> On Jan 15, 2021, at 3:00 AM, [email protected] wrote: > > Send SPECTRE mailing list submissions to > [email protected] > > To subscribe or unsubscribe via the World Wide Web, visit > http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre > or, via email, send a message with subject or body 'help' to > [email protected] > > You can reach the person managing the list at > [email protected] > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of SPECTRE digest..." > > > Today's Topics: > > 1. meanwhile in hu (János Sugár) > 2. Fwd: Evasion techniques, Hungarian avant-garde art exhibition > catalogue now online (Andreas Broeckmann) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Thu, 14 Jan 2021 22:20:15 +0100 > From: János Sugár <[email protected]> > To: [email protected] > Subject: [spectre] meanwhile in hu > Message-ID: <f06240818dc2665549df7@[172.20.10.2]> > Content-Type: text/plain; charset="utf-8" > > An HTML attachment was scrubbed... > URL: > <http://post.in-mind.de/pipermail/spectre/attachments/20210114/8faa7ce3/attachment-0001.html> > > ------------------------------ > > Message: 2 > Date: Fri, 15 Jan 2021 10:25:53 +0100 > From: Andreas Broeckmann <[email protected]> > To: spectre <[email protected]> > Subject: [spectre] Fwd: Evasion techniques, Hungarian avant-garde art > exhibition catalogue now online > Message-ID: <[email protected]> > Content-Type: text/plain; charset=utf-8; format=flowed > > Betreff: Evasion techniques exhibition catalogue now online from > Palazzo delle Esposizioni > Datum: Fri, 15 Jan 2021 09:01:42 +0000 > Von: e-flux <[email protected]> > > Palazzo delle Esposizioni > > Evasion techniques. Strategies for the subversion and derision of power > in 1960s and ‘70s Hungarian avant-garde art > > Catalogue online now > > Curated by Giuseppe Garrera and Sebastiano Triulzi, the "Evasion > techniques. Strategies for the subversion and derision of power in 1960s > and ‘70s Hungarian avant-garde art" catalogue covers and illustrates the > show of the same name which was held at Rome’s Palazzo delle > Esposizioni, dedicated to a selection of those extraordinary avant-garde > artists who found themselves operating in conditions of danger, > inhibiting control and censorship, under a totalitarian communist > regime, even at risk of their own safety. Through their brave and > desperate attempts to express themselves and to disobey, their adventure > enables us to experience a crucial chapter in art history. > > The catalogue, which you can now download > > https://www.palazzoesposizioni.it/pagine/tecniche-d-evasione-catalogue > > is a universal investigation into the condition of art under all systems > of power. Each chapter provides us with an instruction book of “evasion > techniques,” offering a glimpse at images, actions, traces of > performances held clandestinely and under the very nose of the > authorities, driven by the sole urgency of actually doing them. In this > way we encounter and get to know—in some cases for the first time in > Italy—a number of highly important artists, from Endre Tót to Judit > Kele, Sándor Pinczehelyi, Bálint Szombathy, András Baranyay, Tibor > Csiky, Katalin Ladik, László Lakner, Dóra Maurer, Gyula Gulyás, Ferenc > Ficzek, Tamás St. Auby (Szentjóby), Gábor Bódy, Marcel Odembach, Gyula > Pauer, Zsigmond Károlyi, Tibor Hajas, László Beke, István B. Gellér, > György Kemény, Kálmán Szijártó, Gábor Attalai, Károly Halász, László > Haris, Orsolya Drozdik. Their work was saved thanks to the dedication > and care of both museums and collectors. A special thanks goes to the > endeavours of the Ludwig Museum – Museum of Contemporary Art of Budapest > and to the Hungarian Academy in Rome. > > Six different moments are explored in the catalogue, each exemplifying > one of these evasion techniques. We begin with the artist’s > self-portrait as an idiot, fool or madman (established power is disarmed > when confronted by the childish and the clownish). Melancholy also > features strongly in this section, with artists representing their own > suffering, aware that they must operate outside any recognised state > institution (established power considers melancholy a political > disease). Female artists are well represented here, those who in a > patriarchal and chauvinist society caused scandal merely by presenting > themselves in public, and were accused of indecency. The second section > deals with various degrees of freedom—the clandestine, fleeting, > ephemeral ways of communicating and testifying dissent. This was most > frequently achieved by writing on walls or in the snow, actions which > were only witnessed by a camera whose reel remained a closely guarded > secret. The third chapter covers mail art, a form which enabled these > artists to communicate with their friends in the rest of Europe, those > living in free countries. This art crossed borders and dodged censorship > in the form of seemingly innocent envelopes or postcards. > > The fourth chapter analyses the neurosis of power through photographs > and visual accounts, painful testimonies which always allude to a > reality perceived as a long succession of interdictions: railway tracks > leading nowhere, stone markers, fencing, danger or warning signs. This > urban signposting is continuously transformed into something > allegorical, allusive in these works. The “invitation to guerrilla” > section features piles of cobblestones masquerading as a documentation > of works in progress, but which are in fact a fierce allusion to > munitions and revolt. The final section explores the unease of art, the > anxiety experienced by these artists in the process of simply by making > their art. Some of their shows were literally held in their own back > gardens, during gatherings among friends, in backstreets far from > checkpoints and prying eyes. The Evasion techniques catalogue is > ultimately a pretext for grappling with the concept of the pervasiveness > of power, its dangerous paternalism, and serves as a political and civic > lesson on making art, pointing the younger generations in the direction > of still vital examples of libertarian and civic behaviour. As well as > towards non-alignment with any system of power, in primis that of art > itself. > > Evasion techniques cataolgue—videos: January 19–26 > > Six short videos regarding the catalogue posted on Palazzo delle > Esposizioni website > <https://email.e-flux-systems.com/campaigns/eo253hqw6o2c0/track-url/ow494b2h6be12/38e24602eb98885c2e4c52b4bd5dc379ef8024e4> > > > > > > ------------------------------ > > Subject: Digest Footer > > _______________________________________________ > SPECTRE mailing list > [email protected] > http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre > > ------------------------------ > > End of SPECTRE Digest, Vol 215, Issue 7 > ***************************************
______________________________________________ SPECTRE list for media culture in Deep Europe Info, archive and help: http://post.in-mind.de/cgi-bin/mailman/listinfo/spectre
