Szegő György krédója

Bemutatta programját Szegő György, a Műcsarnok első olyan igazgatója, aki már az MMA égisze (felügyelete? jóváhagyó tekintete? cenzori működése?) alatt kezdi meg tevékenységét. Amint arról az index.hu beszámolt, leginkább a művészet “gyönyörködtető” szerepét szeretné visszahozni az intézmény falai közé. Sok minden van programadó szövegében, amelyet elemezni lehetne. Amiről nem világos, hogy mit jelent, amit nehéz értelmezni a kortárs művészet kontextusában. Merthogy azért az intézmény alap-profilja (talán) még mindig az, hogy kortárs művészeti kiállítóhely.

marat1

Egy valami azonban teljesen egyértelmű volt abban, amit mondott.

“Hangsúlyozta ugyanakkor, hogy nem támogatja a kritikai művészetet, szerinte az ugyanis csak a megosztottságot növeli a társadalomban.” (index.hu)

Ezen nincs mit félreérteni. Kérdés legfeljebb az lehet: mi történt Szegő Györggyel?

tovább: 0m2

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The Laboratory of Insurrectionary Imagination

Infamous for fermenting mass disobedience on bicycles during the Copenhagen climate Summit, touring the UK recruiting a rebel clown army, running courses in postcapitalist culture and falling in love with utopias, The Laboratory of Insurrectionary Imagination (Lab of ii) exists somewhere between art and activism, poetry and politics. We are not an institution or a group, not a network nor an NGO, but an affinity of friends who recognise the beauty of collective creative disobedience. We treat insurrection as an art and art as a means of preparing for the coming insurrection.

Creation and resistance are the entwined DNA strands of our practice. We see art and activism as inseparable from everyday life. Our experiments aim not to make art but to shape reality, not to show you the world but to change it together. We champion artists who escape the prisons of the art world, who stop playing the fool in the corporate palaces and apply their creativity directly to the engineering of social movements. We befriend activists who value their imaginations listen to dreams and play with the political as they would stanzas of a poem.

At the heart of our experiments lie new ways of relating to each other and organising ourselves: working without hierarchy, taking direct action, practicing self management and living ecologically, we refuse to wait for the end of capitalism, but attempt to live in spite of it.


“This isn’t a normal traveling theatre company you know!”
Scotland Yard.

more: Lab of II

 

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Bródy János szerint Koncz Zsuzsa-koncertet hamisított a köztévé

A Kossuth-díjas dalszerző és előadó szerint szándékosan hagytak ki egy rendszerkritikus dalt a köztévén leadott Koncz Zsuzsa-koncertfelvételből.

“Kitüntetett szerephez jutnak megint a seggnyalók / Édesapám, csak azt ne mondd, hogy ezek ugyanazok. (…) És erkölcsről papolnak álszent köpönyegforgatók / Édesapám, csak azt ne mondd, hogy ezek ugyanazok.” A többi közt ilyen sorokat tartalmaz az Ezek ugyanazok című dal, Bródy János szerzeménye, amit az előadó szerint szándékosan hagytak ki Koncz Zsuzsa jubileumi koncertjének köztévés felvételéből.

https://www.youtube.com/watch?v=Z4RHuYmO93s

Bródy János, aki a márciusi, Aréna-beli koncerten maga adta elő szerzeményét, a Facebook-oldalán ezzel a kommentárral látta el az erről készült videót: “Ami a Magyar Televízió adásából kimaradt… (A műsorhamisítást a törvény nem bünteti.)”

forrás: HVG

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Hungary’s Crackdown on the Press

BUDAPEST — The European Union faces a challenging conundrum. While Hungary has embarked on building Europe’s most controlled media system, the European Commission just agreed in August to provide the country with nearly 22 billion euros of economic assistance.

Hungary has become a disturbing example of how a political elite can roll back democracy, even in the heart of Europe. Leveraging an electorally successful right-wing populism, Prime Minister Viktor Orban has staged an autocratic crackdown on the nation’s press, which the independent watchdog Freedom House now ranks as only “partly free.”

Mr. Orban’s media strategy has several components. First, de facto control of the nation’s Media Authority has permitted him to make political appointments to even minor positions within it. Second, the agency not only regulates media competition and broadcast licenses but has also been given authority over content. While the news media is required to respect the constitutional order, Mr. Orban’s appointees get to decide what that means.

more: theNewYorkTimes

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To Make a World, Part I: Ultranationalism and the Art of the Stateless State

by: Jonas Staal

Ultranationalism and the “Deep State”

There doesn’t seem to be a worse moment than the present to defend the project of stateless internationalism. The recent European elections of May 2014 showed the growing influence of ultranationalist parties on the political establishment; in terms of representation in the European Parliament, ultranationalist parties became the largest parties in France (National Front), Denmark (Danish People’s Party), and the United Kingdom (United Kingdom Independence Party), while gaining substantial ground in Austria (Freedom Party of Austria) and Sweden (Swedish Democrats), and remaining relatively stable in the Netherlands (Freedom Party). They suffered heavy losses in Belgium (Flemish Interest), but this was due to the success of a slightly more moderate and competing nationalist party (New Flemish Alliance).1 The next step for these ultranationalist parties has been to seek alliances and prepare to deliver the final blow to the supra-nationalist managerial project of the European Union. Their challenge is to convince EU parliamentarians from seven or more different countries to unite in order to, as Le Pen has said, make the EU “disappear and be replaced by a Europe of nations that are free and sovereign.”2


Marine Le Pen, leader of France’s far-right National Front (FN), delivers a speech in front of a poster depicting Joan of Arc and the slogan “No to Brussels, Yes to France” during a rally in Paris on May 1, 2014. Photo: AFP PHOTO / Pierre Andrieu.

The leaders of the ultranationalist parties seem to be in permanent competition to radicalize the discourse concerning immigration and failing economies, with the hope that their arguments will help reclaim national sovereignty from the EU. These arguments range from Marine Le Pen in France claiming that the Muslim community is the new anti-Semitic danger of the twenty-first century, to the Danish People’s Party declaring that Denmark should be kept “Danish for the Danish,” culturally as well as economically. Their main obstacle does not seem to be a strong international progressive counterforce, but rather their own incapacity to deal with each other’s extremisms, leading to two prominent, competing right-wing blocks. One block organized itself into a coalition called Europe of Freedom and Direct Democracy (which includes the UK Independence Party, the Swedish Democrats, and, to the surprise of many, the Italian comedian Beppe Grillo’s Five Star Movement), while the other block organized itself into the European Alliance for Freedom (which includes the National Front, the Freedom Party, and Lega Nord). The parties from both blocks attempted to collaborate, as this is the only way they could gain enough subsidies from the EU, but for now were unable to reach an agreement due to opposition against the anti-Semitic rhetoric of the National Front. This means that for now, the strength of the ultranationalists is limited to the UK Independence Party’s group.

more: e-flux

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Ungarn: Razzia bei Kritikern

Kritiker sehen Einschüchterung der Zivilgesellschaft

Einen Tag nach der spektakulären Polizeirazzia bei der ungarischen NGO Ökotárs schienen die dahintersteckenden Motive zutage zu treten. Wie das ungarische Internetportal atlatzso (Durchblick) Dienstag berichtete, soll die Beschlagnahme von Akten und Laptops bei Ökotárs interne und vertrauliche Informationen über 13 regierungskritische Organisationen und Vereine erbringen, die das Amt von Premier Viktor Orbán schon im Mai dieses Jahres als “feindlich” eingestuft hatte.

Die den Grünen nahestehende Stiftung verteilt Gelder, die der norwegische NGO-Fonds Norway Grants in Ungarn an zivilgesellschaftliche Initiativen vergibt.

weiter: derStandard

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Vigorous Flagging in the Heart of Europe: The Hungarian Homeland under the Right-Wing Regime

by Edit András (E-Flux #57.)

Nationalism is not just in Hungary’s backyard, it is in every corner of the house from the basement to the roof. It gets inside with the air and has completely soaked through the orifices of the building: the front door, the windows, the chimney, the front yard. For this reason, Kriszta Nagy, a Hungarian painter who exhibited her work last spring at Godot Gallery in Budapest, feels she has no other option than to paint the leader of Hungary on bedsheets and tablecloths. She explains the reason for her fifty-seven Pop portraits of Viktor Orbán: “The prime minister sleeps in our bed. He is on our tablecloth.”

Nationhood is constantly and vigorously flagged: national symbols are everywhere. Even protesters and activists opposing the regime’s politics feel a pressing need to take back the national symbols—currently appropriated for official use—because those not regarded as Hungarian enough are excluded from the notion of the nation. Among other tools used for building nationhood, the reproduction of the nation’s visual culture is constantly recruited. Hungary’s authoritarian regime, with its centralized, highly controlled system, is replicated in the administration of the arts. It is hard to grasp this complex and overwhelming phenomenon.

Flagging Nationhood in Everything Sacred and Profane

After reconfiguring electoral rules in favor of reelection, and pursuing an aggressive, populist campaign amidst apathy, the right-wing regime won the Hungarian election on April 6, 2014. Now, it is finalizing what it began building in the previous mandate. According to the party’s program, this can be condensed to just a single sentence: “We continue.” Concerning the arts, the goal is to achieve a traditional, conservative, Christian culture, conveying a historically rooted image of a strong and proud Hungary. Fidesz, the ruling party in Hungary, used this image on its billboards for the European Parliament elections. The message “We are sending word to Brussels: Hungarians demand respect” stood beside the portrait of the prime minister—the same portrait that is replicated fifty-seven times in Kriszta Nagy’s paintings. Victor Orbán regards the EU as a colonizing power. “Bravely” talking back to the colonizer is presented as the main task of the charismatic leader of a nation that is the heart of Europe. The idea is to project an image of a tough, resistant nation-state within the EU, using EU money, with the attitude of the heroic outlaw who robs from the rich and gives to the poor. In reality, the meaning is slightly, but crucially, altered from the fairytale version: “To rob from the external rich and give to the internal rich.”

Funded by European money, the newly inaugurated football stadium and the Puskás Ferenc Football Academy are literally in the backyard of the leader’s residence in his hometown of Felcsút.2 They are emblems of the current cultural politics, which prioritizes sports, especially football, at the expense of the arts and education. “Politicians can, when waving the national flag, advocate sporting policies, so that the flag-waving of sport itself becomes another flag to be waved”—thus states Michael Billig, who coined the term “banal nationalism” to indicate that nationalism is not removed from everyday life, but is constantly flagged through banal habits.3 According to Billig, this is how the phenomenon is omnipresent in Western, affluent countries. He points to sports and its relation to masculinity as some of the habits that enable the established nations of the West to be reproduced.

more: E-Flux

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