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Korunk 2009 Szeptember

Abstracts

 


Dóra Hegyi – Zsuzsa László

The Invisible History of Exhibitions. Parallel Chronologies

Keywords: Hungarian art, exhibitions, artistic events, collective memory, chronology, canonization

The Invisible History of Exhibitions project looks at progressive art events from the 60s-70s in Hungary, in particular at the ways in which exhibitions survive in the social and professional collective consciousness, their canonization processes, and also at their forgetting in the absence of an adequate documentation and professional discourse. Consequently, the focus is on the gestures of reconstruction – exhibition documentations, chronologies and reminiscences –, rather than on the artifacts. The question is: how and why do certain artistic events become well-nigh legendary acts and reference points in time, while others remain mere personal memories of the participants?

 

Katalin Keserü

Scenes for Contemporary Art

Keywords: Hungarian art, exhibition spaces, art museums, public space

This essay examines the problem of the internationalization of Hungarian art, the definition of the institutional space of the arts, the tardiness of socially conscious art in Hungary, and the history of modern art museums. Its first part poses the question whether the arts represent the vehicle of publicity in contemporary democracies. According to the author, although the present age has given birth to a wide range of spaces for the arts, the type of space considered to be the most important, i.e. public space, necessitates resources of such a magnitude that the personality of the artist and the potentially solitary work of art virtually disintegrate in it. The second part of the paper outlines some possible answers to the question whether the arts could be considered capable of revitalizing a city. This topic is analyzed with references to a future, as well as a past European capital of culture, Pécs, and Graz respectively. Other examples include the exhibitions of the Ateneum Art Museum in Helsinki, and various scenes of the fine arts from Dublin and Paris.

 

Ildikó Lőrincz

Nature: A Scene for the Arts. The Minimum Party Creative Camps

Keywords: creative camps, total artwork

The author summarizes the past thirteen years of the Minimum Party all-embracing creative camp, which occupies a peculiar space among Transylvanian Hungarian artistic initiatives. While neither being restricted to any specific branch of the arts, nor coalescing into an artistic movement, the Minimum Party camps set out to integrate these along with other segregated cultural elements, such as theory, research, education, cultivation of creativity and nature conservation. The camp also offers a space for experimenting with art outside institutional confines, while furthering an up to date and cosmopolitan attitude towards artistic creation.

 

János Rechnitzer

Art Collecting as Civilized Idleness

Keywords: art collectors, aesthetic concepts, social composition, history of collecting

For some, collecting art is a whole life-style concept, and even the expression of a specific world view. The author categorizes these people according to the following criteria: how does one become an art collector, to which social and professional groups do collectors belong to, and what are their guiding conceptions for collecting works of art. As art collectors are prone to conceal themselves from the public, their social characteristics are specified by way of case studies concerned with individual collections and art collecting careers. The study also offers a diachronic account of the structural changes in the art collecting society, their habits of collecting, and social composition.

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