dixi/party.html (Dixi re
search site) Exhibited works: photos, audio CD, documents in
Artpools collection
BIBLIOGRAPHY: Sznyei Tams: Sttben kprz jelens. Dixi
Gmes Jnos (19432002), Magyar Narancs, June 27, 2002, p. 26.
Dixi-Doku, Magyar Narancs (Morze), August 29, 2002, p. 8 (notice)
Dixi kontextusai, Magyar Narancs (Morze), September 19, 2002, p. 8
Kcosfka: Dixi emlkest. 2002 szeptember 12, Artpool
(notice)
Galria, Underground Zenei Kulturlis Magazin, underground.pc.
Pl Kata: Dixi Mzeum, www.
dome.hu, September 25, 2002
Dixi-parti, Magyar Narancs (Snoblesse Oblige),
terasz.hu, 2002
September 5, 2002, p. 1 (notice)
Tribute concert by the Balaton group and video snapshots of the event
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15 October 2002
Flying Visit
Passage clair
Villm-menet
Two performances by Julien Blaine: La pythie (15 min.)
followed by Comment sortir la phrase de sa langue, com
ment sortir la phrase de sa gangue (10 min.). A guest event
of the Transart Communication 2002 performance festivals
Budapest program (organized by Studio ert).
DOCUMENT: email invitation (Hu, Fr), flyer, video
Evergreen Doubts
rkzld ktsgek
Open-air signpost exhibition (forming part of the Budapest
Autumn Festival) organized by Artpool. Presentation of texts /
sayings by 28 poets, philosophers and orators displayed
with an advertisement-like typography. The validity of their
words span over 2,500 years and deal with the subjects of
art, science and politics (selection and typography: Gyrgy
Galntai).
DOCUMENT: email invitation, flyer, Budapest Autumn Festivals
program brochure
Web-document: www.artpool.hu/ketseg/tabla/kiallitas.html
BIBLIOGRAPHY: rkzld ktsgek, Magyar Narancs, October 24,
2002, p. 8 (notice)
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5+1=2
Doubleness the two sides of the brain, left brain/right brain. The purest law of physics states that for every action
there is an equal but opposite reaction. This sets in motion the possibility for mirror-duality; that is that as everything
moves forward, its reflection is moving at the same speed, backwards simultaneously. We are, therefore, caught in the
continual present tense, impaled on the horns of this duality. Ive always been intrigued by the mirror that is held up to
divide the face into its two selves; the dual personality. Everyone carries these two selves that, when combined, act as
our facial faade. However, the two sides, reflected of themselves, reveal two distinct selves that are as unique as two
slightly familiar twins. The number 6 is divided by 2 equaling 3; but it really means that there are two (2) equal parts of
three that go together to make up 6 (six).
Doubt I have always heard that travel stirs two emotions in a persondesire and doubt. Doubt is our sixth sense, it
keeps us cautious and respectful of fear. It allows us to question the motive. It forgets what it thought it knew and
hesitates on the edge of the abyss. Doubt is the conscious inner self that cannot quite believe the outer world as real.
Doubt is the mistress of desire.
Symmetries The divided self. The highway stretching off into the distance depends on fearful symmetry to move into
that space. Two arms, two legs, two hands, two ears, two eyes, two breasts, two testicles, two nostrils, two by two into
the Ark Heaven and Earth. Symmetry is a lie however, for there must be subtle differences that exist by chance alone.
The crumbled edge of perfection in symmetrical architecture. The airplane with its wings and wheels and jet engines,
must have more molecules of metal in one wing over the other, even though appearances would tell us otherwise. The
concept of imagining symmetry is enough to undermine the perfect state it seeks, for in everything there is something
unseen, unheard, or untouched all of which lie to us of the two equals in our mind.
Dissymmetry the undoing of time. Moving through our contemporary time and space we become selective about the
past even to rewrite fact in order to make the case for some current foothold theoretically. But how interesting to go
about the theory that two wrongs add up to a right. The balance between two different objects, for example, on the scale
that weigh the same on one side picture a pound of feathers. On the other; a pound of steel which weighs more?
Paradox is its own ponderous dilemma. What interests us is the truth. What is more interesting is the false invention
of the truth. We can understand the sky being blue, or that a dog can run; however what of those fire sunsets or the bus
that goes by with the dog painted on its side? All these signs and triggering devices in which we attempt to name our
surroundings, are our language. Language is the largest paradox of all. Language is the gesture whereby we give
meaning to all that is really meaningless. You think you understand the meaning because you hear and know the words;
but the thing that is real just sits there anywayunaffected by the sea of language it is drowning in.
(+1) and other parallel realities we conjure up these other realities I order to see by not looking. In a virtual Society,
everything will look the same. Nothing will be dated, rather it will always be new because it lives within the digital matrix of
the program. The program will become the new religion.. it already has here I am, praying to the light on the other side of
my computer screen, where nothing ever ages the mother and daughter in the photograph have different ages, birthdays,
features But all this is translated (or, retranslated) into the reality held by the grid of waiting digital pixels in my scanner,
that will redefine the daughter and mother into the new language of the same skin. This skin hold the information in itself
for us to now read. Everything is the same now. Everything can be output as a parallel reality, a parallel universe if you will.
In this world, not only does 5+1=2 it also equals 6. But just as easily it could be 3 the new math will dissolve in a parallel
reality. Math will become the grid instead of the symmetrical highway we drive on. If you go faster or slower things will
appear to be closer than you are to them. If you have five trains (5) heading in different directions at the same time along
miles of the same track (1) how many directions can they be going? (why, only (2) two, of course). 5 + 1 = 2.
Derek Michael Besant (Canada), 2002
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2002
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Five Fluxus Bucks, Big Dada 2001 (selfportrait) and Correspondence from Ed Varney / Big Dada, 2002
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8 9 November 2002
Pcsi Kulturlis Kzpont
(Cultural Center of Pcs) Dominiknus Hz, Pcs
2002
28 December 2002
(Doubt Club)
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THE YEAR OF THE
THREE
AT ARTPOOL
BIBLIOGRAPHY: Artpool 2003, Magyar Narancs, February 13, 2003,
p. 8 (notice)
6 March 2003
18 March 2003
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3 March 2003
ILLEGAL AVANT-GARDE
THE CHAPEL STUDIO OF GYRGY GALNTAI 19701973
Interview excerpts*
Imre Bak: Gyrgy Galntai organized the exhibitions with amazing enthusiasm and since colleagues
of mine played a part in the exhibitions whom I held in such high esteem, I felt I just had to go
with them. So I too happily participated in the Boglr events.
Istvn Blint: actually for me Boglr and the people who did something there, whether they
just came to look, perform or exhibit were the real Hungary. The theater and the couple of hundred
people that the theater was meant for, so to say.
2003
Lszl Beke: Balatonboglr was, so to speak, a legislative loophole. It could come into being
because the laws of the time allowed it to do so Galntai used this opportunity when he rented the
chapel as a studio. This was already another story, and from this it spontaneously followed that he
would let his studio be used by others so that they could do studio-exhibitions, and this grew and
grew from one step to the next. Thats why Boglr also has a meaning in relation to art sociology
and cultural policy that is both interesting and funny. The other explanation of Boglrs importance is
much more banal: over three to four summers just about everybody who mattered, who was or later
became important in Hungarys intellectual and cultural life, came here. Boglr operated as a kind of
watershed between the people who were there and those who distanced themselves from all of this.
Gyrgy Galntai: The Boglr project is not just interesting as a peculiar case of a peculiar
society but also as a model that can be generalized for the process of cultural organization. As a
result of being in the right place and being able to cooperate effectively through the experience
of being present in a situation personal activity assumed a more significant role here.
Pter Halsz: Boglr was a pretty concentrated place, and things took place in summer in a
relatively good atmosphere so in that sense it was a kind of breaking free. It was at a relatively
isolated place with a natural environment but at the same time it was a town i.e. a much frequented
summer resort. This was a place where almost everybody was able to experience complete
freedom even given the police actions that had to be dealt with.
The situation seemed almost normal
Mikls Haraszti: This Boglr milieu and these artists really indiscriminately regarded themselves
as being everything that is good, being the avant-garde or vanguard of all good. I would say that
this cultural underworld was truly indivisible property while the sociologist would say that it was
a sub-culture but it was more like the prototype of all sub-cultures with perhaps only one person
representing every subsequent trend, or one person represented more trends even, but everything
was there in opposition that later fitted into a democracy religion, culture and politics or that
later became a tool to achieve democracy, it was all present there.
Kroly Kismnyoky: No matter who I talked to, since everybody who participated for various
periods I believe it was a very important experience and it was something that later determined
their lives.
Andrs Orvos: I can honestly say that I didnt feel the authorities breathing down my neck
because I didnt care, I had nothing to lose, I was just a teacher. Whoever had an important job in
an institution or who got work at the Fine and Applied Arts Lectorate* saw the whole thing quite
differently. Its interesting that Gyrgy Galntai was almost an exception to all this and thats why
I respect him. He had a great deal to lose. He was really down so many times but he still got up
and started all over again. Theres no explanation for this anyway he had a good nose for
recognizing situations it was the right thing that he put on such an exhibition (judged by a jury)
right until the end, which might have been interesting not as an exhibition but because of its
consequences I think for posterity the Galntai thing will be a one-man show, and thats why in
the end Im glad that he didnt heed the advice of Beke because then it wouldve been Bekes affair,
but in this way it became a Galntai affair. Regardless, they were able to become very good friends.
Gyula Pauer: The general opinion was that it was a very pleasant place and, moreover, you could
find good places to stay in the village, so it was possible to invite the whole Hungarian avant-garde
society of artists here to the chapel hill and there was a fantastic rate of attendance. [] it was
extremely important. For example, I completely found myself there in a big way like many others.
We could simply fulfill our potential.
*
Interview excerpts from the two-part documentary by Edit Sasvri shown on Hungarian television in 1988 (Vacation: The Story
of the Chapel Studio exhibitions in Balatonboglr, 19701973), English translation by Krisztina Sarkady-Hart. A selection of the
interviews has been published in: Jlia Klaniczay Edit Sasvri (eds.): Trvnytelen avantgrd. Galntai Gyrgy balatonboglri
kpolnamterme 19701973 [Illegal Avant-garde. The Balatonboglr Chapel Studio of Gyrgy Galntai 19701973], ArtpoolBalassi,
Budapest, 2003, pp. 193210.
** Censorship office of the Marxist-Leninist ideology established in the 1950s to control the Hungarian art scene, exhibitions, etc.
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1 9 7 9 1 9 9 1
Artpool P60,
RE-PRESENTATION
Anniversaries of the Third Kind
Harmadik tpus vfordulk
The exhibition in the framework of the
Budapest Spring Festival consists of the
documents piled up by chance or collected
purposely at Artpool archives recalling art
events which all took place between March
1431 in the past nearly 40 years (19652002)
in Hungary, mainly in Budapest.
To see a detailed list of the events, visit
www.artpool.hu/harmas/tavasz.html
DOCUMENT: invitation, email invitation, Budapest
WEBSpring Festivals program brochure, video
DOCUMENT: www.artpool.hu/harmas/tavasz.html
BIBLIOGRAPHY: Re-prezentci, www.artnet.hu, March
Harmadik tpus vfordulk, Ma
12, 2003 (notice)
gyar Narancs (Snoblesse Oblige), March 20, 2003,
p. 62 (notice)
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9 12 April 2003
2003
3 June 2003
23 May 2003
Tricolor Party
Trikolor Party
An exhibition of old and new tricolor works from the collection
of Artpool and Ltvnytr (the First Hungarian Visual
Collection). Tricolor Party, the Identity Action of the public:
taking photos wearing Endre Tts tricolor baseball cap with
the words: Raise Hungarian avant-garde! Tricolor Eat Art:
food with paprika, aperitif refreshing drinks, and the famous
Absolute Fluxus Pear plinka of Kapolcs ( Galntai).
See the list of participants of the exhibition on the invitation above.
For the list of participants of the Identity Action, visit
www.artpool.hu/harmas/trikolor/sapka_nevek.html
DOCUMENT: call, invitation, email invitation, photo, video
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Tricolor Party
| Identity Action
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Endre Szkrosi
Gyrgy Galntai
Jnos Sugr
Istvn Haraszt
Jlia Vradi
Krisztina Passuth
Jlia Klaniczay
Vera Baksa-Sos
Istvn Ersi
Istvn Antal
Gyula Pauer
Pter Halsz
Mihly Vg
Pter Mt
Zsolt Srs
Jen Lvay
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Participants of the opening wearing Endre Tts tricolor baseball cap with the words: Raise Hungarian avant-garde!
4 June 2003
2003
Artpool P60,
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Related events:
5 August 2003
7 August 2003
2003
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Outside of a Dog
Paperbacks & Other Books by Artists
The curator, Clive Phillpot, invited makers of artists books
and authors on the theme to select artists books from
their own collections and send them to the exhibition,
explaining the criteria of their selection. Gyrgy Galntai
selected 18 works from Artpools samizdat artists books,
accompanied by a brief overview by Jlia Klaniczay about
the circumstances, difficulties and romanticism of samizdat
publishing.
DOCUMENT: request for participation, correspondence, list of
CATALOG: Phillpot, Clive Sune Nordgren (eds.):
publications
Outside of a Dog, Paperbacks and Other Books by Artists, BALTIC,
The Centre for Contemporary Art, Gateshead, 2003, 24 p.
BIBLIOGRAPHY: Klaniczay Jlia: Afterword to the Publications by
Artpool, in: Phillpot, Clive Sune Nordgren (eds.): Outside of a Dog,
Paperbacks and Other Books by Artists, BALTIC, The Centre for
Contemporary Art, Gateshead (Newcastle), 2003, p. 9.
26 September 2003
(Club Three)
www.artpool.hu
Top 28
Virtual signpost exhibition: selection from the 280 signpost
notices presented by Artpool at Liszt Ferenc square during
the yearly Budapest Autumn Festivals between 1993 and
2002.
DOCUMENT: invitation
Web-document: www.artpool.hu/harmas/tabla/Top28.html
* Jlia
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Jlia Klaniczay
2003
DOCUMENT: call (Hu, En), email call (En), invitation, flyer, video
ARTWORKS: in Artpools collection
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Anton Roca (I): Anton Ibrahim, Anton Louis Steve, Anton Xing, 2002 (photo prints, part of the project LuogoComune)
Annegret Soltau: Drillingskopf mit Tochter und Sohn, 19942003 (photo restitching)
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2003
2003
Paolo Scirpa: Ara Coeli and Capitol, Rome, 15.07.1984 (postcard collage)
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This work, titled Gods Algorithm, is a part of an ongoing series titled Connective
Aesthetics.
It explores the notion of connectivity and the various ways in which, today, new
and often bizarre relationships are produced by way of technology. For instance,
digital images involve units that are organized and re-organized within a whole
and can manifest in many possible configurations. The digital image is but one
example of the way that analog (for instance photography) has been transformed
into units, resulting not only in a new kind of image, but a new understanding that
stretches our knowledge of perception as well.
My working process mirrors these technological changes as well. Gods Algorithm
was produced by gathering images from the Internet and adjusting them in
PhotoShop. Six final images were sent via Internet to a manufacturer in California
who parceled the job out to another company that printed the images on a prefabricated cube. Less than a week later, I received the object in Ithaca, New York
by United Parcel Service. I then sent the cube via Express Mail to the Artpool
Archive and Research Center in Budapest, Hungary the very city where the
Rubiks cube was invented in 1976.
Gods Algorithm is in the form of a Rubiks cube with one digital portrait printed on
each side of the cube. The tightly-cropped images are of American president
Abraham Lincoln, Al-Qaeda leader Osama Bin Laden, the beheaded Catholic Mary
Queen of Scotts, French president Charles de Gaulle, Bloomsbury poet Lynton
Strachey, and Egyptian Pharaoh Akhenaten. Each one of these figures is diagnosed
with having (or having had) Marfan syndrome a heritable condition that affects
the connective tissue. The primary purpose of connective tissue is to hold the
body together and provide a framework for growth and development. In Marfan
syndrome, the connective tissue is defective and does not act as it should. Men
and women of any race or ethnic group can be affected, and no group seems
particularly susceptible. Although the disease is named after the French doctor
Marfan who first identified a group of skeletal characteristics in 1896 it was not
until the mid-twentieth century that studies were conducted. Marfan Syndrome is
a relatively recent diagnosis.
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Like the discovery of Marfan syndrome, the Rubiks cube developed from an
appreciation of the pivotal role that connectivity plays in producing geometric
forms; in mathematics this is called group theory. The Rubiks cube,
invented by the Hungarian Ern Rubik in Budapest in 1976, is an example of
group theory in three dimensions. What Ern Rubik set out to do was create
a three dimensional object, of aesthetic value, which was not only richer in
configuration variations and more of a mental challenge than any puzzle in
existence, but would also continue to be one self contained whole throughout
its manifold transformations.
Quite early in the study of the Rubiks cube, people realized that the
terminology and tools of group theory would need to be better developed in
order to understand this amazing object. It was the first mathematical toy to
exemplify much of the theory of groups in a concrete way. One could actually
hold a group in ones hand. Even experienced mathematicians found that
they gained fresh insights into group theory as they struggled to solve the
cube and to make sense of what they were doing.
The principal unsolved problem of cube theory is finding the maximum
number of moves to restore a cube to its initial or solved state. This is called
the length of Gods Algorithm, or the diameter of the graph of the cube.
Determining this requires examining something like all the positions of the
cube, and there are 43,252,003,274,489,856,000 (or 4.3 1019) such patterns.
If one could examine one pattern every microsecond, this would take about
1.4 million years. Since there are many millions of computers and computer
speed is still increasing significantly, this computation is now approaching
feasibility, and some scientists suspect the answer will be known by 2010 or
2020.
The Rubiks cube is group theory in practice; it encourages users to
understand the construction of groups from bits or units. What is the
relationship between Abraham Lincoln and Osama Bin Laden? What makes a
group? Does medicine give us a model to understand groups as comprised
of units that suffer equally from a lack of connectivity? Or are we all
suffering from a lack of connectivity that affects human vision, but also the
skeletal components of civilization? Despite these dour prospects, new
forms can and will emerge from the cubes 43,252,003,274,489,856,000
possible patterns. I have placed digital images of (in)famous individuals
with Marfan syndrome on the Rubiks cube in order to encourage users to
play with the possibilities of connective aesthetics. New, perhaps myopic,
relationships can be forged with this instrument. Although each image
represents a seemingly unrelated historical figure, it is interesting to note
that these individuals are liminal yet strategic figures in the process of
cultural and/or historical transformation.
(22 September 2003)
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Artpool P60,
16 December 2003
28 December 2003
(Kamilla day)
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2003
2004
THE YEAR OF
THE FOUR
AT ARTPOOL
27 January 2004
Budapest
Mcsarnok / Kunsthalle,
2004
Welcome EU!
dv EU!
Artpool Art Tour 1979, 1982
Two European Art Tour projects by Artpool. ( pp. 4142,
7677.)
Documentary exhibition and web documentation. Opened
by Endre Szkrosi.
DOCUMENT: invitation, email invitation, Budapest Spring Festivals
program brochure, video
WEB-DOCUMENT: www.artpool.hu/events/ArtTour79/index_en.html
www.artpool.hu/events/ArtTour82/index_en.html
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2004
20 30 April 2004
2004
Bercsnyi 2830
Spring 2004
Exhibitions, presentations, film screenings and performances featuring the underground movement of the 1970s
and 1980s. Artpool contributed to the research that preceded the exhibition as well as to the exhibition itself by loaning
numerous photo documents about art events organized in
the 1970s and 1980s at the Bercsnyi Club.
DOCUMENT: invitation, flyer, Kari Papr program brochure
BIBLIOGRAPHY: Antal Istvn: B2830 Tavasz 2004. Hrom napig
tart rmnnep a Bercsnyi klubban, Balkon, 2004/5, pp. 3536.
23 April 2004
Centrum Kultury
(Performance Art Centre), Lublin, Poland
Archiving Performance
Performing the Archive
7 8 August 2004
Budapest
Ryosuke Cohen
at Artpool
Cohen toured Central Europe, also stopping at Artpool,
with the objective of making new fractal portraits for his
Portrait Projects series.
Participants of the event in Budapest: Pl Bial, gnes
Galntai, Gyrgy Galntai, Jlia Klaniczay, Andrs Lengyel,
Blint Szombathy ( p. 355).
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Report of the
Raiffeisen Bank grantees in 2004
A grant was given to Artpool in 2004 to support research
about contemporary art at the archive.
Greetings and keynote speeches by: Ildik Pethe
(Raiffeisen Bank) and Jlia Klaniczay (Artpool).
Lectures by grant recipients:
Pl Bial: Mail art in Hungary (19711987). Invited guest
speaker: Annamria Szke
Judit Bodor: Issues and Questions of Archiving Contemporary Art. Contemporary Art Archives. Invited guest speaker:
Pter Gyrgy. Lectures were followed by a discussion.
DOCUMENT: research plans, invitation, email invitation, video
reports
20 October 2004
2004
Arrigo Lora-Totino:
performance of
sound and gymnastic poetry
poesia sonora e ginnica
Host of the event: Endre Szkrosi.
29 30 October 2004
Underground Culture
and alternative Publicity II
Underground kultra
s alternatv nyilvnossg II
Scientific conference with the co-organization and participation of the Communication Department of the Univerity of
Pcs and the Artpool Art Research Center. Included in the
program were:
Presentations by Artpools staff members
Csilla Bnyi: An Underground Periodical from the Seventies
the Sztfolyirat [Spreadiodical]
Pl Bial: Opportunities of Publicity for mail art in Hungary
Judit Bodor: Duel the Practice and Research Opportuni
ties of Performance Art
Screening: Documents from the Artpool Video Archive:
CreativityVisuality (Balzs Bla Studio, 1988), I. Hazai
Mamvszeti Magazin [First Hungarian Nowart Magazine]
(1991) introduction by Jlia Klaniczay.
DOCUMENT: programleporello, email invitation, poster, manuscript
of the lectures (Judit Bodor, Pl Bial)
BIBLIOGRAPHY: Konferencia az undergroundrl, Magyar Narancs,
Konferencik Pcsett, www.litera.
October 28, 2004, p. 8 (notice)
Rekvnyi Katalin: Underground konferencia
hu, October 19, 2004
2, www.univpecs.hu, November 12, 2004 (notice) Bnyi Csilla: Egy
underground lap a 70-es vekbl: a Sztfolyirat, in: Havasrti Jzsef
Szjrt Zsolt (eds.): Reflexi(k) vagy mlyfrsok? A kultrakutats
vltozatai a kulturlis fordulat utn, Gondolat PTE Kommunikcis Mdiatudomnyi Tanszk, BudapestPcs, 2008, pp. 187201.
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Tatsumi Orimoto: Play With Eight Hundred Chicken, performance, Chicken Farming at Hasunomien, Yame-Gun Fukuoka, Japan, 2003 (postcard)
Tatsumi Orimoto: Bread-Men in Computer Room, performance, Tama Art University, Tokyo, 2003 (postcard)
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Daniel Daligand: Going in the 4th Dimension, 2004 (digital prints, postcard and photo)
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Contribution from Teruyuki Tsubouchi, 2004 (poster for the 100% Recycled Art Show, 1994)
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Ryosuke Cohen: Fractal Portrait Project, 2004 (drawing at Artpool Studio and the finished portraits)
2004
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6. Einstein (18791955)
7. The Dimensionist manifesto signed by: Miro, Arp, Moholy-Nagy, Duchamp, Picabia, Kandinsky
edited by Charles Sirato in Magazine N+1 Paris, 1936
8. Valery Oisteanu - said: Once upon a time, in the mind of Einstein, a spark created Generalized Field
Theory: that tied together gravity, electromagnetic energy and space/time continuum!What about The
String Theory? Post -surrealism- is the new dimension for 2005!Come out and play in the fifth
dimension of triple yin/yang, of frequency/particles, vibrating strings of light, zen-dada, immaterial
time-line8a. Ruth Oisteanu said: which is it?Is it the art of The Fourth Dimension-like in Einstein?, or
The 4th dimension in Art like in Futurists, Dadaists, Surrealist: Carr, Boccioni, Dali, Brancusi,
Duchamp, Calder, Kandinsky, Malevich, Robert and Sonia Delaunay, Eugen Ciuca etc.is it made out of
crystals and beads?
9. Bali folklore: today is just another shitty day in multimedia paradise
10. What is the Art in the fourth dimension? The distance between paper and pickle!
11. The colossal question of Einsteinian space-time was Salvador Dalis interpretation of the time-space
continuum creating a temporal fourth dimension, either through multiple frames in his paintings,
simultaneous actions, or as Einstein put it, time dilation, a sort of non-Euclidean morphology, used by
Dal as a burlesque science in the depiction of movement and time past by melting watches, extending
physically the legs of the elephants or partial decomposition of the characters or burning giraffes or
liquefying senses or painting elastically extended limbs and bodies all squatting in the Fourth Dimension
concept (from Global Dali by V.O.).
From The second Dali sance (Salvador Dali speaks through a medium called Victor Fleming):
It is neither day or night
The glow of Gaudi street-lights
When the incomprehensible is comprehended
It is not paternal or maternal
The unfamiliar is familiar
It is incestuous or not incestuous.
It is subject to transformation.
And where it lies
we shut our eyes.
12. P. D. Ouspensky - 1961
13. H. Sedlmayr The Revolution in modern Art, Garzanti, Milano, 1966
14. Rudy Rucker The 4th dimension a geometry of higher reality, Houghton Mifflin, Virginia, 1984
15. Eugen Ciuca - the author of: Arts Fourth Dimension published at Corbo & Fiore Editori, Venice, 1988
P.S. I will send you my visual on this subject! all the best Valery Oisteanu
Valery Oisteanu: Art in the fourth dimension or The fourth dimension in ART, email to Artpool, August 5, 2004
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5. Apollinaire (1880-1918)
28 December 2004
(Kamilla day)
2004
with the moral force of a proud loyalty and is consequently honorbound to constantly resist change, it is not only possible but
imperative to thoroughly examine phenomena whose assessment
may elsewhere be neglected for lack of resistance. []
Disloyalty to a praiseworthy cause is indeed repulsive, and true
art has forever been a good cause. [] Over the past century,
rejection of the new has proved wrong, time and time again, but
has persisted nonetheless. At a time of accelerating change,
the crisis has become more acute. (1980)4
[] A recurring element of Deleuzes theory is the co-ordination
of two opposite poles. He describes this thought pattern as a
rhizome. The rhizome is a set in which every element is linked
with every other element. Hence, there is no hierarchy in the
rhizome and no distinct points since every element is
interchangeable with any other. The rhizome is a set of images,
things, words, meanings, conveyors of meaning as well as
political and biological representations, where it makes no sense
to talk about the opposition of two elements since there is a
connection between any two points and there is no distinction
between the external and the internal either since nothing
changes if the rhizome is turned inside out. []5
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THE YEAR OF
THE FIVE
AT ARTPOOL
RE:form / Europe
Networking and Cooperation between
Eastern and Western European Archives
and Collections of Artist Publications
Dear Colleagues
Szervusztok Kolegim
1 hour performance for us
Pioneer Artist Prince January
TovA ICY HORO OLH, jnos Baksa-Sos 57 j
Presentation / performance of Jnos Baksa-Sos (the
leader of Kex, the legendary group of the 1970s and a
cult figure of the avant-garde) with sound and slideshow
followed by an improvised mini concert.
DOCUMENT: invitation, email invitation, video, blog note (Kikiroller,
March 2, 2005)
On the back of the invitation: fax message from Jnos Baksa-Sos to his colleagues
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1 March 2005
Exits
Kijratok
A Budapest Spring Festival Unimaginable in 1981
Artpools tenth participation in the program of the 25-year
old Budapest Spring Festival: an exhibition-event from the
documents of the institute-experiments of the banned or
the barely tolerated underground art of the 1970s and
early 1980s in Hungary. (Zsuzsa Simon Office, jpest Mini
Gallery, Artpool, Indigo, Inconnu, Fnykpszeti lapok
[Photographic Papers], Sznob Internacional, etc.). Curator:
Gyrgy Galntai, opened by Andrs Bn (from video).
DOCUMENT: invitation, email invitation, handout, video
Web-document: www.artpool.hu/2005/kijaratok.html
BIBLIOGRAPHY: 81-es Kijrat, Magyar Narancs, March 31, 2005,
p. 6 (notice)
2005
27 April 2005
The Artpool
Art Research Center
Lecture by Zsuzsanna Kiss at the conference workshop
New Art Institutes and Institutions in Europe and Hungary
(organized by the House of Europe and Kzelts Mvszeti
Egyeslet / Approach Art Assotiation).
5 August 2005
Budapest
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Art Regained:
THE WAYS OF RE-CREATION
Visszanyert Mvszet:
AZ JRATEREMTS TJAI
(four exhibitions four openings)
Exhibition of Michael Bidner (opened by Gyrgy Galntai),
Gyrgy Bp. Szab (opened by Tibor Vrnagy), Ryosuke
Cohen (opened by Blint Szombathy), Zsolt Gyarmati
(opened by Zsuzsanna Kiss)
DOCUMENT: invitation, email invitation, photo, video
Web-CATALOG: www.artpool.hu/2005/visszanyert.html
ARTWORKS: the works of Bidner and Cohen in Artpools collection
BIBLIOGRAPHY: Visszanyert mvszet az jrateremts tjai, www.
Visszanyert mvszet Az jrateremts tjai,
sziget.hu, May 2005
Visszanyert mvszet
Budapestportl, May 24, 2005 (notice)
ngy killts, ngy megnyit, Artnet Kpzmvszeti Portl s
Visszanyert mvszet ngy
Folyirat, May 26, 2005 (notice)
killts, ngy megnyit, www.kultura.hu, May 26, 2005 (notice)
Visszanyert mvszet, Magyar Narancs, May 26, 2005, p. 6 (notice)
2005
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Documents from Michael Bidners archive from the early 1980s: part of an envelope from Galntai
with Bidners artistamps, polaroid photos of Bidners archive, envelope of a shipment by Bidner returned to him
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2005
Blint Szombathy opening Ryosuke Cohens exhibition and exhibition interior with Cohens Fractal Portraits (2004)
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17 June 2005
2005
22 September 2005
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Aid-Concept
Festival for the preservation
of the documents of underground art
Seglykoncept
fesztivl az underground mvszet
dokumentumainak megrzsrt
In 2005 the future of the Artpool Art Research Center
became uncertain due to the lack of financial support for
its operation. With the closing of Artpool the only research
place of the progressive Hungarian underground culture
from the early 1970s till today could have disappeared. The
publications, manuscripts, photos, sound and video material
as well as art documents could become inaccessible for
decades. The festivals aim was to draw attention to the
seriousness of the situation.
Program:
Press conference
Symposium on Hungarian underground art in the 1970s
and 1980s, its international context and significance, its
research and the possibilities of its preservation.
Readings, performances and concerts from the literary
and musical materials of Hungarian underground art of the
1970s and 1980s.
Exhibition, installation, display of documents (texts,
objects, photo and video materials) of the 1970s, 1980s and
1990s from Artpools archives and collections.
Participants of the symposiums and performances:
Vera Baksa-Sos, Jen Balask, gnes Brdos Dek,
Istvn ef Zmb, Zoli Farkas, Lszl Fldes Hob, Gyrgy
Galntai, Judit Gesk, Pter Gyrgy, Csaba Hajnczi, Pter
Halsz, Ferenc Hammer, Gyrgyi Kari, Gbor Klaniczay, Jlia
Klaniczay, Karcsi Lehoczki, Istvn Mrta, Pter Mller Szimi,
Gyula Pauer, Gza Perneczky, Peter Ogi, Endre Szkrosi,
Tams Sznyei, Jnos jvri, Pter Vallai, Mihly Vg; bands:
Balaton, ef Zambo Happy Dead Band, Lopunk, Sickratman.
2005, p. 16.
Vradi Jlia: Veszlyben az Artpool az interj teljes
szvege, Magyar Rdi Online, October 5, 2005 (interview with Jlia
Klaniczay) Gyre Gabriella: A l meg az Artpool. Artpool Seglykon
cept, 2005. oktber 12., litera.hu, October 6, 2005 Sznyei Tams:
Nincs min sprolni, nincs mit elhagyni Az Artpool jvje, Magyar
Szsz Eszter: Mentvet
Narancs, October 6, 2005, pp. 3435.
dobtak az avantgrd gyjtemnynek. Nagy laks a Liszt Ferenc tren,
mindentt a plafonig r polcok, Magyar Hrlap, October 7, 2005, p. 9.
Gyorsseglyt kap az Artpool. A Nemzeti Kulturlis rksg Minisz
triuma 2 milli forinttal egszti ki az idei tmogatst, kultura.hu,
October 7, 2005 (notice) Gyre Gabriella: Mg nincsenek kint a G
drbl. Kevsnek bizonyul NKM-gyorssegly az Artpoolnak, litera.hu,
October 7, 2005 Pntek Orsolya: Ismt a fld alatt, Magyar Nemzet,
Nzpont, October 7, 2005, p. 7. Pntek Orsolya: Nincs megmentve,
vergdik a kutatkzpont. Hiba a ktmillis segly, az Artpool to
vbbra is veszlyben van. Hinyoznak a fiatal szakemberek is, Magyar
Seglykoncept-fesztivl
Nemzet, Lt-tr, October 12, 2005, p. 4.
az underground mvszet dokumentumainak megrzsrt. Szimpo
zion a 70-es80-as vek underground mvszetrl, nemzetkzi kon
textusrl s jelentsgrl, kutatsrl, Balkon, 2005/1112, pp. 4856.
Mllner Andrs: Gyere le velem, Beszl, November 2005, p. 4.
Nylt levl Bozkinak s Magyarnak az Artpool megmentsrt, index.
Az Artpool Mvszetkutat Kzpont sajt
hu, November 3, 2005.
kzlemnye, mvsz-vilg.hu, November 3, 2005 Artpool: Nylt levl,
Pntek Orsolya: Nylt
Magyar Narancs, November 10, 2005, p. 6.
levl az Artpool gyben, Magyar Nemzet, November 5, 2005, p. 14.
N.M.: Az NKM tovbbra is tmogat, Magyar Nemzet, November
5, 2005, p. 14. Valaczkay Gabriella: Artpool: mgis, kinek a dolga?,
Nylt levl a Nemzeti
Npszabadsg, November 5, 2005, p. 16.
Kulturlis rksg Minisztriuma s az Oktatsi Minisztrium vezet
Virg Krisztina:
jhez, let s Irodalom, November 11, 2005, p. 8.
Fldalatti archvum a tren. Rgen nem hivatalos intzmny volt, ma
nem kvnatos lenne?, VI. kerleti Helyi Tma, November 16, 2005, p. 3.
Olt Boglrka: Tisztelt Szerkesztsg!, let s Irodalom, (Visszhang),
Artpool: Nylt levl nylt vlasz, Magyar
November 18, 2005, p. 2.
TVRADIO: MTV M1 s M2,
Narancs, December 1, 2005, p. 4.
, October 2, 2005 (Napkelte s
October 1, 2005 (Hrad)
, November 10, 2005
Hrad), October 3, 2005 (Kultrhz)
, November 21, 2005 (Kultrhz)
; Hr TV,
(Mozaik)
; RTL Klub, October 26,
October 8 and 9, 2005 (Klnkiads)
2005 (XXI. szzad); Kossuth Rdi, October 2, 2005 (GondolatJel);
Petfi Rdi, October 2, 2005 (Hrpercek); Tilos Rdi, October 26,
2005 (Kislsek); Klubrdi, October 27, 2005 (Reggeli Gyors),
October 27 and 28, 2005 (Kultrtipp); Petfi Rdi, December 9, 2005
(program of va Marton)
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12 October 2005
Gdr Klub Erzsbet tri
Kulturlis Kzpont s Park (Cultural Center and Park
of Erzsbet tr), Budapest
Saturday, 1 October
2005
Symposium on Hungarian underground art in the 1970s and 1980s, its international context and significance,
its research and the possibilities of its preservation (1st part)
Participants from the left: Ferenc Hammer, Gbor Klaniczay, Judit Gesk, Pter Gyrgy (moderator),
Gyula Pauer, Gza Perneczky (obscured), Endre Szkrosi
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Participants from the left: Pter Molnr, Vera Baksa-Sos, Pter Halsz, gnes Brdos Dek (moderator), Tams Sznyei, Pter Mller Szimi
Istvn ef Zmb
Mihly Vg
Peter Ogi
Hobo
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Symposium on Hungarian underground art in the 1970s and 1980s, its international context
and significance, its research and the possibilities of its preservation (2nd part)
Artpool
2005
28 December 2005
(Kamilla day)
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Le Peintre Nato: performance with Mayumi Handa and Shozo Shimamoto, Barbizon, 1996 (postcard)
Boris Nieslony: invitation card for Translations (performance and installation exhibition at trace:, Cardiff, 2005)
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Contribution by Jrgen O. Olbrich (documents of the Rainbow Objects Mandala installation, 2005)
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Mail art works by Sztuka Fabryka / Gert de Decker, 2005
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Recycled art by Lancillotto Bellini, 2005
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Ed Varney / Big Dada: The Red Door Shadow Self Portrait, 2005 (color photocopy)
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2006
THE YEAR OF
THE SIX
AT ARTPOOL
14 March 17 June 2006
Moderna galerija / The
Museum of Modern Art, Ljubljana
24 February 2006
New Compatibilities
Sinepress/2005
j Kompatibilitsok
Mrta Mszros / Millesime presenting her international
mail art project
Interrupted Histories
Historiae interruptae
The exhibition deals with spaces of interrupted collective
histories and with spaces of little histories of the 1970s
and 1980s of the Eastern Bloc Countries. Particularily in this
period, neo-avant-garde artists were most often their own
historians and archivists, says the curator of the exhibition
Zdenka Badovinac, who discovered Artpools Active Archive
conception on the net and invited Artpool to the show.
The Artpool projects selected were: the Chapel Studio of
Balatonboglr from the 1970s and the Hungary Can Be
Yours exhibition from the 1980s.
DOCUMENT: correspondence (organization), list of exhibited works,
Web-document: www.
invitation, email note, photo, video
CATALOG: Badovinac, Zdenka
artpool.hu/2006/Ljubljana_e.html
Tamara Soban (eds.): Prekinjene Zgodovine / Interrupted Histories.
Arteast Razstava / Arteast Exhibition, Moderna galerija / Museum of
Modern Art, Ljubljana, 2006
BIBLIOGRAPHY: Arteast sorozat Ljubljana Megszaktott trtnelem,
Kiss Zsuzsanna: Megszaktott
artportal.hu, April 4, 2006 (notice)
trtnelmek. Interrupted Histories / Historiae interruptae, Balkon,
Badovinac, Zdenka: The Authentic Interest Of
2006/5, pp. 1720.
The Museum, Internal Seminar On Collecting & Identity, Van Abbe
museum, September 2007, www.becomingdutch.com (published in
German: Badovinac, Zdenka: Das authentische Interesse des
Museums, in: Steiner, Barbara Charles Esche (eds.): Mgliche
Museen, Jahresring 54, Jahrbuch fr moderne Kunst, Verlag der
Buchhandlung Walther Knig, Kln, 2007, pp. 161178. Badovinac,
Zdenka: The Museum of Contemporary Art, in: History and (in)
moviment, Colquio Internacional Histria e(m) Movimento 2008,
Museu de Arte Moderna de So Paulo (So Paulo), 2008, pp. 107116.
Badovinac, Zdenka: Unrest in the Archives, BIG Creative Industries,
Creating Context:
Art & Culture, July 5, 2009 (zavodbig.com)
Zdenka Badovinac on Eastern Europes Missing Histories (Interview),
Badovinac, Zdenka: Contemporaneity
ARTMargins, August 2009
as Points of Connection, e-flux journal, no. 11, 12/2009 TVRADIO:
Televizija Slovenija, March 15, 2006
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2006
mozART, bARTk
And the thiRd secTor
mozART, bARTk
s a hARmadik szekTor
Acoustic space-installation by Gyrgy Galntai for the Mozart
and Bartk festivities (in the program of the Budapest Spring
Festival and Artpool). The following works appeared in the
installation:
picture: Tibor Hajas (19461980), W. A. Mozart: Haffner
Symphony (photo, 1976?); music: W. A. Mozart (17561791),
Haffner Symphony (Symphony No. 35 in D major) (1782)
picture: Mikls Erdly (19281986), Portrait of Bla Bartk
(photomosaic, 1983?); music: Bla Bartk (18811945),
Concerto for Orchestra (1943)
(the third sector)
music: Mieko Shiomi (1938), Fluxus Suite (2002) Musical
dictionary of 80 people around fluxus
DOCUMENT: invitation, email invitation, Budapest Spring Festivals
Web-document: www.artpool.hu/2006/
program brochure
tavaszi/Defaulte.html Artwork: Hajas work in Artpools collection
BIBLIOGRAPHY: Ravasz tavasz, Magyar Narancs (Snoblesse
Oblige), March 16, 2006 (notice)
Mozart, Bartk s a harmadik
szektor, Exit, March 2229, 2006, p. 87 (notice) Mozart- s Bartkvfordul az Artpoolban, artportal.hu, April 3, 2006 (notice)
2006
9 May 2006
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10 12 April 2006
Process Revealed
Folyamat Feltrva
Exhibition part of EvoMUSART 2006 Budapest: European
Conference on Evolutionary Music and Art.
For the first time a curated exhibition was running concur
rently with the 4th European Conference on Evolutionary
Music and Art. 19 works from 8 different countries were
presented. They included video and audio works, generative
software programs, installations and live performances.
Curators: Janis Jefferies & Tim Blackwell (UK).
See the list of participants on the invitation here reproduced.
12 April 2006
Algorithmic and Live Music closing event of Process
Revealed
To see the concerts program, visit
www.artpool.hu/2006/060410m3.html
DOCUMENT: correspondence (organization), project description,
installation plan, invitation, email invitations (Hu, En), press material,
flyer, handout for the exhibition and concerts, photo, video
DVD-ROM: Process Revealed at Artpool, Goldsmiths, University of
London, 2006 Web-CATALOG: www.artpool.hu/2006/evomusart/
BIBLIOGRAPHY: [A Budapesten zajl 6. Eurpai Genetikus Progra
mozs konferencia killtsi rsze, az EvoMUSART mhely], Exit, April
11, 2006 (notice) Fuchs Pter: EvoMUSART Artpool P60, artportal.
Process Revealed / Folyamat Feltrva, Ptkv,
hu, April 3, 2006
Process Revealed. Folyamat Feltrva,
April 7, 2006 (notice)
Folyamat Feltrva / Process
Ultrahang, April 10, 2006 (notice)
Revealed, improv.hu online zenei magazin, April 7, 2006 (notice)
Folyamat feltrva az Artpool P60-ban, KonTextus.hu, April 10, 2006
Evolcis mvszet, Agent Portl, www.agent.ai, April 14,
(notice)
Fuchs Pter: Process Revealed. Folyamat Feltrva, Balkon,
2006
2006/78, pp. 1620. TVRADIO: Fix TV, April 2006
2006
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19 May 2006
Budapest
Patricia Tavenner
at Artpool
Pat Tavenner, American artist, a representative of the idea
of me-art, did a series of artistamps in 1973 as her ars
poetica. She is a regular participant of network projects,
and she is an organizer of events as well. At Artpool she
presented her newest images, artistamps and bookworks
done by the aid of video and computer.
DOCUMENT: invitation, email invitation, photo, video
9 11 June 2006
Budapest
2006
9 June 2006:
Visit of the participants of the workshop at the Artpool Art
Research Center. Host: Jlia Klaniczay.
10 June 2006:
Lecture by Pter Fuchs at the workshop:
The mysterious events around the Balatonboglr Chapel
Studio from 1970 to 1974, in the highlight of the secret
reports and the contemporary mass media perception
DOCUMENT: correspondence, invitation, program
18 August 2006
O3ONE, Belgrade
Artpool
Budapest
Presentation by Pter Fuchs (independent curator) at the
curatorial seminar art-e-conomy. Transitional economics
and art theory and practice of contemporary global
production.
The presentation based upon a textual work by Hungarian
artist and theoretician Mikls Erdly the Extrapolation
Exercises (1982) was focused on the intellectual heritage
of Eastern European conceptualism, the perspectives it
opens to the notion of art and its future (in the age dominated
by virtual reality), and the way this heritage is preserved by
institutions such as the Artpool Art Research Center in
Budapest.
DOCUMENT: program, flyer, photos
Gegenansichten
Photos of the Political and Cultural Opposition
in Eastern Europe 19561989
Fotografien zur politischen und kulturellen
Opposition in Osteuropa 19561989
Travelling exhibition of documentary photography to which
Artpool contributed a number of photographs. Curator:
Heidrun Hamersky (Forschungsstelle Osteuropa).
Further exhibitions:
15 January 16 February 2007: Universitt Heidelberg,
Germany
2008: Gedenksttte Roter Ochse, Halle (Saale), Germany
8 May 5 June 2009: sterreich-Institut, Wroclaw (Poland):
FotOpozycja Gegenansichten
DOCUMENT: correspondence, list of photos, invitation, poster, press
release PUBLICATION: Hamersky, Heidrun (ed.): Gegenansichten.
Fotografien zur politischen und kulturellen Opposition in Osteuropa
19561989, Christoph Links Verlag LinksDruck GmbH, Berlin, 2005,
195 p.
1 September 2006
Esterhzy-kastly
(Esterhzy Castle), Szigliget, Hungary
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Joan Puig / John Mountain: Freaks of the Netmail #1, 2005 (digital print)
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Arrigo Lora-Totino: one page of the limited edition bookwork ! wanted !, 2002
2006
Lothar Trott: Poku Test, 2006 (pages from the mail art projects catalog)
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A LITTLE
MAIL ART
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2006
ART AS GIFT
(ITs A NET, NET, NET, NET WORLD)
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B&B 37 (May 1224, 2006), Rod Summers in Southwest Iceland I saw many birds waiting for the south wind
(Birds & Borders is the cooperative project of Ever Arts and Rod Summers)
Artpool P60,
10 November 2006:
An independent art laboratory: The ZEROGLAB
Kroly Tth (Rotterdam, The Netherlands)
15 November 2006:
Aesthetics of Escape Marko Stamenkovic (Belgrade,
Serbia)
17 November 2006:
Migration Aesthetics. The Nonchalance of Art the Art
of Non-economy Pter Fuchs (Budapest, Hungary)
2006
The exhibition organized by the Artpool Art Research Center in November 2006 and the art network
events created by the personal meetings related to the exhibition are results of networking, just like
Artpools art tour projects of 1979 and 1982 exhibited in 2004.
The first international Mail Art Congress was organized in 1986 in Switzerland by H. R. Fricker and
Gnther Ruch. This gave rise to other similar meetings organized mostly in Germany and the USA
where personal meetings were the continuous creative practice by a number of networkers but also in
Hungary. Due to the success of the idea, the next far more extensive Decentralized Network
Congress in 1992 took place with the involvement of the entire community of networkers worldwide.
Artpool decentralized the congress by fax technology, which was a novelty at that time.
The issues of communication and art, and the intolerable employee and artisan status of artists were
first liberated irrevocably by Marcel Duchamps paradigmatic ideas. It is no coincidence that virtually
every one of his ideas became a new ism, and those that did not, such as eroticism and humorism,
offer an unexploited and unexplored field of opportunities. Why is that? Because these ideas are
conceptual: eroticism and humor, individually or together, can be a part of anything, whats more, as a
kind of spice adding flavor to food, they can be the basis of communication with food. Then, it is no
wonder that now that isms are a thing of the past in art, communication and networking methods
have become more appealing and groups organized around isms are increasingly being replaced by
occasional, rapidly changing, collaborative network projects.
The consecutive developments in 20th century visual communication, or correspondence art to be more
exact, are especially interesting unexplored precedents of the wide range of communication techniques
and uses that have become widespread. The greatest impact was exerted by fluxus artist Ray Johnsons
New York Correspondence School in the sixties. The European activists of the fluxus generation, such as
Ben Vautier, Robert Filliou, the East European Endre Tt, Milan Knk, as well as the highly active
representatives of concrete, visual and sound poetry worked with the same references and maintained
connections in the same way. Referencing in other words remembering is always about half-known
precedents that need to be processed. Cognition in art raises the possibility of countless versions of
interpretations, ranging from reinterpretation to recycling.
Who is a good artist? The answer is: the one that can build good relationships. Those that build good
relationships can communicate well. From this point on the question Who is a good artist? makes no
sense because from this point on art is synonymous with communication, no matter what kind or type
of work of art is discussed. I.e. a work of art is information that enables communication. There: we
have entered the art of the information society. (Gyrgy Galntai, 2006)
Source: www.artpool.hu/Network/2006/Galantai.html
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Lecture by
Gyrgy Galntai
8 November 2006: Collaborative projects live documents Colette & Gnther Ruch
(Geneva, Switzerland)
Sound & Mailbox (sound-action), a network-poetry enclosing minimal-texts from Dick Higgins /
Ray Johnson / Richard Kostelanetz / Mark Bloch / Julien Blaine / Ulises Carrion / Robin Crozier /
Guillermo Deisler / Rod Summers / Ruth Wolf-Rehfeldt / Fernando Aguiar / Ji Valoch / Lucien
Suel / Jrgen O. Olbrich / and many others, with a short introductory lecture about the
development of worldwide congresses in the eighties.
Preceding the performance: parallel screening of film and video-documents: Direct (1995),
A LEcart (1977), Z-Comme Rseaux (1994), Mail-Performance-Fax-Project (1994).
Performance by
Colette & Gnther Ruch
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Lecture about the Budapest Session of the Worldwide Networker Congress in 1992, about the
Fax Action, the Faxzine and the developments of the archaic network that followed. Then with
an internet-presentation of the radically changed point of view in art in the past 20 years
Galntai tried to free the future-forming imagination of the audience.
2006
Lecture with slide show about the life story of this polyglottal cosmopolitan: how the Decentralized
Networker Congresses (DNCs) got him a world champions title from the Guinness Book of Records
under his artists name Peter Netmail. In his uniform as traveling art-postman, Peter described
his networking activities as mailartist, author, painter, performance artist, film maker, art
critic, gallerist, and festival organizer at a Culture Centre in an old church building in Germany.
His hometown Minden meanwhile prides itself of being a Mekka of Mail Art. Peter showed his
multilingual handmade books from the backpack and color catalogs in mixed media about the
worldwide DNCs from 1986 on and other art projects.
Lecture by
Kroly Tth
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In the videoworks by means of visual description, narrative, encounters, and reflexivity diseconomy
of life occurs at the present time in all the domains. As a result, people float in uncertainty, at the
same time economically connected to and yet, disconnected from one another. One can see the
levels on which lives have been dis-organized, and look at what people do to cope, reorganize,
and find alternative units and places to get their act together again.
Lecture by
Marko Stamenkovic
17 November 2006: Migration Aesthetics. The Nonchalance of Art the Art of Noneconomy Pter Fuchs (Budapest, Hungary)
Lecture on the aestetics of fleeing, the building up of an economic life and its incomprehensibility
Lecture by
Pter Fuchs
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Switch Room,
25 November 2006
2006
28 December 2006
(Kamilla day)
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THE YEAR OF
THE SEVEN
AT ARTPOOL
10 11 March 2007
Artpool
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Dimensionist evenings
Photos of the audience at Artpool P60
2007
Kroly (Charles) Tamk Sirat, the prophet of dimensionism has not been with us for twenty-seven (27) years,
and the manuscript he wrote to be printed on the history of dimensionism is still waiting for the printers, in
other words for a person who is close to the future.
It is thanks to the dimensionist equation art=life that Tamks interlinear poems, or line prisoners as he
called them are so euphorically good. Tamks volume titled Viznt-kor hajnaln [At the dawn of the Age of
Aquarius] could be published in 1969 thanks to the announcement of the new economic mechanism in 1968
and the relaxation of strict cultural policy. The introductory Preamble of the volume wishes to take Hungarians
to the vanguard of the age and argues thus: Whoever was close to America came to own America and
whoever is close to the future will own the future!
I wrote this quotation on a slip of paper straight away and pinned it to the wall in my Budapest studio, where it
has hung ever since. I was encouraged by this quotation in Balatonboglr in 1970, and then from 1971 by
Tamks Biztat [Words of Reassurance]: Dont despair, whatever befalls you! There is one law alone: wait.
Wait! [] Everything will ripen and reach its destination: and he who could wait will triumph. Yes! This is the
100% reusable art, which could only have been born out of a dimensionist attitude. (Gyrgy Galntai, 2007)
(Source: Gyrgy Galntai: Hommage Charles Tamk Sirat, www.artpool.hu/2007/tavaszi/Galantai.html)
On the walls and hanging in the space: enlarged planar poems by Charles Tamk Sirat and visual poems by Lajos Kassk
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Related events
26 April 2007
Barokk Csarnok, Szpmvszeti Mzeum
(Baroque Hall of the Museum of Fine Arts), Budapest
ParaStamp Extra | Parablyeg extra
Public event to meet the artist-curator and the exhibiting
artists of the ParaStamp exhibition.
Following the short video-presentation by Gyrgy Galntai
discussion with the artists present: James Warren Felter
(Canada), Michael Hernandez de Luna (USA), Patricia
Tavenner (USA), Sndor Gyrffy, Pter Balzs Kovcs,
Andrs Lengyel, Gbor Tth (Hungary).
To commemorate the meeting and to the delight of collectors
and the artists: special rubber stamp cancelling and
dedication of the catalog and the poster of the exhibition by
the artists and Artpool Artistamp Museum.
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When it was decided that the ParaStamp exhibition shouldnt just be about the last twenty years but rather that the
museum wanted to use parastamps to display representative material from the last forty years ranging from Fluxus to
the Internet, I could then only think along these lines. The artistamps produced over forty years could not be put
together according to earlier approaches because the only result would be a meaningless medley. If we think of the
world in a linear sense, we wont get any further forward, because the world does not work in a linear way its
constantly changing and theres always some new trick coming into play.
From the point of view of the artistamp, the two concepts in the exhibitions title Fluxus and the Internet are
abstract notions pertaining to the history of art and technology. Thats why I came to the decision that I would create a
sphere of concepts which is also abstract but which in itself includes the two other concepts and is able to fill in the
entire space between the two endpoints defined by these two concepts. These are: humorism erotism time place
artist material structure function form science art politics global local glocal telematic. At first
glance, these concepts have nothing to do with the artistamp, and even if they had any connection, it would be a vague
one. The new function the artistamp has in this exhibition is to convey the explosively changing worldview at the turn of
the millennium with the help of perspectives offered by these interrelated but at the same time distinct concepts.
I was finally able to decide to use these concepts as an organizing principle when I found two convincing antecedents.
One of these was Henry Flynt, who says, I can now return to the question of why concept art is art. Why isnt it an
absolutely new, or at least a non-artistic, non-aesthetic activity? The answer is that the antecedents of concept art are
commonly regarded as artistic, aesthetic activities; on a deeper level, interesting concepts enjoyable in themselves,
especially as they occur in mathematics, are commonly said to have beauty. 1 The second antecedent was George
Brecht, from whom I found out that There was a very interesting book which came out near the end of the 1950s called
The Field Theory of Meaning, in which it was shown that the meaning of a word, rather than being related to the
structure of a sentence, for example, was related to a field. 2
As suggested by its title, the exhibition begins with fluxus, with humor, gags and jokes being its most important
features. Hence the starting concept of the exhibition: humorism. According to George Maciunas, the frontman of
fluxus, films, everything, concerts, sports events, food, whatever we did, even serious things like a Mass ended up to
be humorous. 3 Ben Vautier wrote of fluxus, It would not have come into being without Cage, who carried out double
brainwashing. First in contemporary music, through the concept of indeterminability, and the second through his theses
conceived in the spirituality of Zen and teaching to impersonalize art. 4
The second concept of the exhibition is erotism, which originates from Marcel Duchamp, who said, I believe firmly in
erotism because its actually generally present in the whole world, and is a thing that people understand. It can replace,
if it wants, everything else that other literary schools call symbolism and romanticism. 5
The protagonists of the exhibition are the artist, the work and art. Most concepts are related to these. For example, the
artist appears in a way far from the general concept of an artist: he is not a creative genius but rather a communication
partner, or networker. If somebody is an artist as it has been believed for a couple of hundred years that person is
supposed to be either a genius or a madman. The concept of art is about what can be seen on the exhibition poster: art
recreates that which already exists; thus, changing the Mona Lisa destroys the Mona Lisa but it also recreates it.
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The concepts global, local and glocal are interpreted in the background of
telematics. It is here that we can continue our exhibition tour on the
Internet. The web pages, which form part of the exhibition, begin with one
worded page as well as sixteen pages with pictures arranged according to
themes, i.e. the exhibition has that many entrances, but every page is
accessible from every other page. Earlier sites dealing with stamps have
been developed and have a link to the homepage of the Artpool Artistamp
Museum, from where the whole network can be reached in just a few
steps, and not just in Artpool but in the whole world. The interesting thing
about the Artpool network is that one can walk between the pages in many
different ways, e.g. in the form of a museum tour. In the present exhibition,
this means that we are modeling the exhibition so everything that is here
can be seen on the other side of the world.
Finally, I would like to quote Heiko Idensens vision: Travel routes, depar
ture and arrival points draw tracks, paths, and traffic routes, mark nodes,
bases and cities in the landscapes of telematic networks. With each journey,
each on-line adventure, the network of interconnections expands If these
communicative connections, communication acts, up and down-loads, acts of
sending and receiving combine with object oriented hypertext programs,
then the most disparate data forms, information carriers, cultural pro
duction forms mix on a communal surface: the utopian vision of a comp
rehensive telematic network, in which the forms of individual production
change into social communication. 7
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Facade of the Museum of Fine Arts, Budapest, with the ParaStamp banners
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The pavilion of the Museum of Fine Arts at Sziget Festival, Budapest (2007), with bean bag chairs made from the reused banners of the ParaStamp exhibition
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11 May 2007
2007
it is probable that a
thing may happen
contrary to probability.
(Aristotle, 384322 B.C.)
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Memory-traces of Duchamp
in Hungary
Magyarorszgi
Duchamp emlknyomok
FLUXUS EAST
Fluxus Networks
in Central and Eastern Europe
2007
Knstlerhaus
28 June 2007
Flux Ping Pong played by Vytautas Landsbergis and Petra Stegmann at Fluxus East
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10 19 October 2007
//BLINK//
Site-specific interactive sound-light installation by Pascal
Dombis and Thanos Chrysakis.
Opening speech: Pter Fuchs.
2007
Thanos Chrysakis, Gyrgy Galntai and Pascal Dombis at Artpool P60 (in
the background lenticular panels by Dombis)
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//BLINK//
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Klipzensored
Rock music in Film | Television | Music clips
Media censorship in Hungary, GDR and
post-1990 Germany
Based on a yearlong research (held partly at the Artpool
Art Research Center) the exhibition shows among others
several posters, videos and other documents (from / about
Gergely Molnr, Trabant, VHK, Eurpa Kiad, Bizottsg,
etc.) from the Artpool archive. Curator: Natalie Gravenor.
(A Bipolar project.)
Film Program: 2531 October 2007 Kino in der Brotfabrik,
Berlin
DOCUMENT: correspondence (organization), partnership agreement,
Bipolar projekt-catalog, invitation, poster, photo Web-document:
www.klipzensored.de
FLUXUS EAST
Fluxus Networks
in Central Eastern Europe
2007
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THE YEAR OF
THE EIGHT
AT ARTPOOL
TVRADIO: throughout 2008 reports and notices about Artpools art
events were broadcast in the program of MR2-Petfi Rdi, MR3Bartk Rdi, InfoRdi and Klubrdi; archive materials from
Artpool were used in the following TV-program: Aczlos mosoly, M1,
Mlt-kor, November 21, 2008
13 January 2008
2008
Book presentation
Hommage Marcel Duchamp bookwork-catalog docu
menting the event (symposium, concerts and exhibition) In
the Spirit of Marcel Duchamp organized by Gyrgy Galntai
(Artpool) and Pter Gyrgy (Department of Aesthetics of
the Etvs Lrnd University) in 1987.
The book published by Artpool was presented by Pter
Gyrgy.
DOCUMENT: invitation, email invitation (Hu, En), photo, video
PUBLICATION: Marcel Duchamp Szimpozion 1987, Artpool,
Budapest, 2007, 62 p. [Five minute lectures of the symposium]
Hommage Marcel Duchamp, Artpool, Budapest, 2007, 143 p.
[bookwork-catalog of the event in 1987]
Web-document: www.artpool.hu/Ray/2008/Duchamphu.html
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Gyrgy Galntai
MemoRay Johnson
2008
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Pter Gyrgy
Duchamp 2007/2008*
Ready-made is a form of art addressing the very nature of
art. Duchamp was and will always remain the master
of what could be seen as self/critical/conceptual/ artwork.
That is: The artwork is itself as well as its own criticism;
an object in a white box; its presence is also the radical
criticism of the institution of museums.These days the
narrative and personalness are interrelated it is not
very Duchampian; in any case, its strange that theres no
Duchampism so let me quote a personal memory. Last
year, I was sitting in front of The Large Glass in Philadelphia
with a glass window set in the wall and a park behind it.
This was meant to be a moment of autopsy. The most
complicated part of approaching a masterpiece and of encountering the original is: to be liberated from knowledge,
the fear of weather the time allotted to me is enough or
not, whether Ive done enough reading and enough preparation, etc. And waiting for the Kantian contemplative,
neutral aesthetic experience to take control of me. I dont
know to what degree of success others can do this exercise.
I do quite a lot of training in this respect no easy task.
To be honest: what Im talking about here is that there is
a slow process of transmutation from erudition to sensuality, and the traces created by the former, i.e. the network of various forms of knowledge, are deluged with fear
and terror, or with desire. Personally, Rembrandt does this
with (to) me.Now, with Duchamp autopsy is exactly like an
artwork itself: it is a conceptual, cognitive process based
on self-observation. I can see through the glass, out onto
the park what lights are coming how the meaning of
the hall changes as permanent exhibitions are constantly
undergoing change and as Philadelphia is in a continuous
state of metamorphosis.Duchamps relentless look forcing
and moulding the doubts inherent in an artwork into conceptual structures. Duchamp constructs traps, traps of
seeking and creating meaning, and that of interpretation.
avoidable gedanken experiment can be attacked
This un
from one position, and rather powerfully.That is, Duchamps
method is valid only up to the point where the question
about the very nature of art the self-criticism of an artwork begins to demand the radical criticism of society.
Its not just that Duchamp did not know much about solidarity generally referred to as social although there
is enough that could be said about this, too.The problem
is that when the boundaries between social and cultural
systems and sets of concepts are all rewritten, and when
tectonic vibrations rewrite our concepts and experiences
one after the other, then what do we do with all this?
Since this is how we live these days:Hybrid, liquid, fragmented, fractional, cosmopolitan, place-specific, local, uncertain, relationist, defined in cultural spaces, collective,
public art, auto-destructive, installation, video, environment,
land art, objects, post-conceptual, network, temporal,
temporary, critical of institutions, social, post social, everything but aesthetic Twenty years ago Im afraid to be
an adherent to Duchamp such hope could undoubtedly
be regarded as interesting and valid. 1987 was a curious
moment: we did not see how close to the end we were,
and what a rare moment it actually was. In 2007/2008,
Duchamp is one of the objects Mark Dion places in showcases the criticism that was practiced by Duchamp in
another section has become historicized.
* Presentation
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20 January 2008
Voice in Movement
Lendletben a Hang
Sound and video poetry performance by Nicola Frangione.
Host of the evening: Endre Szkrosi.
DOCUMENT: invitation, email invitation (Hu, En), handout, photo,
video
Web-document: www.artpool.hu/2008/Frangione/NicolaP60en.html
BIBLIOGRAPHY: Nicola Frangione, undo.net, January 20, 2008
(notice)
FLUXUS EAST
Fluxus Networks
in Central Eastern Europe
Krakow venue after Berlin and Vilnius of the big touring
exhibition monitoring fluxus networks in Central and Eastern
Europe also showing several Artpool works and documents.
DOCUMENT: loan agreement, list of the loaned artworks, invitation,
photo, video
Web-document: www.artpool.hu/2008/080207e.html
BIBLIOGRAPHY: Bik, Katarzyna: Fluxusowe igraszki na Wschodzie,
Gazeta Wiborcza Stoleczna, Warsaw, February 12, 2008 Ruszczyk,
Joanna: Sztuka bez granic, Newsweek Polska, Warsaw, February 24,
rodkowo-Wschodniej, Foto,
Fluxus East. Fluxus w Europie S
2008
Warsaw, March 2008
2008
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Alessio Liberati: Warning, 2002 and Lotta Poetica, 2003 (from 12 Visual Poems Between Earth and Sky, eBook, 2008)
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Francesco Conz
Flux Med & Doctor Bob *
I met Bob Watts in 1974, in New York, during my first visit
to the United States. This was the start of a long friendship
that found its culmination in various editions, as well in a
number of unique works and in frequent visits to one
another. It continued until his death. Bob was one of the
very first guests to come to Asolo, which quickly became
a dynamic center of cultural activity for a wide range of
artists from the entire spectrum of avant-garde art: from
fluxus to Viennese actionism, from poesia visiva to Zaj,
and many more. Joe Jones, an artist and composer, made
his home in Asolo for six years, and he introduced me to
numerous artists. Watts was one of the people whom Joe
insisted I had to meet.
Some of the others whom I met and who worked in Asolo
were Charlotte Moorman, Nam June Paik, Takako Saito,
Milan Knik, Philip Corner, Alison Knowles, Dick Higgins,
Carolee Schneemann, Emmett Williams, Geoff Hendricks,
and Daniel Spoerri, as well as Hermann Nitsch, Gnter
Brus and Otto Mhl, in addition to many others. Numerous
works both regular editions and unique pieces were
created with materials that were made available there,
even though they were quite uncommon, such as largescale canvases for hand-made silkscreen works. The
process applied to create these pieces was always directly
supervised by the artists themselves, and the same
artists often made painterly interventions by hand during
or directly after their printing.
The relationship with Bob Watts was very special, since he
was blessed with a powerful, innovative spirit a spirit of
experimentation that carried Editions F. Conz to a very
high level of quality: the work we published was very
different from the commercial art world products that were
elsewhere so typical of that period.
Bob was one of several fluxus people George Brecht and
Robert Filliou are other prime examples who had real
backgrounds, and indeed careers, in science, and all of
them proved to be pioneers in the exploration of the
intersections between artistic and scientific endeavor, as
must also be said of Eric Andersen and Larry Miller.
2008
This is also partly seen in the work Bob did on the basis of
a book I gave him shortly after leaving my home in Asolo
and moving on to Verona. It was a medical and anatomical
textbook that had been published in Paris in the late 1800s.
Inviting Bob to take a look at that book and to re-elaborate
its images was like having invited a starving man to
dinner. He completed twenty-eight works, nineteen of
which were subsequently chosen for the silkscreens on
cloth which are now presented for the very first time in
Budapest, at Artpool.
My familys origins are Austro-Hungarian, and it strikes
me as right that these works by Bob Watts be preserved
for the future in a country from which my ancestors once
departed. The photographs which accompany the donation
of the works on cloth provide further historical documentation
that portrays Bob Watts in the course of his interventions in
the silkscreen shop in Como, as well as while he was making
the original collages.
I see these works and the photos that flank them as a truly
authentic image of a man whose dedication to art was total,
and whose ideas were far in advance of the times in which
he lived.
Verona, March 2008
* Published
Flux Med unpacking and framing the silkscreened canvases at Artpool P60
(Gyrgy Galntai and Viktor Ktun)
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Robert Watts:
FLUX MED
The exhibition is the first presentation in Budapest of Robert
Watts big size silkscreen prints from 1987 and accompanies
the Budapest venue of the Fluxus East exhibition.
The Flux Med collection and the photos documenting Bob
Watts work process are a donation to Artpools fluxus
collection by Francesco Conz and Archivio F. Conz.
At the exhibition organized by Gyrgy Galntai, the under
standing of Robert Watts works was aided by text elements,
document photographs and fluxus musical background
Mieko Shiomis Fluxus Suite.
Opening event: Introduction and performance by Geoffrey
Hendricks (he performed some scores of Robert Watts).
2008
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FLUXUS EAST
Fluxus Networks in Central Eastern Europe
FLUXUS EAST
Fluxus hlzatok Kzp-Kelet-Eurpban
Budapest venue after Berlin, Vilnius and Krakow of the
big touring exhibition monitoring fluxus networks in Central
and Eastern Europe showing several Artpool works and
documents.
The Budapest exhibition has been completed with more
material from Artpools collection: Flux Flags from 1992,
documents of Ben Vautiers podium and captions at Liszt
Ferenc tr renamed Ben square in 1993, as well as a
selection from Artpools fluxus videos and the website
Fluxus@Artpool.
Coordinators of the show in Budapest: Kata Balzs, Rna
Kopeczky.
The anthology titled FLUXUS. Interjk, szvegek, esemnyek
esetek [FLUXUS. Interviews, Texts, Events] was launched
for the exhibition, including all the source texts translated as
part of the fluxus research project started by Artpool in 1993
and hitherto only available online.
20 May 2008 (related events)
Presentation of the book FLUXUS. Interjk, szvegek,
esemnyek esetek [Fluxus. Interviews, Texts, Events] by
Jlia Klaniczay, Jnos Sugr, Annamria Szke.
Fluxus Videos from Artpools video archive presentation
by Viktor Ktun.
2008
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28 May 2008
Transart Communication
Performance & Multimedia Art,
Studio ert 19872007
The book by Gbor Hushegyi and Zsolt Srs, published
by Kalligram Publishing House, Bratislava, was presented
by Blint Szombathy. All the documents (catalogs, posters,
videos) on Studio ert collected while preparing the book,
and partly utilized in the publication, have been donated to
the Artpool Art Research Center. The donation ceremony
was held during the presentation of the book.
Kumu Art
FLUXUS EAST
Fluxus Networks
in Central Eastern Europe
Tallinn venue after Berlin, Vilnius, Krakow and Budapest
of the big touring exhibition monitoring fluxus networks in
Central and Eastern Europe showing several Artpool works
and documents.
DOCUMENT: loan agreement, list of the loaned artworks, invitation,
photo Web-document: www.artpool.hu/2008/080904e.html
DOCUMENT: photo
5 6 June 2008
Magyar Kpzmvszeti Egyetem,
Intermdia Tanszk (Intermedia Department,
Hungarian University of Fine Arts), Budapest
27 June 2008
2008
CHB Moholy-Nagy
Heavenly Peace
Himmlischer Frieden
19192008
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10 22 October 2008
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2008
2009
THE YEAR OF THE
LAST NUMBER
AT ARTPOOL
7 March 17 May 2009
Copenhagen
Kunsthallen Nikolaj,
FLUXUS EAST
Fluxus Networks
in Central Eastern Europe
11 March 2009
TIGY Room, CEU (Central
European University), Pasts, Inc. Center for
Historical Studies, Budapest
13 March 2009
2009
20 March 2009
Budapest
The archive:
institution (art)form, philosophy
Az archvum:
intzmny (m)forma, filozfia
Study trip and workshop at Artpool, as part of the Modernity
Cultural Science Program of the Doctoral School for Literary
Science of the University of Pcs.
Lectures:
Jlia Klaniczay: The Artpool Archive:
history, scope of collections, publications
Jzsef Havasrti: The Underground Press as an Archive
Zsfia Frazon: The Publicization of Private Archives
Exhibition interior with Artpools Flux Ping-Pong and
Galntais bookworks at Fluxus East in Copenhagen
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30 YEARS OF ARTPOOL
(and its antecedents)
Az ARTPOOL 30 ve
(s elzmnyei)
Exhibition-event: selection from the visual and sound
material of Artpools Hungarian and international projects,
video-installation of documents and artworks. Curator:
Gyrgy Galntai.
DOCUMENT: invitation, email invitation, photo, video
Web-document: www.artpool.hu/2009/090325_1e.html
BIBLIOGRAPHY: Valaczkay Gabriella: Az Artpool az n szobrom! Egy
eurpai jelentsg dokumentcis bzis sajt pnzbl, Npsza
30 ves az Artpool, Magyar
badsg, Kultra, April 4, 2009, p. 9.
Cs. O.: Harminc
Narancs, Kultra, March 26, 2009, p. 6 (notice)
ves a budapesti Artpool Mvszetkutat Kzpont, pestimusor.hu,
, May 7,
May 13, 2009 TVRADIO: M1, April 2, 2009 (Kultrhz)
; RTL Klub, July 9, 2009 (Infomnia)
;
2009 (Kultrhz Extra)
Kossuth Rdi, April 11, 2009 (Ments msknt / Mvszeti figyel)
In retrospect, the evolutionary character of the 30 years of Artpools activities can be discerned in the form of
consecutive projects each of which had an impact upon the next. The most provocative event was the meeting
of the inventions of two Hungarian inventors, both of whom brought about a paradigm shift in an art project.
Concretely and simply: Charles Sirats dimensionism theorem (N+1) is confirmed by Arthur Koestlers holon
theorem (n+1) of 1967, and amplifying each other the two caused an explosion. There is no way back now,
and art/life can only be holarchic, including what was and what is to come, because holarchy is the domain of
freedom for every human holon (a part and a whole).
(Gyrgy Galntai, 2009, email)
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2009
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2009
Lszl Szlauk (left) and Gyrgy Rczei (right) at thirtieth anniversary celebration of Artpools bringing into existence after having presented
Gyrgy Galntai with the DADAMA [DADATODAY] certificate of the International Infantile (P) Party and the New Orwell Street Brigade
for his outstanding work pursued to protect artistic freedom. In the centre: Gyrgy Galntai (with the certificate) and Jlia Klaniczay
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Photos of the exhibition at Artpool P60 (video screenings and presentation of documents and works from Artpools previous projects)
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26 April 2009
But is it Art???
Where do you draw the Line?
Ez most mvszet???
Szerinted / n szerint hol a hatr?
An interactive, performance/research event by Doktor Anna
Freud Banana (Specific Research Institute, Canada), the
provocative examination of contemporary art practice
and exhibition of works (artistamps, collages, etc.) and
documents by Anna Banana from the Artpool archives.
DOCUMENT: correspondence (organization), invitation, email invi
tation (Hu, En), handout, questionnaire, the projected slides, photo,
video
Web-document: www.artpool.hu/2009/Banana_en.html
BIBLIOGRAPHY: Egynapos killts nylik a bannmvszn alkot
saibl, ugyanitt bannlakoma, origo.hu, April 22, 2009
Parallel Chronologies
The Invisible History of Exhibitions
Prhuzamos kronolgik
A killtsok lthatatlan trtnete
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2009
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Platn Galria,
TYPOPASS
Critical design and conceptual typography
Anti- and Parallel Design
Kritikai design s konceptulis tipogrfia
Exhibition with a selection of artists publications partly from
Artpools collection. Curators: Judit Angel, Dra Hegyi,
Zsuzsa Lszl.
DOCUMENT: list of the loaned artworks, invitation, poster, handout,
PUBLICATION: Angel Judit Hegyi Dra Lszl
photo, video
Zsuzsa (eds.): Typopass kritikai design s konceptulis tipogrfia /
Typopass Critical Design and Conceptual Typography, Tranzit
Hungary, Budapest, 2010, 118 p.
Web-document: www.artpool.hu/2009/091021e.html
BIBLIOGRAPHY: Typopass kritikai design s konceptulis tipogrfia
/ Typopass Critical Design and Conceptual Typography, in: Angel
Judit (ed.): Kztes id / Interval, Dorottya Galria, 2009. January
December, Mcsarnok, Budapest, 2010, pp. 77119 [Artpool: 77, 95,
Angel Judit Hegyi Dra Lszl Zsuzsa (eds.):
98, 104105.]
Typopass kritikai design s konceptulis tipogrfia / Typopass
Critical Design and Conceptual Typography, Tranzit Hungary,
Budapest, 2010, pp. 53, 56, 6465, 108, 112.
Revolutionary Voices exhibition interior with posters from the Artpool Archive
New York
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Revolutionary
Voices
MUMOK,
GENDER CHECK
Femininity and Masculinity
in the Art of Eastern Europe
During the preparations of the exhibition research of
Edit Andrs in Artpools archive. Shown in the exhibition
among others: the series of photos documenting the performance by Gyrgy Galntai: Homage to Vera Muhina
(Heroes square, Budapest, 1980, with Jlia Klaniczay and
G. A. Cavellini pp. 5254).
Second venue of the exhibition: 20 March 13 June 2010,
ZACHETA, Warsaw.
4 December 2009
2009
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TELEMATIC REALITY
HOLONIC SYSTEM
If we manage to take an integral approach to the present we have come
to accept, we will see an increasing number of accidentally self-assembling
events, things, ideas, constructions, etc., essentially a telematic integral,
from another perspective a holonic system, after history.
According to Vilm Flusser: This vertigo, this whirlwind in which our
thought must move when it tries to think about the relationship between
natural sciences and natural history, is a symptom of the end of history.
The dizziness that has seized us is the screw by means of which we
unscrew ourselves from historical consciousness, to drill ourselves into
another hole. The turns of the screw are processes, and our thought
must move along these turns. Yet, the screw itself is not a process, but
rather a form. Thus, we proceed from the process to the form, from
the historical into the formal. This is not only vertiginous, but also
comprehensible.
[...] The world and the brain are related to each other like process and
narrative: the process creates the narrative and the narrative creates
the process (the brain makes the world and the world makes the brain).
It makes one dizzy when one thinks about this historically, but not when
one thinks about it formally. The apparent paradox is one of the turns of
the screw, out of the historical into the formal.
[...] In posthistorical consciousness, the question whether history (and
reality in general) possesses either a particle structure or a wave
structure is a nonquestion. It depends on the manner in which one
reflects on history (and the world), whether in an antiquarian manner or
in a historical manner. Finally, this insight is a further turn of the screw
out of historical consciousness into posthistorical consciousness. 1
One thing is thus sure: we should depart from the principle that we are
modes of junctions, rather than individuals. In other words, I is a word
that others pronounce as you. Thus, we are dealing with a function
word: I is the you of the other person.
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[...] If we abolish the paradigm of historical time and opt for a new
concept, whereby time flows towards us from every direction, and all
things coming from the future are brought into being in the present,
then through these things, the present is divided into two parts: that
which can be downloaded, i.e. memory; and that which is impossible to
download, i.e. the forgotten.
[...] The prefix tele- not only means bringing closer events happening
far away from us but also of people far from us; therefore, thanks to
telematics we are able to establish relations with numerous people
through whom we can fulfill our ambitions and who can fulfill their
ambitions through us. A dialogical relationship forms between people
who were once far from each other and now brought close. 2
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HOLONIC SYSTEM
TELEMATIC ART
The crucial question in the Artpool Art Research Centres self-defining,
co-operative and self-transcendent activity is: how can reality after alreadyexisting history, a telematic society with an integral approach, and the
holonic system as an extended mind be represented through art?
According to Vilm Flusser: With writing, history in the narrower sense
begins as a struggle against idolatry. With photography, post-history begins
as a struggle against textolatry. [...] History, in the precise meaning of
the word, is a progressive transcoding of images into concepts, a
progressive elucidation of ideas, a progressive disenchantment (taking
the magic out of things), a progressive process of comprehension. If texts
become incomprehensible, however, there is nothing left to explain, and
history has come to an end. During this crisis of texts, technical images
were invented: in order to make texts comprehensible again, to put them
under a magic spell to overcome the crisis of history. [...] The difference
between ancient and modern magic can be stated as follows: Prehistoric
magic is a ritualization of models known as myths; current magic is a
ritualization of models known as programs. Myths are models that are
communicated orally and whose author a god is beyond the
communication process. Programs, on the other hand, are models that
are communicated in writing and whose authors functionaries are
within the communication process. 1
This transition from the old ways of reading to the new involves a leap
from historical, evaluative, political consciousness into a consciousness
that is cybernetic and playful, that confers meaning. This will be the
consciousness that reads in the future. [...] It is characteristic of
computing to assume that the world and we are meaningless (absurd),
that either can be picked in to kernels, and that the kernels can then be
assembled into something that does have meaning. 2
2010
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A holon on the n level of an output hierarchy is represented on the n+1 level as a unit, and triggered into
action as a unit. A holon, in other words, is a system of relata which is represented on the next higher level
as a relatum. (Arthur Koestler)
Starting webpage for Artpools 2010 year projects, www.artpool.hu/Defaulte2010.html
www.artpool.hu
Hungary + Denmark
(in the long run: n+1)
Related to the Budapest Spring Festival (whose guest in
2010 was Denmark), internet presentation of the works of
Danish artists participating in different Artpool projects.
DOCUMENT: email invitation (Hu, En)
WEB-DOCUMENT: www.artpool.hu/2010/100325e.html
Hungry Man,
Reach for the Book
It is a Weapon!
Exhibition of artists books. Curator: What, How & for Whom
(WHW).
11 issues of Artpools samizdat art magazine AL (Artpool
Letter, 19831985) were on display ( pp. 76, 78), borrowed
from the Museum of Modern Arts (MoMA) collection.
DOCUMENT: correspondence, email invitation (Hu, En), photo
BIBLIOGRAPHY: hes ember, fogd a knyvet, ez fegyver!, Magyar
Narancs, May 6, 2010, p. 6 (notice)
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25 May 2010
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Blint Szombathy, Katalin Keser, Jlia Klaniczay, Lszl L. Simon, Gbor Tth, Tibor Papp and Gyrgy Galntai at the book presentation
2010
(Katalin Keser)
Back and front cover of The History of the Dimensionist Manifesto by Charles Tamk Sirat published by Artpool and Magyar Mhely, 2010
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Dimensionist circumstances
In the 1950s and 60s, the Hungarian avant-garde could mostly be found at venues that were part of the private
sphere in the form of personal meetings in art galleries and flats, while publication was carried out by a spread-theword technique. Planar poetry manifested itself in visual, concrete and experimental, etc. poetry, and was mainly
influenced by the publications of the Magyar Mhely (Hungarian Atelier) in Paris, which were regularly smuggled into
Hungary, while Dimensionism manifested itself in pop art, land art, conceptual art, kinetic art, etc. Apart from the
official venues, which were seized during partisan-like raids, the unofficial venues of the avant-garde that survived for a
more extended period thanks to gaps in legislation were Pl Petrigallas Budapest flat in the 1960s and Gyrgy
Galntais Chapel Studio in Balatonboglr in the early 1970s.
In Balatonboglr visual, concrete, experimental, etc. works that could be considered as dimensionist were exhibited from
1971 by the first artists of this genre, i.e. Mikls Erdly, Tams Szentjby, etc. and later by artists including the Bosch+Bosch
Group from Vojvodina, Blint Szombathy, etc. Boglr was also the venue for the first Hungarian experimental poetry
exhibition in 1973 titled Szvegek/Texts, organized and installed by Dra Maurer and Gbor Tth.
A picture from the Szvegek/Texts exhibition (Chapel Studio of Gyrgy Galntai, Balatonboglr, 1972), in the middle:
suspended from the ceiling is Gbor Tths interactive hanging mobile made from the letters K and T, which goes beyond
the framework of planar poetry since it exits the two-dimensional plane; it is also kinetic, thus dimensionist. (Gbor Tth said that
he turned to poetry under the influence of Charles Tamk Sirats planar poems, but this new work represents a step further.)
With the foundation of the Artpool Art Research Center in 1992 in Budapest, research into experimental poetry could be
continued. In conjunction with the Polyphonix 26 international poetry festival, a publication titled Sound Poetry was
published under the editorship of Endre Szkrosi, who also wrote the introductory essay to the volume.
2010
Later, one of the exhibits at Artpools Sound Image international poetry exhibition in 2002 was a photocopy of Charles
Tamk Sirats work titled Ballad (1926). The online publication of this piece and the related document pages (poems,
newspaper articles and the Hungarian text of the Dimensionist Manifesto) marked the beginning of the research and
exploration of Charles Tamk Sirats dimensionist oeuvre.
Simultaneously with Artpools international research project in the autumn of 2005 (The Experimenter and the Art of
Perception), the Magyar Mhely published Blint Szombathys volume titled A konkrt kltszet tjai [The Paths of
Concrete Poetry], whose chapter 6 titled From Planar Poetry to Dimensionism could, in relation to the 2006 projects,
serve as inspiration for the 2007 exhibition, which provided an insight into Charles Tamk Sirats dimensionist oeuvre,
as well as for the dimensionist evenings in Artpool P60 (performers: Andrs Petcz, Gyrgy Galntai, Michel Giroud,
Blint Szombathy, Gbor Tth, Tibor Papp). The online documentation made for this event not only provided the
background for Dimensionism but also made further research into it an imperative.
The story continued in 2008, when Artpool organized a dimensionist world conference with the title N+1/2008 the
dimensionist present. Then, in 2009, the Hungarian publication of Arthur Koestlers The Ghost in the Machine (Eurpa,
2000, English original: 1967) was rediscovered, from which we were able to learn about Koestlers discovery called the
holon with the formula: n+1. A holon on the n level of an output-hierarchy is represented on the (n + l) level as a
unit, and triggered into action as a unit. A holon, in other words, is a system of relata which is represented on the next
higher level as a relatum. (A. K.) The essence of Dimensionism: Deductive with respect to the past. Inductive with
respect to the future. Alive in the present. (Ch. T. S.)
After all this, it became obvious that the publication of Charles Tamk Sirats The History of the Dimensionist Manifesto
could no longer be postponed.
(Gyrgy Galntai, 2010)
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June 2010
Dundee, Scotland Artpool Art
Research Center, Budapest
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Henie
FLUXUS EAST
Fluxus Networks
in Central Eastern Europe
2010
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November 2010
San Diego Artpool Art
Research Center, Budapest
The Collection of
Mario Lara
San Diego-based architect-networker Mario Lara donated
documents to Artpool on the network activity he carried out
in his youth as well as numerous original works (bookworks,
mail art, postcards from the early 1980s), including the
original materials of Commonpress 37 (Things To Think
About In Space), which he himself organized.
DOCUMENT: correspondence, CD
WEB-DOCUMENT: www.artpool.hu/Lara/ and
www.artpool.hu/Lara/Commonpress37/
ARTWORKS: in Artpools collection
I found out that I shared a natural disaffection and skepticism of the Establishment embraced by most mail artists that I engaged with at the time. I also
disliked the unnatural curatorial process instituted by most galleries and
museums that stifled creative expression. Mail art cut out the middleman
(cultural institutions) allowing artists to freely and openly exchange ideas
and information without censure by way of the International Postal System.
Back in the late 1970s and early 1980s you could send through the mail pretty
much anything you wanted provided you paid the postage. I remember one
significant mail art project organized by Judith Hoffberg of Umbrella Magazine in Los Angeles, CA. Most of the mailings did not arrive at the gallery so
Judith investigated what happened with all the work. It turns out the L.A. Post
Office decided it was not legitimate mail and threw it all into a dumpster.
Luckily Judith was able to retrieve all of the mailings from the dumpster
and launch the show. This incident really stirred things up quite a bit. That
was how I came to know some of the crazy artists in L.A. In particular Lon
Spiegelman. Judith Hoffberg knew pretty much everyone who was involved
with mail art, zines and bookworks at the time. It was also during this time
that I was receiving mailings from Jlia and Gyrgy Galantai of Artpool in
Budapest, Hungary. I contributed to many of their project invitations and
as a result Artpool became a home for many of my mailing efforts. It is for
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this reason that I chose to contribute the bulk of what I held onto to them.
I felt Artpool was a kind of sanctuary where artworks like mail art were
welcomed and shared. I really never felt this kind of open support from The
Franklin Furnace in New York.
It was an exciting experience for me to be engaged in the worldwide Eternal
Network. In the beginning I was mostly making color Xeroxes of my collage
postcards. They were easy to make, easy to reproduce and cheap to mail.
Along the way I adopted the nickname Art Rat. Later on I found out there
was a Canadian mail artist who had been using the same name before me.
Oddly I never heard anything from that person. My feeling was there was
plenty of room for numerous art rats to coexist.
I would say the high point of my involvement was when I decided to do an
edition of Commonpress. This was a publication series organized by Pawel
Petasz in Poland (before the wall came down). I was able to get my first
modest grant from the Fessenden Foundation to cover the costs of printing
Commonpress-37, Things To Think About In Space. At some point in the
mid 1980s I began feeling overwhelmed with the sheer amount of mailings
I was receiving and the difficulty I was experiencing trying to respond to it
all. Mail art was not my primary creative interest at the time despite how
much fun it was. I decided to back away from the Eternal Network so that
I could concentrate more on my other creative activities such as installations
and public art. I was beginning to get heavily involved in the local art scene
and especially the handful of artist run not-for-profit art organizations such
as Sushi Performing & Visual Arts, The Centro Cultural de la Raza and
Installation Gallery in San Diego.
2010
I did manage to continue doing some exchanges with Artpool and one
particular artist from Pittsburgh, PA by the name of Jerome DAngelo. He
sent me all kinds of wild collages and postcards. I especially enjoyed what
he did with his envelopes. We still send each other home made X-Mas cards
every year. At some point, once I became savvy with computers and digital
imaging, I began thinking about creating a digital archive of some of what
I had in my mail art collection. I just could not let the material rot away in
storage and I could not just dispose of it either. Earlier this year I contacted
Artpool to see if they would be interested in any of the work. I felt this would
be an excellent home for what I had. Jlia and Gyrgy agreed to receive what
I was willing to send them. That was a great relief to me. I am also providing
them with a copy of my digital archive for reference and to possibly use on
their enormous website (www.artpool.hu). It has one crazy trip down memory
lane looking at all the work. I especially remember wonderful works by Edgardo
Antonio Vigo and Graciela Marx, Buster Cleveland, Robin Crozier, Crackerjack
Kid, Dear Ms. Cernak, Vittore Baroni, Cavellini, Anna Banana, Bill Gaglione,
and so many others. I have come to learn that many of my mail art compatriots have passed away. Their artwork remains eternal.
Mario Lara, November 2010
(www.mariolara.us)
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Labor, Budapest
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17 June 2011
2011
On the wall: Photos of the Hommage Vera Muhina performance, 1980 and its elaborations ( pp. 5254)
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On the panels: Documents and photos of Hungary Can Be Yours / International Hungary, 1984 ( pp. 8184, 268270)
Photodocuments of the events held in the Chapel Studio in Balatonboglr in 1971, 1972 and 1973
(looking at the pictures: Gyrgy Galntai and Jir Kolr with his father)
Artpools publications
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Buda Ray University, 19821987 ( pp. 5964) Remembrance of a Message, 1987, performance by G. Galntai in the memory of Mikls Erdly
Flux flags by Eric Andersen and Julius Koller hanging at the entrance of K55 art space
2011
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On the back of the invitation: some fluxus scores from The Fluxus
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2011
Gbor Attalai: Training my foot for future hard steps, 1971 (photo)
Antal Lakner: INERS Passive Working Devices. HOME TRANSPORTER, 1999 (poster)
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Gyrgy Galntai, Mrk Radics, Lszl Kiss, gnes Brdos Dek, Viktor Ktun, Tibor Horvth (NMA)
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Art Press Conference: the 70 years old Master interviewed by NMA (the National Art Foundation art project)
and media workers representing KGB, CIA, STASI, etc.
Friends and colleagues at the party during the screening of the Galntai70 tribute video
2011
Gyrgy Galntai receives the works sent by the international members of the Galntai network in response to the Who is Gyrgy Galntai? call
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Preparations by Viktor Ktun (Plgium 2000) for the Galntai70 project: invitations prepared for posting / the first responses / taking photos of the works received
2011
Ko De Jonge (Netherlands)
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APPENDIX
ARTPOOL ART RESEARCH CENTER
GENERAL INFORMATION ON THE INSTITUTION AND ITS OPERATION (2012)
C O N T A C T
address: H-1061 Budapest, Liszt Ferenc tr 10., Hungary
tel., fax: +36-1 268 01 14, mobile: +36-20 347 7670
e-mail: artpool@artpool.hu, www.artpool.hu
postal address: H-1277 Budapest 23, Pf. 52.
Research in the archive and library is available by appointment.
A B O U T
U S
The Artpool Art Research Center, opened in 1992, is a non-profit institution located in the center of Budapest, housing a
public library, multimedia archives and the Artpool P60 exhibition space. Its main agenda is research and theoretical
analysis of the changes in and results of recent trends in the Hungarian and international art scenes.
By continuing the tradition and relying on the experiences of Gyrgy Galntais Chapel Studio in Balatonboglr (1970
1973) and the illegal Artpool Archive (founded by Gyrgy Galntai and Jlia Klaniczay in 1979), the Artpool Art Research
Center focuses its research and documentation activities on new trends in contemporary art and various new media, as
well as on the relations between society and art, and/or between art and everyday life.
Receiving and giving information, collecting and preserving documents and publishing materials represent one
dimension of Artpools activities. Using the archive creatively is another aim.
The Artpool Art Research Center today is a model for others in its use of archival processes in complex art projects that
connect past and present to work on future, as yet unanswerable, questions of culture.
M A I N
A C T I V I T I E S
PRACTICAL PROJECTS
Curating and coordinating exhibitions and events to present contemporary trends, media, practices and
resources in art, and to cooperate with other cultural institutions in initiating joint projects.
400 exhibitions, lectures and art events (at the Artpool Art Research Center and from 1997 at the Artpool
P60 art space)
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Video Archive. This archive contains about 2,000 digitized VHS cassettes and DVDs (about 2,500
hours worth). The oldest items are video transcripts of experimental films of the Balzs Bla Studio
and cultural documents that have been recorded from Hungarian TV since 1984. Artpools own
recordings, Gbor Tths recordings and donations, exchanged materials, and video works received
as contributions to Artpools projects since 1992 (including video anthologies and works,
performance videos, fluxus, actionism, scenes from alternative theatre, independent films, reports
on festivals, etc.) have significantly enlarged the archive.
For a complete list of the digitized videos, visit www.artpool.hu/video/
Photo Archive. This archive contains about 15,000 photographs and slides, documenting the art
events and culture of Hungary from the early 1970s, art photographs, and reproductions of artworks
and photo documents of projects organized by Artpool in the 1980s. Gyrgy Galntai took the
majority of the photographs; other significant photographers in the archive include Dra Maurer,
Lszl Lugosi Lugo, Attila Pcser, Jlia Veres and Lszl Haris.
Posters of underground, avant-garde, experimental art events, exhibitions, festivals and concerts
from the 1970s onward. Around 3,000 pieces (of which ca. 1,100 pieces are the deposit of Tams
Sznyei). The Hungarian art posters, which include a significant number of posters of alternative,
underground, pop-rock and new wave concerts, have recently been digitized and have thus
become more accessible to researchers.
THE COLLECTIONS
Through its artistic exchanges, connections and organizational activities, and with the help of donations and
deposits from artists, Artpool has accumulated several collections of worldwide significance that are unique in
Hungary. Among others, the archive holds the following collections: Artistamps, Artists Bookworks, Visual
Poetry, Artists Periodicals, Sound Poetry, Hungarian Conceptual Art from the 1970s and 1980s, Mail Art, etc.
The Hungarian materials dating from the early 1970s in the collection of the Artpool Art Research
Center consist mostly of conceptual art works, photo/slide works, photo-documents, artists postcards, cartoons, artists publications, artists posters, concrete and visual poetry works, as well as
works received as a result of international contacts with artists (publications, small prints, visual
poetry works). Provenance of this part of the collection: partly as a deposit by Gyrgy Galntai, and
partly as gifts by Gyrgy Galntai, Gbor Tth, Dra Maurer, Imre Bak, Gbor Attalai, etc.
Some complete projects can also be found (Tkr/Mirror/Spiegel/Miroir, Balatonboglr Chapel
Studio, 1973, organized by Lszl Beke; Szvegek/Texts, Balatonboglr Chapel Studio, 1973,
organized by Dra Maurer and Gbor Tth).
From the end of the 1970s: As a result of the GalntaiArtpool projects, a considerable quantity
of artworks and documents arrived continuously from Hungary and abroad, which facilitated the
establishment of several international collections, among them probably one of the worlds largest
artistamp collections with more than 9,000 individual sheets of stamps (including the estate of the
Canadian artist and philatelist Mike Bidner).
Some complete projects from the end of the 1970s and the 1980s:
Complete materials of the Museum of Hungarian Avant-garde Art project by Andrs Bn from
1979 with the participation of 46 Hungarian artists donated to Artpool in 1991.
Buda Ray University, a network project by Gyrgy Galntai based on his correspondence with
Ray Johnson (19821988). The number of participating artists over the years reached 580.
Complete materials of the exhibition Hungary can be yours! / International Hungary (an
exhibition of historical significance held at the Young Artists Club of Budapest in 1984 with works
by 110 artists).
Collection of Hungarian Samizdat Art (art and literary reviews, publications, about 200 items).
The great majority of the archived materials of the ten-year DATA Daily Action Time Archive
(19801989) project by Pete Horobin (aka Peter Haining) from Scotland donated to Artpool in
2010.
Complete materials of the Things To Think About In Space (Commonpress 37) project by Mario
Lara (USA) from 1980 donated to Artpool in 2010.
From 1992: The already existing collections are continuously growing with contemporary works
thanks to Artpools yearly international projects (curated by Gyrgy Galntai) and the artistic
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A P P END I X
exchanges between Galntai and artists worldwide. (All important projects are documented on the
Internet, where all the works can be accessed.)
The most interesting projects from the 1990s onward (with hundreds of international partici
pants), which represent a significant addition to the collections, can be consulted on the pages of
www.artpool.hu
Donations, gifts, exchange partners
Throughout the years, Artpool received considerable amounts of documentary and collection
materials from the following persons and institutions:
Gbor Attalai, Imre Bak, Vera Baksa-Sos, Andrs Bn, Lszl Beke, Mike Bidner, Julien Blaine,
Ren Block, Ugo Carrega, Livia Cases, Patricia Collins, Francesco Conz, John Evans, Klaus Groh,
Peter Haining, Jzsef R. Juhsz / Studio ert, Tams Kaszs, Bla Kelnyi, Mario Lara, Dra
Maurer, Gza Perneczky, Giancarlo Politi, Guy Schraenen, Hans Sohm, Adriano Spatola, Gbor
Tth and others.
Ars Electronica, Baltic, Centre Georges Pompidou, C3 (Center for Culture & Communication),
DAAD Berlin, Dokumenta Archiv, Ernst Museum, Essl Collection, Foksal Gallery Foundation,
Forschungsstelle Osteuropa, Knstlerhaus Bethanien, Le Lieu Centre en art actuel, Ludwig
Museum Budapest, MACBA, MUMOK, Mcsarnok / Kunsthalle, Traf, WHW, ZKM, etc.
P ublications
publications 19791989
Newsletter / Review
Editors: Gyrgy Galntai and Jlia Klaniczay; design, layout and production: Gyrgy Galntai
POOLWINDOW / POOL-LETTER (one page mail art newsletter, 30 issues [1980: 15, 1981: 618, 1982:
1930], A4, photocopy) ( pp. 39, 44, 4750)
AL (Aktulis / Alternatv / Artpool Levl) [Actual / Alternative / Artpool Letter], 19831985, 11 issues, (Nos.
19, A5, photocopied, Nos. 10, 11, A4, photocopied with offset cover, rubber stamp, with a circulation of 300
500, bookwork-like samizdat art magazine with several inserts and supplements and with English summaries
for each issue ( pp. 76, 78)
Boxed edition of AL (Artpool Letter) 111, 19831985 (Artpool, Budapest, 2004), published in 15 copies.
Assembled from the leftover original inserts and sheets (some missing pages were reprinted from the original
template using the same photocopy technique)
Radio Artpool, cassette release, cassettes 18, 19831987, Artpool, Budapest ( p. 80)
Bookwork publications (design and production: Gyrgy Galntai):
The Artpool, 1980, A6, 18 pages, offset, foldout bookwork (it simultaneously functioned as the first issue of
the Poolwindow newsletter) ( pp. 39, 47)
A P P END I X
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Textile Without Textile (Textil textil nlkl), GalntaiArtpool, Budapest, 1980. Original works in an A4
format silk-screened folder, in a variety of techniques by 54 artists from various countries, 300 numbered
copies ( p. 43)
ART + POST (Mvszet s Posta), 1981, four A6 booklets in an envelope, offset, ca. 200 copies. (The series
containing the Hungarian translation of articles and studies about correspondence art was published to prepare
the first exhibition of Hungarian mail artists. The fourth booklet was also the catalog of the exhibition.) ( p. 55)
ART-UMBRELLA (Mvszet-Eserny), 1981, bookwork-catalog, A6, offset, with color foil cover, 97 numbered
copies. 104 works by 33 Hungarian artists ( p. 58)
Artpools Ray Johnson Space (IIII.), Artpool, 1983, bookwork, 44 copies
Artpools Ray Johnson Book / Four Letters, 1985, A4, 120 pages, photocopy, 10 numbered copies ( p. 59)
To live in a negative utopia, 19821987, A5, 34 pages booklet, photocopy, 100 numbered copies. An edition
of selected answers by 32 artists to Ray Johnsons second add to letter ( p. 95)
Everybody with Anybody, Artpool, 1982, A5, offset, rubber stamp, in a plastic bag, 300 numbered copies.
Bookwork-catalog with photos, original rubber stamps and articles by Gyrgy Galntai, Mikls Erdly, Albert
Kovts and Gyrgy Szemadm in Hungarian and in English. Catalog of the rubber stamp event, 1982
(supplement to the catalog: call, invitation and poster) ( p. 65)
Stamp + Rubber Stamp, Artpool, 1982, 17x15 cm, silk-screened, offset, collage, rubber stamp, cardboard
cover, folder-like, 125 numbered copies. A publication compiled and conceived by Gyrgy Galntai to honor
those 22 Hungarian artists, who participated both in Artpools artistamp and rubber stamp project
World Art Post, Artpool, 1982, A4 landscape format, offset, silk-screened plastic foil cover, ca. 900 copies.
An album of 27 sheets (28 stamps each) of stamps designed by 550 artists from 35 countries with essays
and studies on artistamps in English by Peter Frank, E. F. Higgins, Lszl Beke, etc., along with a
comprehensive bibliography. Editors: Gyrgy Galntai and Jlia Klaniczay. Published on the occasion of the
World Art Post exhibition, 1982 ( p. 72)
Commonpress 51, Hungary, Artpool, Budapest, 1984, 15 copies (cover: silk-screened plastic foil and a
color offset tourist prospectus, inside: photocopy) catalog of the exhibition Hungary Can Be Yours! /
International Hungary
Commonpress 51, Hungary, Artpool, Budapest, 19841989, 300 copies, offset. Printed version of the
original catalog ( p. 83)
The Artpool Documentation 19791984, edited and produced by Gyrgy Galntai, Artpool, Budapest,
A4, ca. 7080 pages, photocopy eventually with collaged photos, artistamps, rubber stamp prints. 1984:
series IIV, (5 copies each), 1985: V (10 copies), VI (6 copies), 1986: VII (6 copies), 198788: VIII (22 copies)
A P P END I X
Polyphonix 26 Budapest, Artpool, Budapest, 1994 (A4, offset, 16 pages, EnglishHungarian). Catalog of
the Sound Poetry Festival organized by Artpool and Polyphonix Association (Paris) in Budapest, 1994, with
biographies and photos of the participating artists ( pp. 190191)
Networker Bridge, Artpool, Budapest, 1994 (A5 booklet assembled from 8+1 A4 sheets folded in two, b&w
and color photocopy). 64 tarot-card images, a bookwork by Gyrgy Galntai in homage to the networker
friends of Artpool ( p. 143)
Sajnos Istvn szvegei [Istvn Sajnos texts], Artpool, Budapest, 1995 (A5, photocopy, 44 pages, Hungarian),
booklet documenting the sajnos [alas] project ( p. 207)
Video-Expedition in the Performance-World, Artpool, Budapest, 1995 (A4, offset, 32 pages, English
Hungarian). Catalog of the performance-video festivals organized by Artpool and summary of the Year of
Performance including description of, and information on, the videos, photographs, brief introductory notes by
some experts of the topic, with index. Edited by Jlia Klaniczay, designed by Gyrgy Galntai ( p. 206)
Monument Square Postcards, Artpool, Budapest, 1997 (an edition of 56 cards selected from the 134 works
received for the project to transform a postcard showing Budapests Heroes square) ( p. 222)
The Year of Installation at Artpool: Installation Project 1998, Artpool, Budapest, 1999 (A4, 32 pages, offset).
Catalog of the project and the events held during The Year of Installation (EnglishHungarian) (excerpts
pp. 228, 237240)
Marcel Duchamp Szimpozion 1987 [Marcel Duchamp Symposium 1987], Artpool, Budapest, 2007 (A4,
digital print, 62 pages, Hungarian), publication with the Five minute lectures held at the symposium in 1987
by 21 leading Hungarian artists and art critics
Hommage Marcel Duchamp, Artpool. Budapest, 2007 (A4, color digital print, 100 copies, 143 pages + insert:
English summary of the Five minute lectures). A bookwork-catalog, an imprint of the website documenting the
event (symposium, concerts and exhibition) In the Spirit of Marcel Duchamp organized by Gyrgy Galntai
(Artpool) and Pter Gyrgy (Department of Aesthetics at the Etvs Lornd Univ.) in 1987 ( pp. 9193)
Robert Watts: Flux Med, Artpool, Budapest, 2008, 48 pages. Exhibition catalog with essays by Francesco
Conz, Larry Miller and Geoffrey Hendricks (EnglishHungarian) ( p. 456)
Books
Galntai, Gyrgy Klaniczay, Jlia (eds.): Galntai, letmunkk / Lifeworks 19681993, Artpool Enciklo
pdia Kiad, Budapest, 1996, 318 p. (EnglishHungarian)
Kaprow, Allan: Assemblage, environmentek & happeningek [Assemblage, Environments & Happenings],
Artpool Balassi Kiad BAE Tartshullm, Budapest, 1998, 75 p. (edited by and afterword: Annamria
Szke)
Koppny, Mrton (ed.): Idegen az ajtban, [Stranger at the door], Artpool Balassi Kiad, Budapest, 1999,
124 p.
Szke, Annamria (ed.): A performance-mvszet [Performance Art], Artpool Balassi Kiad Tartshullm,
Budapest, 2000, 346 p.
Beke, Lszl Blint, Anna (ed.): Poipoi, Artpool Mcsarnok, Budapest, 1998, 40 p.
Szke, Annamria (ed.): Diagramok: Gondolat-trkpek [Diagrams: Mind Maps], Artpool Mcsarnok,
Budapest, 1998, 51 p.
Havasrti, Jzsef K. Horvth, Zsolt (eds.): Avantgrd: underground: alternatv. Popzene, mvszet s szub
kulturlis nyilvnossg Magyarorszgon [Avant-garde: Underground: Alternative: Pop Music, Art and Subculture
in Hungary], Kijrat Kiad Artpool Mvszetkutat Kzpont PTE Kommunikcis Tanszk, Budapest Pcs,
2003, 239 p. ( p. 343)
Klaniczay, Jlia Sasvri, Edit (eds.): Trvnytelen avantgrd. Galntai Gyrgy balatonboglri kpolnam
terme 19701973 [Illegal Avant-garde, the Chapel Studio of Gyrgy Galntai in Balatonboglr 19701973],
Artpool Balassi, Budapest, 2003, 460 p. ( p. 325, excerpts pp. 2332, 326)
Klaniczay, Jlia Szke Annamria (eds.): FLUXUS. Interjk, szvegek, esemnyekesetek [FLUXUS.
Interviews, Texts, Events], Artpool Ludwig Mzeum, Budapest, 2008, 350 p. ( p. 457)
Havasrti, Jzsef: Sztes dichotmik. Sznterek s diskurzusok a magyar neoavantgrdban [Dichotomies
Falling Apart. Scenes and Discourses in the Hungarian Neo-avantgarde], Gondolat Kiad, Budapest
Artpool, Budapest PTE Kommunikci- s Mdiatudomnyi Tanszk, Pcs, 2009, 256 p.
Tamk Sirat, Kroly: A Dimenzionista Manifesztum trtnete. A DIMENZIONIZMUS (nemeuklidszi mv
szetek) I. ALBUMA. Az avantgrd mvszetek rendszerbe foglalsa [The History of the Dimensionist Manifesto.
Album I of Dimensionism (non-Euclidean arts). The Systematization of Avant-Garde Arts], Artpool Magyar
Mhely Kiad, Budapest, 2010, 198 p. (in Hungarian). Texts edited and notes written by: Jlia Klaniczay.
Postscript by: Lszl L. Simon. Book supplement: Manifeste Dimensioniste, 1936, 2 p. (reprint of the French
original) ( p. 473)
Artpool 30 kronolgia 19792009 [Artpool 30 Chronology 19792009], edited by Jlia Klaniczay, Artpool,
Budapest, 2010, 100 p.
Abajkovics, Pter Szkely, kos (eds.): Leopold Bloom Planetoida, Artpool, Budapest Magyar Mhely
Kiad, Budapest, 2012, 240 p. (EnglishHungarian)
A P P END I X
503
Indexes, Bibliographies
(compiled from materials and documents preserved in the Artpool Art Research Center)
Bnyi, Csilla: Mvszeti esemnyek a Bercsnyi Klubban 19631987 [Art Events in the Bercsnyi Klub
19631987], Ars Hungarica, 2002/1., pp. 123165.
Bnyi, Csilla: A Bercsnyi 2830 cm kiadvny repertriuma [Index of the periodical Bercsnyi 2830],
Ars Hungarica, 2002/2. pp. 387410.
Bnyi, Csilla: A hetvenesnyolcvanas vek alternatv zenei letnek dokumentumai az Artpoolban [Index of
the documents on the alternative music scene in Hungary in the seventies and eighties], in: Havasrti, Jzsef
K. Horvth, Zsolt (eds.): Avantgrd: underground: alternatv. Popzene, mvszet s szubkulturlis
nyilvnossg Magyarorszgon [Avant-garde: Underground: Alternative: Pop Music, Art and Subculture in
Hungary], Kijrat Kiad Artpool Mvszetkutat Kzpont PTE Kommunikcis Tanszk, Budapest Pcs,
2003, pp. 122131.
Bnyi, Csilla: A konferencia tmjhoz kapcsold alternatv/underground zenei esemnyek 19771989.
Vlogatott kronolgia az Artpool archvumban tallhat dokumentumok alapjn, [Chronology of alternative /
underground concerts 19771989, based on documents to be found in the archives of Artpool], in: Havasrti,
Jzsef K. Horvth, Zsolt (eds.): op. cit., pp. 225239.
Bnyi, Csilla Galntai, Gyrgy Sasvri, Edit: Esemnytrtnet 19661974 [Chronology of Events 1966
1974], in: Klaniczay, Jlia Sasvri, Edit (eds.): Trvnytelen avantgrd. Galntai Gyrgy balatonboglri
kpolnamterme 19701973 [Illegal Avant-garde, the Chapel Studio of Gyrgy Galntai in Balatonboglr
19701973], ArtpoolBalassi, Budapest, 2003, pp. 91190.
Bnyi, Csilla: Underground/alternatv/szamizdat irodalmi s kpzmvszeti periodikumok bibliogrfija
[Bibliography of Underground/alternative/samizdat periodicals of art and literature], in: Derky, Pl Mllner,
Andrs (eds.): N/ma? Tanulmnyok a magyar neoavantgrd krbl [N/ma? Studies about the Hungarian
Neo-avantgarde], Aktulis avantgrd 3., Rci Kiad, Budapest, 2004, pp. 348366.
Bnyi, Csilla: AL / Artpool Letter Aktulis Levl 19831985 (Repertrium) [Index of AL / Artpool Letter
19831985], Ars Hungarica, 2004/2., pp. 406433.
Galntai, Gyrgy: Mvszeti kapcsolat s kapcsolatbl mvszet. Ksrlet a magyar kapcsolat- s klde
mnymvszet kronolgijnak sszelltsra [Art correspondence and art from correspondence. An attempt
to compile a chronology of Hungarian correspondence art and mail art], in: Beke, Lszl (ed.): Mail Art,
Mcsarnok, Budapest, 1998, pp. 2159. (Updated version online at: www.artpool.hu/MailArt/krono.html)
Galntai, Gyrgy: AL 111 tematikus tartalom [AL 111, thematic index], www.artpool.hu/Research/
ALonline.html, 2007
Irodalomjegyzk (a Balatonboglri Kpolnamterem trtnethez), [Bibliography of the history of the Chapel
Studio in Balatonboglr], in: Klaniczay, Jlia Sasvri, Edit (eds.): op. cit., pp. 443449.
Sasvri, Edit: Levltri forrsjegyzk (a Balatonboglri Kpolnamterem trtnethez) [List of Source
Documents (related to the history of the Chapel Studio in Balatonboglr)], in: Klaniczay, Jlia Sasvri, Edit
(eds.): op. cit., pp. 407441.
F I N A N C I A L
B A C K G R O U N D
The Artpool Art Research Center has been supported financially by the Municipality of Budapest from 1992
to 2010, based on the bilateral contract of public service between the Municipality and the Artpool Foundation.
Since 2000, further financial support has been provided based on the bilateral contract of public service
between the Ministry of Education and Culture (Ministry of National Resources / Ministry of Human Resources)
and the Artpool Art Research Center. The latter has been the chief source of Artpools operation since 2010.
The institution also applies for further grants every year with varying success, in order to organize large-scale
events (symposia, festivals, invitations of artists from abroad, printed publications), to continue with the
archival project of organization and description of the special collections, and also to preserve VHS videos,
sound cassettes, etc. through digitization. Since 2010, the cuts in funds allocated for culture and the austerity
measures have rendered the operation of nonprofit institutions virtually impossible in Hungary, since the
private sector does not support culture; thus, Artpool will have to find a new way to ensure its future operation.
The most viable long-term solution would perhaps be for Artpool to operate as a branch of a state sponsored
or private museum or institution, ensuring a solid financial background.
Between 1992 and 2012, further support to Artpools art projects came from:
Accademia dUngheria in Roma, Budapest Bank Foundation for Budapest, Cultural Committee of the City of
Budapest, C3 Foundation, Canadian Embassy, ERSTE Foundation, Budapest Festival Center, Goethe-Institut
Budapest, Ministry of Telecommunication, Hungarian Cultural Centre London, Institut Franais de Budapest,
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Institut Hongrois Paris, Istituto Italiano di Cultura, Hungarian Artists Foundation, Hungarian University of Fine
Arts, Mozgkp Alaptvny [Motion Picture Foundation], Nemzeti Civil Alap [National Civil Fund], Nemzeti
Kulturlis Alap [National Cultural Fund], sterreichisches Kulturinstitut Budapest, Polish Institute Budapest,
Pro Helvetia, Raiffeisen Bank, The Royal Netherlands Embassy, Soros Foundation, Summa Artium Kht.,
Szpmvszeti Mzeum / Museum of Fine Arts (Budapest), Szerencsejtk Zrt. [Hungarian Lottery
Company], Tranzit Hungary Association
S T A F F
ARTPOOL ART RESEARCH CENTERS STAFF IN 2012
artistic director: Gyrgy Galntai
director / managing director: Jlia Klaniczay
archivist: Dra Halasi
part time archive assistants: Kata Benedek, Eszter Greskovics, Viktor Ktun
web editing: Mrton Kristf
505
Wisconsin (2004); Christina Erin Wallace, Education Abroad Program of University of California and
Wisconsin (20052006)
Project grants
Istvn Antal (Gergely Molnrs writings), Csilla Bnyi (The history and index of AL / Artpool Letter; Photo
documentation of the 1970s and 1980s), Pl Bial (Mail art in Hungary, 19711987), Judit Bodor (Archiving
contemporary art / Contemporary art archives), Andrs Bohr (Documentation of Istvn Haraszty), Sabine
Fazekas (Robert Filliou), Jzsef Havasrti (Esthetics and /medial/ archeology of Artpool Letter), Beta Hock
(Research on performance art in Hungary), Andrs Kapitny (Mikls Erdly CD-Rom), Jlia Katona (Research
on performance art in Hungary), Mria Katona (World Art Post documentation), Klra Kiss-Pl
(Correspondence art of Ray Johnson), Hajnalka Kovcs (Cataloging the artistamps at Artpool), Viktor Ktun
(Fluxus videos), Eszter Lzr (Artists publications), Edit Sasvri (The Chapel Studio in Balatonboglr; art
samizdats), Zoltn Sebk (Memetics, cultural viruses), Zsolt Srs (Avant-garde film), Blint Szombathy
(Szombathy Art 19691999)
Occasional contributors (for the participants of art projects, see the chronology)
preparing, organizing, curating exhibitions or art events: gnes Brdos Dek, Kata Bodor, Judit Gesk,
Gyrgy Jovnovics, Dra Maurer, Eszter Radk, Endre Szkrosi, Istvn Szigeti, Erzsbet Tatai
exhibition assistants: Levente Blvnyos, Pter Tams Halsz, dm Kokesch, Gza Nyry, Anna
Szigethy
publications
(photo, video, DTP, etc.): Imre Arany, Balzs Czeizel, Lszl Lugosi Lug, Gyrgy Makky, Attila Pcser
(translation, editing): Eszter Babarczy, Gabriella Bartha, Lszl Beke, Judit Borus, Katalin Cseh, Klra
Csrs, Orsolya Dzsn, Pter Fuchs, Adrian Hart, Beta Hock, Attila Hornyi, gnes Ivacs, Pter Klaniczay,
Mrton Koppny, gnes Madarsz, Jzsef Maleczki, va Plmai, Annamria Rna, Tams Saj, Krisztina
SarkadyHart, Edit Sasvri, Gyrgy Somogyi, Jnos Sugr, Andrea Szekeres, gnes Szikra, Endre Szkrosi,
Annamria Szke, Jasmina Tumbas, Gbor Thurza
O U R
V I S I T O R S
In the period from 1979 to 2012, numerous international artists, art historians, curators and university/museum
professionals visited the Artpool Archives and the Artpool Art Research Center for reasons of liaising,
research, preparing/implementing joint projects. Included among them were:
Robert Adrian X., Demosthenes Agrafiotis, Gbor Altorjay, Eric Andersen, Zdenka Badovinac, Diana Baldon,
Anna Banana, Zuzana Bartoova, Lilian Bell, Ivo Binder, Tim Blackwell, Julien Blaine, Ren Block, Jaap
Blonk, Francesca Boenzi, Oliver Botar, Jnos Brendel, Amy Bryzgel, Bujdos Alpr, Dmitrij Bulatov, Charlton
Burch, Karen Burke, Joachim Burmeister, Monty Cantsin, Guglielmo Achille Cavellini, Joseph Celli, Christophe
Cherix, Binna Choi, Buster Cleveland and Diane Sipprelle, Thanos Chrysakis, Piermario Ciani, Colm Clarke,
Ryosuke Cohen, Gaetano Colonna, Cosmin Costinas, David Crowley, Philip Dadson, Juliane Debeusscher,
Robert Delford Brown, Kirsten Dehlholm, Richard Demarco, Ana Devic, Malcolm Dickson, Pascal Dombis,
Lucrezia De Domizio Durini, Doyon/Demers, Arnold Dreyblatt, Charles Dreyfus, vl Durmusoglu, Paul
Dutton, Mauricio Dwek, Danilo Eccher, Fritz Emslander, Leif Eriksson, Wolfgang Ernst, members of the group
Factor44, James Warren Felter, Silvie Ferr, Roksana Filipowska, Giovanni Fontana, Branko Franceschi,
Nicola Frangione, Peter Frank, Jean-Yves Frchette, Cristina Freire, Ivan Ladislav Galeta, Izabel Galliera,
Katarina Gatialova, Alain Gibertie, Michel Giroud, Malcolm Goldstein, Ewa Gorzadek, Gustavo Grandal
Montero, Natalie Gravenor, Lucia Gregorov, Daniel Gr, Trever Hagen, Peter Haining, Heidrun Hamersky,
Volker Hamann, Al Hansen, Bernard Heidsieck, John Held Jr., Geoffrey Hendricks, Jon Hendricks, Michael
Hernandez de Luna, Wulf Herzogenrath, Dick Higgins, Judith Hoffberg, Jens Hoffmann, Sophie Hope (B+B),
Michel Hossz, Jol Hubaut, Roddy Hunter, Grita Insam, members of Inter/Le Lieu, Seiei Jack, Ernst Jandl,
Janis Jefferies, Jean-Baptiste Joly, Joan Jonas, Jzsef R. Juhsz, Judit Kele, Klara Kemp-Welch, Ed and
Nancy Kienholz, Alison Knowles, Jlius Koller, Franz Krahberger, Wojciech Krukowski, Angela and Peter
Kstermann (Netmail), Lszl Lakner, Jean-Jacques Lebel, Ginny Lloyd, Niels Lomholt, Barbara London,
Miguel Lopez, Arrigo Lora-Totino, Christine Macel, Jackson Mac Low, Mamax (Margarete Jahrmann and Max
Moswitzer), Francesco Masnata, Bartomeu Mari, Richard Martel, Tonya McMullan, Kenneth McRobbie, Jonas
Mekas, Werner Meyer, Eugenio Miccini, Meda Mladek, Franois and Vera Molnr, Emilio & Franca Morandi,
Michael Morris, David Moss, Joanna Mytkowska, Paul Nagy, Maurizio Nannucci, Phil Niblock, Boris Nieslony,
Rea Nikonova, Orlan, Helne and Paul Panhuysen, Tibor Papp, Ben Patterson, Gza Perneczky, Nathalie
Perreault, Emily Pethick, Natasa Petresin-Bachelez, Ignas Petronis, Stefania Piga, Piotr Piotrowski,
Malgorzata Potocka, Daria Pyrkina, Radio Free Dada (Turk LeClair), Magdalena Radomska, Christian
Rattemeyer, Annett Reckert, Pierre Restany, Alain-Martin Richard, Pter Rnai, Barbara Rosenthal, Colette
and Gnther Ruch, Piotr Rypson, Ruth and Marvin Sackner, Jean-Claude Saint-Hilaire, Robert Saunders and
Kala Ladenheim, Sharla Sava, Wolfgang Schlott, Astrit Schmidt-Burkhardt, Walter and Maria Schnepel,
506
A P P END I X
Guy Schraenen, Serge Segay, David V. Senior, Seiji Shimoda, Predrag and Maja Sidjanin, Rudolf Sikora,
Gilbert and Lila Silverman, Baudhuin Simon, Adriano Spatola, Sven Spieker, Marko Stamenkovic, Petra
Stegman, Barbara Steiner, Lilijana Stepani, Kristine Stiles, Branka Stipani, Andr Stitt, Enrico Sturani,
Marinko Sudac, Miko uvakovi, Anne Tardos, Patricia Tavenner, Anne Thurmann-Jajes, Inna Tigountsova,
Andrej Tisma, Jean-Pierre Thibaudat, Chico Toledo, Endre Tt, Vincent Trasov, Julie Andre Tremblay,
Jasmina Tumbas, Tjebbe van Tijen, Edwin Varney, Ben Vautier, Gretchen Wagner, Jon Wakeman, Patryk
Wasiak, Karen Wattson, Emmett Williams, Martha Wilson, Yunnia Yang, Lynn Zelevansky, Magda Ziolkowska
R E S E A R C H
S U P P O R T
MA dissertations
Ladnyi, Jzsef: 1970-es vek magyar mvszete. Egy avantgarde killts-sorozat esemnytrtnete:
Balatonboglri kpolnatrlatok 197073 [Hungarian Art in the 1970s. The Story of an Avantgarde Exhibition
Series: Balatonboglr Chapel Exhibitions 19701973], Etvs Lornd Univ., Faculty of Humanities, Dept. of
Art History, Budapest, 1985
Timr, Katalin: Kapcsolatmvszet [Correspondence Art], Etvs Lornd Univ., Faculty of Humanities, Dept.
of Art History, Budapest, 1990
Dkei, Krisztina: Szvegtpusok a magyarorszgi konceptulis mvszetben. A kezdetek (1970-1974) [Texts
Types in Hungarian Conceptual Art. The Beginnings (19701974)], Etvs Lornd Univ., Faculty of Humanities,
Dept. of Art History, Budapest, 1992
Kapitny, Andrs: Erdly Mikls (CD-rom) [Mikls Erdly], Hungarian Univ. of Fine Arts, 1996
Hornyik, Sndor: Kreativits s kpzmvszet. Az INDIGO csoport tevkenysge, 19781986 [Creativity
and Visuality. The activity of the INDIGO Group, 19781986], Etvs Lornd Univ., Faculty of Humanities,
Dept. of Art History, Budapest, 1998
Bnyi, Csilla: Alternatv mvszeti esemnyek a Bercsnyi Klubban [Alternative Art Events in the Bercsnyi
Klub], Etvs Lornd Univ., Faculty of Humanities, Dept. of Art History, Budapest, 2001
Martore, Vanessa: Le avanguardie ungheresi e la poesia sonora [Hungarian Avant-garde and the Visual
Poetry], Universit degli Studi di Roma La Sapienza, 2001
Novk, Petra: Hogyan kapcsoldik a XX. szzad mvszete a gyerekrajzokhoz? [The Connection between
20th-century Art and Childrens Drawings], Apor Vilmos Catholic College, Dept. of Visual Education,
Zsmbk, 2001
Bodor, Kata: Yoko Ono s a Fluxus: Jtssz bizalommal! [Yoko Ono and Fluxus: Play with Trust], Etvs
Lornd Univ., Faculty of Humanities, Dept. of Art History, Budapest, 2002
Radomska, Magdalena: Erdly Mikls Mikls Erdly, Uniwersytet imienia Adama Mickiewicz Poznan, 2002
Bial, Pl: Ksrlet a magyarorszgi mail art trtnetnek felvzolsra s kelet-kzp-eurpai kontextusba
helyezsre [An Attempt at Outlining the History of Mail Art and Placing It in a Central Eastern European
Context], Etvs Lornd Univ., Faculty of Humanities, Dept. of Art History, Budapest, 2003
Izinger, Katalin: A szkesfehrvri Szent Istvn Kirly Mzeum mvszknyv-gyjtemnye, [The Artists
Books Collection of the King Stephen Museum of Szkesfehrvr], Etvs Lornd Univ., Faculty of
Humanities, Dept. of Art History, Budapest, 2003
Hangyel, Orsolya: Nicolas Schffer munkssga, valamint a kinetikus s kibernetikus mvszet
magyarorszgi vonatkozsai [Nicolas Schffers Oeuvre and Hungarian Relevancies of Kinetic and Cyber
Art], Etvs Lornd Univ., Faculty of Humanities, Dept. of Art History, Budapest, 2005
Kumin, Mnika: A magyarorszgi geometrikus mvszet s kapcsolatai 1965 s 80 kztt [Geometric Art in
Hungary and its Links between 1965 and 80], Etvs Lornd Univ., Faculty of Humanities, Dept. of Art History,
Budapest, 2005
Fldeki, Nra: Halsz Pter [Pter Halsz], Univ. of Theatre and Film Arts, 2006
Szkely, Katalin: Konkoly Gyula munkssga a hatvanashetvenes vekben [Oeuvre of Gyula Konkoly in
the 1960s and 70s], Etvs Lornd Univ., Faculty of Humanities, Dept. of Art History, Budapest, 2006
Csiki, Emese: Nyoma van, de nincs rnyka. A gumipecst, mint mdium, a Mail Art tborban [It Leaves
a Mark but Has No Shadow. The Rubber Stamp as a Medium in the Mail Art Network], Univ. of Pcs, Faculty
of Music and Visual Arts, 2007
Bakk, gnes: Irodalmi performanszok [Literary Performances], Babes-Bolyai Univ., Kolozsvr / ClujNapoca, 2008
Czirki, Szilvia: Vizulis kltszet s kpzmvszet kapcsolata Magyarorszgon 1945 utn, [The Connection
between Visual Poetry and Visual Art in Hungary after 1945], Etvs Lornd Univ., Faculty of Humanities,
Dept. of Art History, Budapest, 2008
Kelecsnyi, Krisztina: A Stdi K trtnete [History of Studio K], Univ. of Pannonia, Faculty of Humanities,
Dept. of Theater History, Veszprm, 2008
*The above dissertations are the ones whose publication we had heard about before our book went to print. According to our
register in 2012, research is currently being conducted at the Artpool Art Research Center for another nine dissertations and twelve
PhD projects.
A P P END I X
507
A P P END I X
Kovcs, Zsolt: Az ellenzk ellenzke. Az Inconnu-csoport politikai tevkenysge [The Opposition of the
Opposition. The Political Activity of the Inconnu Group], Pzmny Pter Catholic Univ., Faculty of Humanities
and Social Sciences, Dept. of History, Piliscsaba, 2011
Lukcs, Nra: Magyar muvszek Berlinben: DAAD sztndjasok 1963 s 1989 kztt [Hungarian Artists in
Berlin: DAAD Grantees between 1963 and 1989], Etvs Lornd Univ., Faculty of Humanities, Dept. of Art
History, Budapest, 2011
Sznt, Ildiko: Rezeption des Strukturalismus in der ungarischen Konzeptkunst [Reception of Structuralism
in Hungarian Conceptual Art], Humboldt-Universitat zu Berlin Philosophische Fakultat III, Institut fur Kunstund Bildgeschichte, 2011
Szilgyi, Zsuzsanna: Magyar Universitas Program [Hungarian Universitas Program], Etvs Lornd Univ.,
Faculty of Humanities, Dept. of Art History, Budapest, 2011
Timr, Sra: Culture socialiste et pratique sociale sous le rgime de Kdr en Hongrie. Lexemple dune
maison de la culture de Budapest dans les annes 1970, Lcole des Hautes tudes en Sciences Sociales,
Spcialit Territoires, espaces, socits, Paris, 2011
Titz, Nomi: Performansz s Dokumentci a 70-es vek Magyarorszgn [Performance and
Documentation in the 1970s in Hungary], Etvs Lornd Univ., Faculty of Humanities, Institute for Art Theory
and Media Studies, Budapest, 2011
Vilcsek, Andrea: Knyvtervezs Knyvmvszet Knyveszttika. A knyv mint mtrgy, [Book Design
Book Art Book Esthetics. The book as artwork], Etvs Lornd Univ., Faculty of Humanities, Dept. of
Aesthetics, Budapest, 2011
rki, Tibor: Szemtmvszet, aljakultra s trash a fsodorbeli zls vilgban [Trash Art, Low Culture and
Trash in the World of Mainstream Taste], Univ. of Pcs, Faculty of Music and Visual Arts, Pcs, 2012
Filipowska, Roksana: Please Add to: The Mailing Practice of Ray Johnson and Gyorgy Galantai, The Univ.
at Buffalo, State Univ. of New York, 2012
Greskovics, Eszter: Az R-killts, 1970 [The Exhibition R, 1970], Etvs Lornd Univ., Faculty of
Humanities, Dept. of Art History, Budapest, 2012
Majsai, Rka: A hang alkalmazsa a XX. szzadi kpzmvszetben, klns tekintettel az j Zenei Stdi
tevkenysgre [Using Sound in 20th-century Fine Art, with Special Focus on the Activity of the New Music
Studio], Etvs Lornd Univ., Faculty of Humanities, Dept. of Art History, Budapest, 2012
ze, Eszter: Gulys Gyula Body traces, Etvs Lornd Univ., Faculty of Humanities, Dept. of Art History,
Budapest, 2012
Tth, Zsuzsanna: A Helyettes Szomjazk tevkenysge. A kulturlis ellenlls formi a Helyettes Szomjazk
mvszetben [The Activity of Helyettes Szomjazk / Substitute Thirsters. The Forms of Cultural Opposition
in the Art of Helyettes Szomjazk / Substitute Thirsters], Etvs Lornd Univ., Faculty of Humanities, Dept. of
Media and Communication, Budapest, 2012
Tth, Zsuzsanna: Trk Pter munkssga 1989-tl napjainkig [The Oeuvre of Pter Trk from 1989 till our
Days], Etvs Lornd Univ., Faculty of Humanities, Dept. of Art History, Budapest, 2012
Zerza, Bla Zoltn: Hanglemezgyrts s hanglemezkiads a szocialista Magyarorszgon [Gramophone
Record Production and Publishing in Socialist Hungary], Etvs Lornd Univ., Faculty of Humanities, Dept. of
History, Budapest, 2012
PhD dissertations
Starbuck, Honoria Madelyn Kim: Clashing and Converging: Effects of the Internet on the Correspondence
Art Network, The Univ. of Texas at Austin, 2003
Rder, Kornelia: Topologie und Funktionweise des Netzwerks der Mail Art. Seine spezifische Bedeutung fr
Osteuropa von 1960 bis 1989, Univ. Bremen (seit 2007 Jacobs Univ.), 2006.
Schwarz, Isabelle: Archive fr Kunstlerpublikationen der 1960er bis 1980er Jahre, Schiftenreihe fr
Knstlerpublikationen, Univ. Bremen (seit 2007 Jacobs Univ.), 2006.
Kemp-Welch, Klara: Figures of Reticence: Action and Event in East-Central European Conceptualism
19651989, Univ. College London, 2008
Fowkes, Maja: Central European Neo-avant-garde Art and Ecology under Socialism, Univ. College London,
Art History, London, 2012
Galliera, Izabel: Socially Engaged Art, Emerging Forms of Civil Society: Early 1990s Exhibitions in Budapest
and Bucharest, Univ. of Pittsburgh, USA, 2013
Kirly, Judit: Maurer Dra mvszetpedaggiai tevkenysge [The Art Pedagogical Activity of Dra
Maurer], Etvs Lornd Univ., Faculty of Humanities, Doctoral School of Art History, Budapest, 2013
Kopeczky, Rna: Le Cercle de Zugl. Un groupe informel dartistes abstraits en Hongrie entre 1958 et 1968.
Antcdents, activit et rsonance (19451990), Universit Paris-Sorbonne, 2013
Morsnyi, Bernadett: Fejezetek Dobai Pter rs- s filmmvszetrl, [Chapters about Pter Dobais
Writing and Cinematics], Etvs Lornd Univ., Faculty of Humanities, Doctoral School of Literary Studies,
Budapest, 2013
A P P END I X
509
cooperations
Exhibitions*
(selection)
Important events organized by other institutions but realized with the participation of Artpool and/or with the help of
research conducted at Artpool and/or materials borrowed from Artpool.
1985: Cartoline e grafica ungherese tra Art Noveau e New Wave (Rome) ( p. 89) 101 trgy. Objektmvszet Magyar
orszgon 19551985 [101 Objects. Object Art in Hungary 19551985] (buda Gallery, Budapest)
1987: Kp-vers / vers-kp [Picture-poem / Poem-picture] (Petfi Literary Museum, Budapest) A surprise for our
readers! International artists book exhibition (King Stephen Museum, Szkesfehrvr) ( p. 91)
1990: Hidden Story. Samizdat from Hungary & Elsewhere (Franklin Furnace, New York, USA) ( p. 101)
1993: Posure et Peintrie (Marseille) ( pp. 147150)
1994: Tibor Csiky oeuvre exhibition (Hungarian National Gallery)
1995: LArt du Tampon (Muse de la Poste, Paris) Horizontal Radio (Radio Bartk, Budapest) ( p. 205) Andrs Halsz
retrospective exhibition (Ernst Museum, Budapest)
1996: Mail Art. Osteuropa im Internationalen Netzwerk (Staatliches Museum, Schwerin) ( p. 211) A mvszeten tl /
Jenseits von Kunst [Beyond Art] (Ludwig Museum, Budapest)
1997: Jenseits von Kunst (Neue Galerie am Landesmuseum Joanneum, Graz)
1998: A magyar neoavantgard els genercija, 196572 [First Generation of the Hungarian Neo-avantgarde] (Gallery
of Szombathely, Szombathely) Donth Pter memorial exhibition (King Stephen Museum, Szkesfehrvr) Prague
spring, Prague fall 1968 (Galeria Centralis, Budapest) Mikls Erdly oeuvre exhibition (Kunsthalle, Budapest)
Rzsa pressz 19761998 (Ernst Museum, Budapest) ( p. 244)
1999: Transmit. Fluxus, Mail Art, Net.works (Queens Library Gallery, Jamaica, NY, USA) ( p. 247) The Commissar
vanishes (Galeria Centralis, Budapest) Interarchiv (Kunstraum der Universitt Lneburg) ( p. 252) Global
Conceptualism: Points Of Origin, 1950s1980s (Queens Museum of Art, New York City) Hommage Dick Higgins
(Ernst Museum, Budapest) ( p. 262)
2000: A msodik nem Nmvszet Magyarorszgon 19602000 [The Second Sex. Womens Art in Hungary 1960
2000] (Ernst Museum, Budapest) Mdia Modell... (Kunsthalle, Budapest) Global Conceptualism: Points Of Origin,
1950s1980s (Walker Art Center, Minneapolis; Miami Art Museum, Miami, Florida; Vancouver Art Gallery, Vancouver)
Type Writer (Galeria Centralis, Budapest) Samizdat. Alternative Kultur in Zentral- und Osteuropa. Die 60er bis 80er
Jahre (Berlin, Akademie der Knste ( p. 271); 2002: National Museum, Prague; European Parliament, Bruxelles) La
Ville / Le Jardin / La Mmoire (Acadmie de France Rome Villa Medicis, Roma)
2001: CHECK-IN/CHECK-OUT suitcase works (Universal Space NoD, Prague) ( p. 290)
2003: Outside of a Dog. Paperbacks & Other Books by Artists (BALTIC. The Center for Contemporary Art, Gateshead)
( p. 333)
2004: Szamizdat. Alternatv kultrk Kelet- s Kzp-Eurpban 19561989 [Samizdat. Alternative Cultures in East and
Central Europe 19561989] (Millenris Park, Budapest) ( p. 342)
2005: Tibor Hajas Emergency Landing (Ludwig Museum, Budapest) Gyula Pauer oeuvre exhibition (Kunsthalle,
Budapest)
2006: Interrupted Histories/Historiae Interruptae (Moderna Galerija Ljubljana) ( p. 387) I Confess that I Was There:
Art, Archives and Location[s] (Switch Room, Belfast) ( p. 410)
2007: Klipzensored Rock music in film, television, music clips and media censorship in Hungary GDR and post-1990
Germany (General Public, Berlin) ( p. 438) FLUXUS EAST. Fluxus Networks in Central and Eastern Europe
(Knstlerhaus Bethanien, Berlin) ( p. 434435); Contemporary Art Centre, Vilnius ( p. 438); 2008: Bunkier Sztuki,
Krakkow ( p. 442); Ludwig Museum, Budapest ( p. 457); Kumu Art Museum, Tallinn ( p. 458); 2009: Kunsthallen
Nikolaj, Copenhagen ( p. 460); 2010: Henie Onstad Art Center, Oslo) ( p. 476)
2008: Himmlischer Frieden 19192008 / Heavenly Peace 19192008 (CHB Moholy-Nagy Gallery, Berlin) ( p. 458)
Concept Conception, Extracts (Vasarely Museum, Budapest) The Last Sticker Show (Tzraktr, Budapest)
2009: Hungary: Art and Subcultures series of lectures (CEU, Budapest) ( p. 460) Subversive Praktiken. Kunst
unter Bedingungen politischer Repression 60-er80-er / Sdamerika / Europa (WKV / Wrttembergischer
Kunstverein, Stuttgart) Invisible history of exhibitions. Parallel chronologies exhibition and international
symposium (LABOR and Krtakr Bzis, Budapest) ( p. 465) Typopass Critical design and conceptual
typography. Anti- and parallel design (Platan Gallery, Budapest) ( p. 467) Revolutionary Voices / Performing
Revolution in Central and Eastern Europe (New York Public Library, New York) ( p. 467) Agents & Provocateurs
(ICA, Dunajvros) GENDER CHECK. Femininity and Masculinity in the Art of Eastern Europe (MUMOK, Vienna;
2010: ZACHETA, Warsaw) ( p. 468)
2010: Hungry Man, Reach for the Book. It is a Weapon! (Printed Matter, New York) ( pp. 471472) Promises of the
Invisible History of
Past. A Discontinuous History of Art in Former Eastern Europe (Centre Pompidou, Paris)
Exhibitions. Parallel Chronologies (Badischer Kunstverein, Karlsruhe) Pauer: Pseudo 40/70 (Picture Gallery of the
Hungarian Academy of Sciences, Budapest)
2011: Parallel Chronologies Other revolutionary traditions (Riga Art Space, Riga) Museum of Parallel Narratives
(MACBA, Barcelona) (pp. 481483) Maps. Art Cartography in the Centre of Europe 19602011 (Galria mesta
*Starting in 1979 Gyrgy Galntai and Artpool was included in several hundred mail art / artists book / artistamp and rubber stamp / visual
poetry / network / correspondence art exhibitions and publications worldwide, thus establishing the international recognition of Artpool and
promoting the enrichment of its collection. A detailed description of this would extend beyond the scope of this book. We hope to be able to
publish a book devoted to the presentation of Artpools correspondence art activity.
510
A P P END I X
Bratislavy, Slovenska nrodn galria, Bratislava) YOULL BRING THE DEATH OF ME Bizottsg Goes to Kunsthalle
(Mcsarnok / Kunsthalle, Budapest)
2012: DATA. Daily Action Time Archive. A self-historification project by Pete Horobin (Street Level Photoworks, Glasgow)
Contactzone. Juraj Meli and the Slovak-Hungarian Relations (Kassk Museum, Budapest) Betk kockajtka. [Dice
of characters. Five Decades of the Hungarian Atelier in Paris] (Petfi Irodalmi Mzeum, Budapest) Sounding the Body
Electric. Experiments in art and music in Eastern Europe 19571984 (Muzeum Sztuki w Lodzi, Poland) Mutually.
Archives of non-institutionalized culture of the 1970s and 1980s in Czechoslovakia (Tranzit dielne, Bratislava, Slovakia)
Paris Budapest Wien Transfer Magyar Mhely 50 (Vasarely Museum, Budapest) The Freedom of Sound. John
Cage behind the Iron Curtain (Ludwig Museum, Budapest)
Films
Stampfilm, 19821983, 16 mm, b&w, 36 min., directed by Gyrgy Galntai , Balzs Bla Studi ( pp. 73, 75)
Kultr Domb [Culture Hill], 1992, 40 min., directed by: Gyrgy Galntai, MTV V. Stdi, Frz production
Vakci III. A Balatonboglri Kpolnatrlatok trtnete 19701973 [Vacation. The Story of the Chapel Studio of
Balatonboglr 19701973], 19971998, 52+54 min.; and a 66 min. version with English subtitles, dir. by rpd Sos,
edited by Rbert Rmai, script and reporter: Edit Sasvri, Magyar Televzi Dokumentumfilm Stdi
JAVA Gyrgy Galntai (Artpool), 2002, 41 min., directed by and camera: Jnos Fodor, Balzs Bla Studi
VHK. Akik mresre tantottk a hallt [The Galloping Coroners. Who taught Death a Lesson], 2012, 70 min., directed
by: Jlia Nagy, HVD Corps production
Plusz egy dimenzi Ksei Sirat [Plus One Dimension, documentary about the life of Kroly Tamk Sirat, directed/
edited by Andrs Kro, camera Lajos Ndorfi, Absolt Film (in preparation)
Numerous other cultural TV programs about Artpools activity and about various artists, groups and arts events made
with the help of videos, photographs, posters and publications found in the Artpool Archives.
Publications*
(selection)
The most important books, studies, and periodical issues realized with the participation of Artpool (articles, illustrations)
and/or Artpool publications or online content, and/or as a result of research conducted at Artpool.
1978: Carrion, Ulises et al. (eds.): Ephemera No. 11, 1978, Special Issue: Hungary (guest editor: Gyrgy Galntai) ( p. 18)
1980: Cavellini, G. A.: Cavellini in California e a Budapest, Brescia, 1980, 76 p. Cavellini, G. A.: Cavellini in California
and in Budapest, Brescia,1980, 77 p. ( p. 42)
1982: Spatola, Adriano Maurizio Spatola (eds.): Geiger 9 Antologia ipersperimentale, Geiger, Mulino di Bazzano,
Parma, 1982, ca. 50 p. ( p. 40)
1983: Grundmann, Heidi (ed.): Art + Telecommunication, Western FrontBLIX, VancouverWien, 1983, 140 p.
1988: Blyeglexikon [Encyclopedia of Stamps], Gondolat, Budapest, 1988, 668 p.
1991: Vrnagy, Tibor John P. Jacob (eds.): Hidden Story: Samizdat from Hungary & Elsewhere, Franklin Furnace
Archive, New York, 1991 (bookwork), 82 p. Perneczky, Gza: A hl. Alternatv mvszeti ramlatok a folyirat-kiadv
nyaik tkrben 196888 [The Magazine Network. The Trends of Alternative Art in the Light of their Periodicals 196888],
Httorony Knyvkiad, Budapest, 1991, 300 p.
1993: Timr, Katalin: Fax- und Mailart des Artpool im Wandel politischer Systeme. Fax- and Mail Art of the Artpool in the
Change of Political Systems, in: Ursprung, Eva (ed.) In Control. Mensch Interface Maschine, Kunstverein W.A.S.,
Graz, 1993., pp. 7274.
1994: Keser Katalin (szerk.): A modern poszt-jai. Esszk, tanulmnyok, dokumentumok a 80-as vek magyar
kpzmvszetrl [The Posts of Modern. Essays, Studies and Documents from the Visual Arts in Hungary in the
1980s], ELTE Blcsszettudomnyi Kar, Budapest, 1994, 335 p.
1995: Richard, Alain-Martin (ed.): Territoires nomades. Une manoeuvre de membres du collectif Inter/le Lieu. Premire
tape: mai et juin 1994, ditions Intervention, Qubec, 1995, 185 p. ( p. 187)
1996: Mrotzek, Katrin Kornelia Rder (eds.): Mail Art. Osteuropa im Internationalen Netzwerk. Mail Art. Eastern
Europe in International Network, Staatliches Museum, Schwerin, 1996, 320 p.
1997: Baroni, Vittore: Arte Postale. Guida al network della corrispondenza creativa, AAA Edizioni, Bertiolo (Italy), 1997,
250 p.
1998: Beke, Lszl (ed.): Mail Art, Mcsarnok, Budapest, 1998, 71 p.
1999: Kortrs magyar mvszeti lexikon IIII [Encyclopedia of Contemporary Hungarian Art], Enciklopdia Kiad,
Budapest, 19992001, 774, 990, 974 p. Knoll, Hans (ed.): Die zweite ffentlichkeit. Kunst in Ungarn im 20. Jahrhundert,
Verlag der Kunst, Dresden, 1999, 407 p.
2000: Nzpontok/Pozcik. Mvszet Kzp-Eurpban 19491999; Aspekte/Positionen. 50 Jahre Kunst aus
Mitteleuropa 19491999; Aspects/Positions. 50 Years of Art in Central Europe 19491999, Kortrs Mvszeti Mzeum
Ludwig Mzeum, Budapest, 2000, four volumes: 339, 302, 284, 244 p. Eichwede, Wolfgang (ed.): Samizdat.
Alternative Kultur in Zentral- und Osteuropa: Die 60er bis 80er Jahre, Edition Temmen, Bremen, 2000, 472 p. Felter,
James Warren: Artistamps. Francobolli dartista, AAA Edizioni, Bertiolo, 2000, 213 p.
*Starting in 1979, Gyrgy Galntai and Artpool were included in several hundred mail art / artists book / artistamp and rubber stamp / visual
poetry / network / correspondence art exhibitions and publications worldwide. The most important mail art periodicals with Artpools regular
participation: Libellus, Arte Postale, Commonpress, Lightworks. A detailed description of this would extend beyond the scope of this book. We
hope to be able to publish a book devoted to the presentation of Artpools correspondence art activity.
A P P END I X
511
2002: Bismarck, Beatrice von Hans-Peter Feldmann Hans Ulrich Obrist et al. (eds.): Interarchive. Archivarische
Praktiken und Handlungsrume im zeitgenssischen Kunstfeld / Archival Practices and Sites in the Contemporary Art
Field, 2002, 639 p. Maurer, Dra (ed.): Prhuzamos letmvek / Parallele Lebenswerke / Parallel Oeuvres. Maurer
Gyor, Vrosi Mvszeti Mzeum, Gyr, 2002, 260 p.
2004: Derky, Pl Mllner Andrs (eds.): N/ma? Tanulmnyok a magyar neoavantgrd krbl [Mute? Papers on
Hungarian Neo-Avantgarde], Aktulis avantgrd 3., Rci Kiad, Budapest, 2004, 381 p. Beke, Lszl (ed.): Image
Whipping. Tibor Hajas Photo Works with Jnos Vet, MTA Mvszettrtneti Kutatintzet, Budapest, 2004, 232 p.
2005: Hajas, Tibor: Szvegek [Texts], Enciklopdia Kiad, Budapest, 2005, 480 p. Hamersky, Heidrun (ed.): Gegenan
sichten. Fotografien zur politischen und kulturellen Opposition in Osteuropa 19561989, Christoph Links Verlag, Berlin,
2005, 195 p. Piotrowski, Piotr: Awangarda w Cieniu Jalty. Sztuka w Europie Srodkowo- Wschodniej w latach 1945
1989 [In The Shadow of Yalta. Art and the Avant-garde in Eastern Europe, 19451989], Dom Wydawniczy REBIS,
Poznan, 2005, 502 p. Sznyei, Tams: Nyilvn tartottak. Titkos szolgk a magyar rock krl 19601990 [Registered.
Secret Servants Around Rock Music in Hungary], Magyar Narancs Tihany Rv Kiad, Budapest, 2005, 831 p.
2006: Badovinac, Zdenka Tamara Soban (eds.): Interrupted Histories. Arteast Exhibition (catalog, ca. 68 p.) and Piskur,
Bojana (ed.): Arhivi Samizdatov / Samizdat Archives (supplement, 16 p.), Moderna galerija / Museum of Modern Art,
Ljubljana, 2006 Devic, Ana: Artists Books in (what was formerly known as) Eastern Europe. What, how and from
Whom/WHW, printedmatter.org, 2006 Havasrti, Jzsef: Alternatv regiszterek. A kulturlis ellenlls formi a magyar
neoavantgrdban [Alternative Registers. The Different Forms of the Cultural Opposition in the Hungarian Neoavantgarde], Typotex, Budapest, 2006, 331 p. Sugr, Jnos: Schrdingers Cat in the Art World, in: IRWIN (ed.): East
Art Map. Contemporary Art and Eastern Europe, Afterall Books, London, 2006, pp. 208221.
2007: Fluxus East. Fluxus-Netzwerke in Mittelosteuropa / Fluxus Networks in Central Eastern Europe, Knstlerhaus
Bethanien, Berlin, 2007, 281 p. Mllner, Andrs (ed.): Erdly Mikls [Mikls Erdly], Metropolis (special issue) Vol. XI.,
No. 4, 2007, 118 p. Parablyeg. A mvszblyeg ngy vtizede a fluxustl az internetig / Parastamp. Four Decades of
Artistamps, from Fluxus to the Internet, Szpmvszeti Mzeum, Budapest, 2007, 108 p.
Szilgyi, Sndor:
Neoavantgrd tendencik a magyar fotmvszetben 19651984 [Neo-avantgarde Tendencies in Hungarian
Photography 19651984], j mandtum knyvkiad, Budapest, 2007, 425 p. (with a CD supplement)
2008: Krner, va: No Isms in Hungary, in: Fair. Zeitung fr Kunst und Asthetik Wien/Berlin, No. 02, 2008, pp. 2526.
Havasrti, Jzsef: Mndlichkeit, Gegenffentlichkeit und Dialog in der Praxis einer, mndlichen Zeitschrift: Llegzet,
Budapest, 19801985, in: Boden, Doris Uta Schorlemmer (eds.): Kunst am Ende des Realsozialismus. Entwicklungen
in den 1980er Jahren, Verlag Otto Sagner, Mnchen, 2008, pp. 205219. Hornyik, Sndor Szke Annamria (eds.):
Kreativitsi gyakorlatok, FAFEJ, INDIGO. Erdly Mikls mvszetpedaggiai tevkenysge 19751986 [Creativity
Exercises, Fantasy Developing Exercises (FAFEJ) and Inter-Disciplinary-Thinking (InDiGo). Mikls Erdlys art
pedagogical activity, 19751986], MTA Mvszettrtneti Kutat Intzet Gondolat Kiad, Budapest, 2008, 532 p.
Dzsai, Mnika: Fuspuren in der Luft. Kunst im ffentlichen Raum in den 1980er Jahren in Budapest, in: Boden,
Doris Uta Schorlemmer (eds.): Kunst am Ende des Realsozialismus. Entwicklungen in den 1980er Jahren, Verlag Otto
Sagner, Mnchen, 2008, pp. 283299. Rder, Kornelia: Topologie und Funktionsweise des Netzwerks der Mail Art.
Seine spezifische Bedeutung fr Osteuropa von 1960 bis 1989, Schriftenreihe fr Knstlerpublikationen, Band 5, Salon
Verlag, Kln, 2008, 303 p. Schwarz, Isabelle: Archive fr Kunstlerpublikationen der 1960er bis 1980er Jahre,
Schriftenreihe fr Knstlerpublikationen, Band 4, Salon Verlag, Kln, 2008, 495 p.
2009: Piotrowski, Piotr: In The Shadow of Yalta. Art and the Avant-garde in Eastern Europe, 19451989, Reaktion
Books, London, 2009, 487 p.
2010: Art always has its consequences (exhibition catalog), What, How & for Whom / WHW, Zagreb, 2010, 264 p.
Angel, Judit Hegyi Dra Lszl Zsuzsa (eds.): Typopass kritikai design s konceptulis tipogrfia / Typopass
Critical Design and Conceptual Typography, Tranzit Hungary, Budapest, 2010, 118 p. Calligrammes & compagnie, etc.
(Des futuristes nos jours), ditions Al Dante, Paris, France, 2010, 560 p.
2011: Hegyi, Dra Hornyik Sndor Lszl Zsuzsa (eds.): Parallel Chronologies. How art becomes public Other
revolutionary traditions. An exhibition in newspaper format, tranzit.hu, Budapest, 2011, 56 p. Sasvri, Edit: A Moment
of Experimental Democracy in the Kdr Era. Gyrgy Galntais Chapel Studio in Balatonboglr and the Social Milieu of
Counter-Culture in Hungary in the 1960s and 1970s, in: Removed from the Crowd: Unexpected Encounters I, [BLOK] DeLVe,
Zagreb, 2011, pp. 82101. Hock, Beata: Where Have Some Women Gone? Making Women Artists Networks Visible, in:
Micropolitics Notebook 2011, [BLOK], Zagreb, 2011, pp. 3847. Hegyi, Dra et al. (eds.): Art Always Has Its Consequences
Artists Texts from Croatia, Hungary, Poland, Serbia, 19472009, tranzit.hu Sternberg Press, Berlin, 2011, 262 p.
2012: Tumbas, Jasmina: International Hungary! Gyrgy Galntais Networking Strategies, ARTMargins, JuneOctober
2012, Vol. 1, No. 23, pp. 87115. Vanja V. Malloy: Rethinking Alexander Calders Universes and Mobiles: The
influences of Einsteinian Physics and Cosmology, Immediations (The Courtauld Institute of Art Journal of Postgraduate
Research), Vol. 3., No. 1., 2012, pp. 926. Debeusscher, Juliane: Information Crossings: On the Case of Inconnus
The Fighting City, Afterall, No. 31, 2012 (Autumn/Winter), pp. 7383. Czirak, Adam: Die Melancholie verbotener
Kunst. Schreibstrategien und performative Praktiken in der ungarischen Neoavantgarde, in: Berliner Beitrge zur
Hungarologie. Schriftenreihe des Fachgebiets fr ungarische Literatur und Kultur an der Humboldt Universitt zu Berlin,
Bd. 17., Humboldt Universitt, Berlin, 2012, pp. 76111. Detterer, Gabriele & Maurizio Nannucci (eds.): Artists-Run
Spaces. Nonprofit collective organizations in the 1960s and 1970s, JRP/ Ringier, 2012, 294 p. Balzs, Katalin: Sztuka
efemeryczna i kontrkultura. Na przykadzie wybranych zjawisk z wgierskiej historii instytucji kultury. [Ephemeral Art
and Counterculture. An Example of Selected Cases from the History of Art Institutions in Hungary.], Sztuka i
512
A P P END I X
Dokumentacja, nr. 7, 2012, pp. 3137. Danyi, Gbor: The Spaces of Samizdat, in: ELTE BTK Doktori iskolk tanulmnyai
3. [Papers of the Doctoral Programs of the Etvs Lornd University 3.], Budapest, 2012, pp. 6782.
S E L E C T E D
B I B L I O G R A P H Y
Maurer, Dra: Versuch einer Chronologie der Avantgarde-Bewegung in Ungarn 19661980, in: Knstler aus Ungarn
(catalog), Kunsthalle Wilhelmshaven, 26 August 21 September, 1980, pp. 72., 7476., 7981.
Perneczky, Gza: The Art Pool Archives. The Story of a Hungarian Art Collection, The New Hungarian Quarterly, Vol.
30, No. 8., 1989, pp. 192196.
Galntai, Gyrgy Klaniczay Jlia (eds.): Galntai. Lifeworks 19681993, Artpool Enciklopdia Kiad, Budapest,
1996, 320 p.
Ltourneau, Andr-ric: Prsentation Artpool Articule Montral, Inter Art Actuel, No. 64., 1996 Winter, p. 49.
Blint, Anna: Garden of Communication. Artpool Art Research Center web site, Convergence. The Journal of Research
into New Media Technology, Vol. 4., No. 2., 1998 Summer, pp. 116118.
Sznyei, Tams: Kommuniklni kell. Tallkozs Galntai Gyrggyel [We need to Communicate. Meeting Gyrgy
Galntai], Magyar Ifjsg [Hungarian Youth], Vol. XXXII, No. 25., June 17, 1988, pp. 3031.
Perneczky, Gza: The Art Pool Archives. The Story of a Hungarian Art Collection, The New Hungarian Quarterly, Vol.
30., No. 113, Spring, 1989, pp. 192196.
Nagy, Andrs: Az eltnt trid nyomban. Galntai-revitalizcik [Looking for the Lost Space-Time. Revivals of
Galntai] Beszl, January 22, 1990, pp. 2730.
Gyrgy, Pter: Fld alatt, fld felett. Avantgrd az Aczl-korszakban, [Underground, Above Ground. Avant-garde in the
Aczl Era], Magyar Napl [Hungarian Diary], February 22, 1990, p. 13.
Boros, Gza: Mzeum a margn [A Museum on the Edge], Vilg [World], March 22, 1990, pp. 45.
Vrnagy, Tibor John P. Jacob (eds.): Hidden Story: Samizdat from Hungary & Elsewhere, Franklin Furnace Archive,
New York, 1991, 82 p.
Hock, Bea: Foot-Ware. A Virtual Shoestore, www.artpool.hu/kontextus/footware/pages/hock.html, 1999 (excerpt p. 259)
Beke, Lszl Sasvri, Edit: Ungarn kann dir gehren. Die Knstler des Underground, in: Eichwede, Wolfgang (ed.):
Samizdat. Alternative Kultur in Zentral- und Osteuropa: Die 60er bis 80er Jahre, Bremen, 2000, pp. 168171.
Sznyei, Tams: A szabadsg rekonstrukcija. Ellenzk a 80-as vekbl [Reconstructing Freedom. Opposition from
the 80s], Magyar Narancs [Hungarian Orange], October 25, 2001, pp. 2627.
Sndor, Zsuzsanna: Rekonstrult orszgimzs. Galntai Gyrgy betiltkrl s betiltottakrl [Reconstructed country
brand image. Gyrgy Galntai about censors and censored], 168 ra [168 Hours], November 29, 2001, pp. 3941.
Hock, Bea: Szmok az Artpool jvjbl. A jv emlkei: a 10 ves Artpool dokumentum-killtsa [Numbers from
Artpools Future. Memories of the Future: the Documentary Exhibition of the 10-year-old Artpool], j Mvszet [New
Art], August 2002, pp. 2526. (excerpt p. 304)
Galntai, Gyrgy: Artpool from the Beginnings: A Personal Account, in: Bismarck, Beatrice von Hans-Peter Feldmann
Hans Ulrich Obrist et al. (eds.): Interarchive. Archivarische Praktiken und Handlungsrume im zeitgenssischen
Kunstfeld / Archival Practices and Sites in the Contemporary Art Field, Verlag der Buchhandlung Walther Knig, Kln,
2002, pp. 393395. ( pp. 1621)
Klaniczay, Jlia: Afterword to the Publications by Artpool. in: Phillpot, Clive Sune Nordgren (eds.): Outside of a Dog,
Paperbacks and Other Books by Artists, BALTIC, The Centre for Contemporary Art, Gateshead (Newcastle), 2003, p. 9.
( p. 333)
Klaniczay, Jlia Sasvri, Edit (eds.): Trvnytelen avantgrd. Galntai Gyrgy balatonboglri kpolnamterme 19701973
[Illegal Avant-garde, the Chapel Studio of Gyrgy Galntai in Balatonboglr 19701973], ArtpoolBalassi, Budapest,
2003, 460 p. (excerpts pp. 2332, 326)
Hajdu, Istvn: Illegal Avant-garde: The Balatonboglr Chapel Studio of Gyrgy Galntai 19701973, Praesens, No. 3.,
2003 November, pp. 114118. (excerpt p. 22)
Bodor, Judit: Artpool Art Research Centre, in: B+B at Home, Occasions, No. 8. (special issue), Austrian Cultural Forum
London, 2004, p. 4.
Mourik Broekman, Pauline van: Relational History, MUTE. Culture and Politics after the Net, No. 27., 2004 Winter /
Spring, pp. 2425.
Tranberg, Dan: Budapest Rising, Angle. A Journal of Arts + Culture, Vol. 1., No. 11., 2004, pp. 1217.
Badovinac, Zdenka Tamara Soban (eds.): Interrupted Histories. Arteast Exhibition (catalog, ca. 68 p.) and Piskur,
Bojana (ed.): Arhivi Samizdatov / Samizdat Archives (supplement, 16 p.), Moderna galerija / Museum of Modern Art,
Ljubljana, 2006
Sugr, Jnos: Schrdingers Cat in the Art World, in: IRWIN (ed.): East Art Map. Contemporary Art and Eastern
Europe, Afterall Books, London, 2006, pp. 208221.
Devic, Ana / WHW: Artistss Books in (what was formerly known as) Eastern Europe, Printed Matter, New York, 2006,
http://printedmatter.org/researchroom/essays/whw.cfm
Gyrgy Galntai responds to questions. Fluxus + Conceptual = Contextual, in: Fluxus East. Fluxus-Netzwerke in Mittel
osteuropa / Fluxus Network in Central Eastern Europe, Knstlerhaus Bethanien GmbH, Berlin, 2007, pp. 141156.
(excerpts pp. 3536, 295296)
A P P END I X
513
Parastamp. Four Decades of Artistamps, from Fluxus to the Internet (exhibition catalog with essays by Peter Frank, Kata
Bodor, interview with Gyrgy Galntai), Museum of Fine Arts, Budapest, 2007, 108 p. (excerpts pp. 6869, 417418)
Forgcs, va: Does Democracy Grow Under Pressure? Strategies of the Hungarian neo-avantgarde throughout the
late 1960s and the 1970s, Centropa [Nationalism and Democracy], Vol. 8, No. 1, January 2008, pp. 3648.
Schwarz, Isabelle: Archive fr Kunstlerpublikationen der 1960er bis 1980er Jahre, Schriftenreihe fr Knstlerpubli
kationen, Band 4, Salon Verlag, Kln, 2008, pp. 298339.
Rder, Kornelia: Topologie und Funktionsweise des Netzwerks der Mail Art. Seine spezifische Bedeutung fr
Osteuropa von 1960 bis 1989, Schriftenreihe fr Knstlerpublikationen, Band 5, Salon Verlag, Kln, 2008, pp. 159163.
Dzsai, Mnika: Fuspuren in der Luft. Kunst im ffentlichen Raum in den 1980er Jahren in Budapest, in: Boden, Doris
Uta Schorlemmer (eds.): Kunst am Ende des Realsozialismus, Verlag Otto Sagner, Mnchen, 2008, pp. 283299.
Havasrti, Jzsef: Sztes dichotmik. Sznterek s diskurzusok a magyar neoavantgrdban [Dichotomies Falling
Apart. Scenes and Discourses in the Hungarian Neo-avantgarde, Gondolat Artpool PTE Budapest Pcs, 2009,
pp. 4295.
Piotrowski, Piotr: In the Shadow of Yalta. Art and the Avant-garde in Eastern Europe, 19451989, Reaktion Books,
London, 2009, pp. 246285.
Creating Context: Zdenka Badovinac on Eastern Europes Missing Histories (Interview), ARTMargins online, August
2009
Badovinac, Zdenka: Contemporaneity as Points of Connection, e-flux journal, No. 11., December 2009
Klmn, Rita Katarina evi (eds.): We are not Ducks on a Pond but Ships at Sea. Independent Art Initiatives,
Budapest 19892009, Impex, Budapest, 2010, pp. 11, 114.
Art always has its consequences, What, How & for Whom / WHW, Zagreb, 2010, pp. 3839, 4850, 5459.
Hegyi, Dra et al. (eds.): Parallel Chronologies. How art becomes public Other revolutionary traditions. An exhibition
in newspaper format, tranzit.hu, Budapest, 2011, 56 p.
Interview with Artpool Cofounder Jlia Klaniczay by Juliane Debeusscher, ARTMargins online, June 2011
Sasvri, Edit: A Moment of Experimental Democracy in the Kdr Era. Gyrgy Galntais Chapel Studio in
Balatonboglr and the Social Milieu of Counter-Culture in Hungary in the 1960s and 1970s, in: Removed from the Crowd:
Unexpected Encounters I, [BLOK] DeLVe, Zagreb, 2011, pp. 82101.
Tumbas, Jasmina: International Hungary. Gyrgy Galntais networking strategies, ARTMargins, Vol. 1., Issue 23.,
2012 (JuneOctober), pp. 87115.
Detterer, Gabriele Maurizio Nannucci (eds.): Artists-Run Spaces. Nonprofit collective organizations in the 1960s and
1970s, JRP / Ringier, 2012, pp. 17, 3031, 44, 84109. (excerpts pp. 23, 37)
514
A P P END I X
Index
The index of names contains the names of persons, art groups and music bands
referred to in the texts and numerous reproduced documents.
We use bold when a name is linked to an illustration (i.e. is the author of a given work,
is a person in a documentary photograph or the photographer of a given image).
I NDE X
515
516
517
518
Cerd, Jordi 98
Cernak (Dear Ms. Cernak) 480
Cerovszky, Ivn 26
Cerutti, Gustave 127, 129
Chambon, Philippe 78, 81
Chapman, H. L. 223, 288
Chapnick, Kanen 135
Charmot, Denis 387, 445, 447, 450, 451
Chatain, Georges 430
Chatrny, Dalibor 127, 129
Checker, Chubby 476, 477, 478
Chekorsky, Vadim 230
Cherix, Christophe 506
Chew, Carl T. 223, 288, 416, 420, 497
Chiari, Giuseppe 131, 153, 315
Chiarlone, Bruno / Work Area 50, 75,
91, 98, 134, 200, 210, 315, 348, 396,
420, 445, 447
Chick, John 153
Chilf, Mria 288, 293
Chmielorz, Rilo 204, 206, 223, 315
Choi, Binna 506
Chopin, Henri 87, 131, 204, 305, 420
Chouinard, Hugo 204
Chouinard, Marie 204
Christensen, Jorgen 98
Christie, John 135
Christina, Anna 445, 447
Christo and Jeanne-Claude 30, 45,
127, 153, 230, 231, 293
Christov-Bakargiev, Carolyn 214
Chrysakis, Thanos, 390, 436, 437,
460, 506
Chugaly, Radoslav B. 260
Ciani, Piermario / Trax 50, 75, 77, 87,
135, 144, 266, 315, 416, 420, 506
Ciliberto, Sebastiano 200, 210
Cinema Suitcase 409
Citizen Kafka 98, 420
Ciuca, Eugen 359
Ciullini, Daniele 46, 49, 135
Clapton, Deborah 135
Clark, Melissa / Mel Art 230, 420
Clark, Rusty 420
Clark, William A. 200, 210, 223
Clarke, Colm 506
Clarke, Mary-Ann 46
Clavreul, Marie Liesse 223
Clerico, Hannes 98
Cleveland, Buster 45, 50, 75, 77, 135,
139, 260, 416, 420, 480, 506
Clifton, Chuck 212
Clinton, George 477, 478
Coach House Press 127, 420
Cobbing, Bob 211, 288, 305
Coderre, Joan, see Arte Ala Carte
Cohen, Joel S. / The Sticker Dude 348,
380, 396, 397, 416, 420, 441
Cohen, Ryosuke 6, 98, 135, 139, 273,
315, 344, 348, 355, 363, 365, 366,
367, 380, 387, 396, 416, 420, 429, 506
Colby, Sas 98, 223, 288, 313
Cole, David / Paumonock 45, 46, 98,
102, 103, 135, 144, 200, 204, 210,
223, 260, 266, 278, 416, 420
Collin, Daniel 420
Collins, Patricia 200, 210, 223, 230,
239, 260, 278, 279, 288, 315, 501
Csengery, Adrienn 30
Csernik, Attila 31
Cserny, Mrton 248, 265, 288, 289,
445, 447
Cski, Csaba 387
Csiki, Emese 507
Csiky, Tibor 26, 30, 327, 510
Csizmadia, Lszl 327
Csonka, gnes 10
Csords, Lajos 80, 241, 411, 472
Csrg, Attila 262, 288
Csrs, Klra 506
Csutak, Magdolna 288
Csutoros, Sndor 25, 26, 29, 30, 327
Cuber, Ronnie 477, 478
Cuciniello, Natale 230, 223, 260, 278,
315, 336, 380, 396, 416
Cunning, Sheril 204
Cunningham, Merce 204
Curlin, Ivet 465
Curmano, Billy X 135, 138, 140, 200,
204, 206, 210, 230, 238, 239, 260,
416, 420
Cusimano, Mick 200, 210
Cutler-Shaw, Joyce / Cuttlefish 45, 135
Cuttlefish, see Cutler-Shaw, Joyce
Czak, Mria 98
Czak, Sndor 79, 80, 144
Czeizel, Balzs 506
Czirak, Adam 512
Czirki, Szilvia 507
DOxemberg, Joseph 278
DAngelo, Jerome 480
DHaeseleer, Kristof 420
DOultremont, Juan 46
Dadadan, Landrum, Dan
Dadaland 135
Dadson, Philip 204, 206, 227, 230,
327, 236, 506
Daffunchio, Jorge 420
Dahms, Otto C. 52
Daley, Emil 135
Dal, Salvador 359
Daligand, Daniel 45, 49, 135, 138,
200, 204, 210, 223, 260, 288, 348,
352, 380, 396, 397, 398, 420
Damasceno Ferreira, Maria Julieta R.
278
Damiani, Andrea P. 348
Dammann, Marilyn 278, 348
Danon, Betty 41, 45, 98, 127, 420
Danyi, Gbor 513
Darboven, Hanne 476, 477, 478
Drdai, Zsuzsa 135, 136, 138, 139,
144, 159, 176, 193, 370
Darian, Samo 361
Darnell, Wally 60, 98
Dasbourg, Frnz / Editions Phi 420
Dauriac, Jacqueline 204
Davinio, Caterina 348, 380
Dawkins, Richard 476, 477, 478
Day Art 135, 138
De Cortanze, Grard 31
De Decker, Geert / Sztuka Fabryka
200, 210, 223, 278, 336, 380, 383,
396, 397, 416, 420
De Domizio Durini, Lucrezia 506
De Gaulle, Charles 339
I NDE X
519
520
521
522
Gruppo Alternativo 46
Gruppo Sinestetico, see Sassu, Antonio
Guattari, Felix 189
Guazzo, A. J. 98
Gudac, Vladimir 45
Guderna, Ladislav 135, 420
Gudmundsson, Sigurdur 31
Guerin, Manon 204
Guirini, Antonella 98
Guixa, Gemma 200, 210, 260
Gulys, Gyula 26, 30, 31, 131, 135,
232, 293, 327
Gulys, Jnos 28, 131
Gulys, Katalin 43, 44, 260, 327
Gnes, Sinasi 396
Gunther, Ingo 247
Gut, Elisabetta 98, 230, 260, 288, 315,
348, 420
Gyalog, Eszter 459
Gyarmati, Zsolt 6, 363, 367, 368, 380,
445, 447
Gyetvai, gnes 327
Gyimesi, Andrea 459
Gyre, Balzs 265, 328
Gyre, Gabriella 373, 392
Gyrffy, Sndor 328, 414, 418, 420
Gyrfi, Gbor 135, 138, 262, 288
Gyrgy, Pter 5, 7, 52, 78, 91, 93,
100, 127, 181, 193, 194, 195, 197,
325, 327, 341, 342, 345, 372, 373,
374, 439, 440, 441, 460, 503, 513
Gyri, Mrton 290, 291, 344
Gyry, Attila 98
Gysin, Brion 87, 305
Hasz, gnes 135, 138, 260, 420
Hasz, Istvn 26, 30, 66, 135
Hasz, Katalin 135, 138
Habert, Francis 150
Habk, Lilla 505
Haddock, Sub Waxin 45
Hden, Lszl 96
Haffner, Siegmund 389
Hagen, Trever 80, 506
Hager, Stefan 380
Hahn, Horst 45, 98, 127, 336, 420
Haining, Peter / Anderson, Marshall /
Horobin, Pete 50, 75, 98, 135, 223,
230, 257, 260, 278, 336, 445, 447,
475, 500, 501, 506, 511
Hainke, Wolfgang 127, 204, 223
Hains, Raymond 148
Hajas, Tibor 31, 100, 114, 230, 288,
293, 299, 327, 372, 388, 389, 438,
508, 512, 510
Hajdu, Istvn 22, 171, 262, 325, 327,
342, 376, 414, 513
Hajdu, Nomi 98
Hajnczi, Csaba 372, 373
Hjos, Zsolt 505
Halas, Istvn 204
Halasi, Dra 4, 13, 458, 468, 481,
505
Halsz, Andrs 244, 376, 510
Halsz, Arisztid 328
Halsz, Kroly 30, 31, 230, 260, 293,
327
Halsz, Pter 29, 30, 100, 293, 326,
328, 329, 372, 373, 375, 507
I NDE X
523
524
37, 38, 40, 42, 44, 52, 53, 54, 58, 59,
60, 64, 68, 70, 72, 75, 78, 80, 81, 83,
85, 86, 87, 88, 89, 95, 99, 102, 103,
122, 123, 125, 128, 148, 149, 150,
159, 166, 169, 171, 172, 174, 176,
198, 199, 208, 218, 247, 266, 268,
275, 303, 325, 327, 329, 332, 333,
342, 344, 345, 355, 361, 367, 372, 373,
376, 392, 393, 394, 410, 415, 416,
435, 456, 457, 460, 463, 465, 468,
472, 473, 475, 479, 480, 481, 499,
501, 502, 503, 504, 505, 513, 514
Klaniczay, Pter 506
Klassen, Norbert 135
Klassnik, Robin 420
Klauke, Jrgen 204
Klein, Yves 204, 248, 250
Klicsu, Lajos 327
Klingan, Katrin 361
Klintberg, Bengt af 457, 486
Klivar, Miroslav 45, 200, 204, 206,
210, 230, 231, 239, 261, 293
Knas, Krzysztof 420
Knik, Milan 5, 176, 179, 204, 293,
406, 454, 457, 486
Knoll, Hans 159, 511
Knowles, Alison 98, 127, 135, 153, 157,
204, 206, 454, 457, 486, 506
Kobro, Katarzyna 444
Kocar, Cestmir 420
Koch, Jlia 70
Kocman, Ji H. 31, 46, 100, 127, 129,
200, 210, 293, 300
Kocsis, Imre 55
Kocsis, Klra 171
Koenig, Eckhard 210
Koepcke, Arthur 153
Koestler, Arthur 461, 471, 474
Kogler, Peter 261
Koivisto, Kaisu 336
Kokesch, dm 247, 265, 290, 291, 506
Kok 205, 327
Kolar, Damjana 330
Kolr, Jir 148, 483
Kollr, Mariann 30
Kollektv 89
Koller, Jlius 144, 146, 204, 230, 239,
240, 261, 266, 288, 293, 336, 348,
380, 396, 481, 484, 485, 489, 506
Kll, Mikls 30
Kolozsi, Orsolya 505
Kolozsi, Tibor 301
Kolozsvri, Krisztin 505
Komenczi, Blint 505
Komjthy, Zsuzsanna 508
Komorczky, Tams 204, 293, 485, 489
Konart, Tomasz 220
Koncz, Andrs 135, 244
Koncz, Bla 26, 30
Konfi 98
Knig, Rbert 301
Konkoly, Gyula 293, 507
Konrd, Gyrgy 102, 187
Kontou, Thomai 380
Kontova, Helena 40
Kontroll / Kontroll Csoport 89, 100,
372, 467
Knya, Rka 204, 261
I NDE X
Kubacek, Karl 80
Kubelka, Peter 327
Kubota, Shigeko 131, 153, 204, 293,
485, 489
Kudo, Tatsumi 204
Kuhn, Matthias 420
Kuhne, Maria-Luise 45
Kukorelly, Endre 93, 91, 127, 266,
305, 306, 327
Kulchitsky, Miroslav 230
Kulemin, Edward 278, 315, 323, 336,
348, 380, 416, 420, 445, 447
Kulik, Zofia 481
Kumin, Mnika 472, 507
Kupermann, Aggie 125
Kurz, Diana 45
Kusina, Jean 261, 278, 315, 336
Kstermann, Peter / Netmail 6, 134,
139, 146, 200, 210, 230, 315, 380,
394, 395, 396, 406, 408, 416, 420
Kutasy, Mercdesz 508
Kutera, Romuald 127, 129
L. Menyhrt, Lszl 96
L. Simon, Lszl 185, 472, 473, 503
LaBel, Annie 387
Laaban, Ilmar 87
Labadie, John Antoine 445, 447
Lbas, Zoltn 43, 44, 45, 79, 80, 278,
396
Labelle-Rojoux, Arnaud 148, 204
Lachowicz, Andrzej 31
Lackfi, Jnos 290
Lacroix, Jean-Luc 387
Ladanyi, Georg 408, 475
Ladnyi, Jzsef 507
Ladenheim, Kala 506
Ladik, Katalin 87, 167, 205, 207, 327,
328, 508
Ladjnszky, Katalin 265
Ladra, Antonio 420
Lagerwerf, Magda 200, 210, 224,
420, 430
Lajta, Gbor 55
Lajtai, Pter 100
Lakatos, ron 459
Lakatos, Gabriella 508
Lakatos, Jzsef 26
Lakner, Antal 293, 485, 488, 489
Lakner, Lszl 26, 30, 31, 41, 45,
194, 230, 261, 293, 380, 485, 489,
506, 508
Lakner, Susanna / Planet Susannia
380, 396, 420, 430, 445, 447, 495
Lalibert, Sylvie 204
Lamanova, Natalie 420
Lamarche, Claude 204
Lamontellerie, Paul 420
Landi, Liliana 311
Landow, George P. 212
Landrum, Dan / B.B.M. / Dadadan 224,
288, 336, 348, 380, 396
Landry, Diane 204, 206, 230
Landsbergis, Vytautas 434
Langh, Rbert 262, 288
Lantos, bel 328
Lantos, Ferenc 26, 30, 31
Lantos, Lszl / Triceps 261, 328
Lapointe, Franois-Joseph 390
525
526
527
528
529
530
531
532
533
Transarte 49
Trasov, Vincent 200, 210, 224, 261, 507
Trax, see Ciani, Piermario
Tregnaghi, Antonio 135, 138
Tremblay, Julie Andre 222, 507
Trencsnyi, Balzs 460
Trencsnyi, Zoltn 275
Tress, Horst 45, 135, 140
Trevisan, Bene 204, 206, 230
Triandafellos, Marya / MET 103
Triceps, see Lantos, Lszl
Trilupaityte, Skaidra 458
Trini, Tommaso 50, 75, 98
Tron, Otto / Don Miller / Ottotron 98,
135, 420
Trott, Lothar 267, 380, 396, 400, 416,
420, 429
Trotter, Christy 445, 447
Trotzdem Group 278
Tsubouchi, Teruyuki 98, 135, 138, 200,
210, 230, 261, 315, 348, 353
Tucker, Daniel 348
Tucker, Jim 194
Tudsok [Yugoslavian Scholars] 171,
174
Tui Tui, see Dogfish
Tumbas, Jasmina 5, 10, 13, 38, 44, 65,
70, 78, 81, 84, 506, 507, 512, 514
Turai, Hedvig 52
Trk, Pter 26, 30, 100, 230, 234, 293,
327, 509
Tusman, Lee 128
Tutsch, Karel 45
Tr, Reiu 224
Tzes, va 505
Tzara, Tristan 159, 305
Uglr, Csaba 327
Uherkovich, gnes 25
j Hlgyfutr (UHF) 167
j Modern Tri / Hymnus 327, 343
j Tr Tri 190
j Zenei Stdi [New Music Studio]
327, 328
jlak Group 204
jvri, Jnos 372, 373
Ujvrossy, Lszlo 200, 210, 230
Ulay (Frank Uwe Laysiepen) 204
Ullrich, Keith 50
Ulrichs, Timm 31, 190, 191, 293
Ulveczky, Gbor 55
Ungvry, Rudolf 70, 327
Unyatinszki, Anna 505
Uphoff, Joseph A. Jr. / Dr. Baron
Joseph A. Uphoff, Jr. 380, 387,
416, 420
Upton, John 224, 261, 336, 348, 420
Urban, Janos 31, 45, 126, 127, 129
Urban, Sigismund 348
URH 89, 100, 327, 372
rms, Attila 166
Ursprung, Eva 136, 511
t, Gusztv 204, 261
Vaara, Roi 204, 206
Vczy, Jpont Tams 420
Vadas, Jzsef 100, 176, 214
Vgvlgyi B., Andrs 288
Vajda, Jlia 30
Vajda, Lajos 30
534
I NDE X
535
ISBN 978-963-08-7225-6