Every spring, our author Gergely Barki presents us with a fantastic story of discovery. This latest tale, as it so happens, is not one story, but at least five, and it thus offers us a nice chance to amuse and amaze ourselves at our leisure in the time of coronavirus.
Il semble que notre auteur, Gergely Barki nous fournit d'une histoire de découverte fantastique chaque printemps. En effet, ceci n'est pas une seule, mais au moins cinq, eh bien c'est une occasion parfaite de nous détendre et de nous émerveiller aux temps du coronavirus.
The Hungarian Pavilion at the 58th International Art Exhibition of the Venice Biennale features the work of new media artist Tamás Waliczky: images of cameras that have never existed. They have been retrieved from the domain of virtual reality to answer the unhistorical question of “what if?”, at least as far as the history of visual representation is concerned. Not incidentally, the author we have invited to write about this is a speculative design researcher.
Everybody Needs Art presents Maja Djordjevic's inaugural solo exhibition titled Everbody Wants To Be Somebody on it’s signature rooftop gallery, the ENA Viewing Space. We talked to Maja about her inspirations, the birth of the naked girl character and her previous project with Selfridges.
Tamás Waliczky (1959) is a new media artist. He started creating animations when he was nine. Eventually, he began working as a painter, illustrator, photographer. He has been involved with computers since 1983. In 1992, he was a guest artist at the ZKM | Institute for Visual Media, later to become a member of the institute’s research team. Between 1998 and 1999, the Japanese IAMAS (Ogaki, Gifu) selected Waliczky as invited artist. After teaching at several art universities in Germany, currently he is a lecturer at the School of Creative Media, City University of Hong Kong. He won numerous international awards, including the Golden Nica at the Prix Ars Electronica, Linz; he participated in a great number of exhibitions worldwide, such as the Bienal Internacional de Arte Contemporáneo, Sevilla. His works can be found in different public collections, for example the Centre Pompidou, Paris or the Ludwig Museum, Budapest.
From now on if you walk along the Grand Boulevard of Budapest, you will know about the passions of some householders. How did the owner spend the rents of the apartments of 23 and 19 Teréz Boulevard?
Our 94th issue featured the first part of the edited, abridged version of the video interview conducted together with Marcell Esterházy. Here we present the second part of that interview, in which we aimed to highlight additional aspects that are relevant not only in terms of the art of the period, but also with regard to how Dóra Maurer’s work process was developed. (The video version of the interview can be accessed online.)
It is always fascinating to be able to trace the development of a career back to certain life events and experiences which have impacted its course. In this case, I was interested to find out what events and attractions shaped Dóra Maurer’s choices as a result of which we now have standing before us an artist of exceptional influence and her internationally relevant art.
Video interview with Payam Sharifi co-founder of Slavs and Tatars on the occasion of his performance lecture and the exhibition entitled Society of Rascals in Budapest
Like most Americans, even my fellow specialists in contemporary art, I have lived a long time with only the most rudimentary notion of what happened to art behind the Iron Curtain during the Cold War era. An ambitious and expansive new exhibition that fills two floors at Elizabeth Dee gallery in New York, With the Eyes of Others: Hungarian Artists of the Sixties and Seventies, changes that situation substantially. The show is the first in the United States to survey Hungarian art of those decades and introduces most of its artists in this country for the first time. The few who have previously debuted here—including Miklós Erdély, Tibor Hajas, Dóra Maurer, Gyula Pauer, Tamás Szentjóby, and Endre Tót—have been seen in the context of either global Conceptualism or Eastern European art as a rather monolithic whole, and not necessarily in the company of their compatriots. So the exhibition also marks a milestone in American understanding of a specifically Hungarian character in their work, and that of others.
Artmagazin videointerjú Gilberttel és George-dzsal a Ludwig Múzeumban rendezett Bűnbak képek Budapestnek című kiállításuk apropóján.
It was in 1995 that I read for the first time the interview Ernst H. Gombrich and Neil MacGregor made with Bridget Riley, discussing the collections of the National Gallery in London. At that time, I was already working at the Museum of Fine Arts, Budapest and I was curious to find out how some of the most significant Hungarian artists who began their carrier in the 1950s and 1960s would remember the – often determining – experiences they gathered in the collections of the museum.
In the beginning of the 1980s, for a period of two years, I spent hours in the museum on Friday afternoons with artist Miklós Erdély and the members of the Indigo Group. Erdély himself incited me to accomplish this task. I have known the participants to this new series of interviews for decades, and I have already heard a few of their recollections. Lacking any possibility to travel abroad and visit international exhibitions, deprived of new art books and albums, they went to the Museum of Fine Arts to study.
On February 17, 2013, the day the Cézanne and the Past exhibition closed its doors, I decided to start this series of interviews. The personal recollections of these artists constitute an important part of the historiography of the Museum of Fine Arts. I first started with the painters who participated to the series of cabinet exhibitions organised by the Department of Art after 1800 in the past few years (Keserü, Jovánovics, Lakner). Many other discussions will follow.
Little Warsaw: the name refers to the activity of a freely organised, open group, as well as an artistic experiment that has been undertaken since 1994, mainly by two artists (it is an open set, though), who, as it is made perfectly clear by the choice of their name, have taken it upon themselves to consciously tackle the fact that their artistic activity is embarked upon in East Central Europe.1
Chico MacMurtrie - while exploring and investigating the endless artistic possibilities in robotic sculptures, new media installations and performances - founded the interdisciplinary artistic collective, the Amorphic Robot Works/ARW in 1991 inspired by a year-long residency in San Francisco.