Artist Szabolcs KissPál in conversation with art critic Edit András

Szabolcs KissPál: After 1989, in most of the post-state  socialist countries of the region—Romania, Slovakia, and Poland—a considerable amount of artistic practice reflected on the past and the period of transition both from social and historical points of view. What is the reason that in Hungary a rather apolitical approach dominated the cultural discourse?

Edit András: I think the reason is twofold. In Hungary the state socialist regime was more permissive and the unofficial art movements were stronger than in the neighboring countries. The opposition shared the ideas of the modernist paradigm and its key tenets. Also, it repeated the methods and habits of official culture; its militancy, binary thinking, and its exclusiveness. The “sub-voices” had to be subordinated to the fight against the common enemy, the regime. After 1989, the politics of art were understood differently than during the Cold War; however, this heritage was persistent in art and art criticism, and worked against new forms of political art which gave place to different “others” as well.


Living Memorial, ongoing project from March 23, 2014. Photo: Gabriella Csoszó / FreeDoc.

KissPál: Why do you think that in spite of the threatening, authoritarian processes which endanger free culture in Hungary, only a few artists join the protest or take the responsibility to stand up and act against them?

András: A lot of artists are simply afraid of being involved in the protest movement, and there are many who wish to benefit from the possibilities abundant for “court artists,” mostly those run-of-the-mill artists who felt excluded from the progressive, internationally oriented art scene of the last two decades. Furthermore, due to the conservative education of artists—and art critics—a lot of them still believe in the romantic idea of the artist’s role having nothing to do with politics, as though art is beyond and above it. They do not perceive themselves as artist-citizens but rather artists with capital “A.”

more: BrooklynRail

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Exploring contemporary art institutions in Hungary

An essay on Hungarian cultural and political life
by Mike Ainsworth (University of Leeds)

mike ainsworth

Read the Essay

Posted in EN, political background - HU, social background HU | 1 Comment

Hírek Közlemény Kerényi Imre nyilatkozata kapcsán

A Magyar Színházi Társaság közgyűlése mélységesen elítéli Kerényi Imre miniszterelnöki megbízott kategorikus és kirekesztő kijelentéseit a színházi világgal és azon belül is a színházi képzéssel kapcsolatban.

Tekintettel arra, hogy nevezett megnyilvánulásait nem magánemberként, hanem mint a „tudatos nemzeti közjogi gondolkodás megalapozásával és ehhez kapcsolódva a magyar kulturális értékek megőrzésével és fejlesztésével összefüggő feladatok ellátásáért felelős miniszterelnöki megbízottként” teszi, arra kérjük miniszterelnök urat, vonja vissza ezt a megbízatást, mert megbízottja ezzel csak árt a magyar kultúrának. A meglévő problémák tisztázására pedig kérjen fel szakembereket, akik ítélőképességük teljes birtokában tudnak felelős véleményt alkotni a meglévő problémákról.

Magyar Színházi Társaság

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Time to act and counteract the alarming rise of far-right and neo-Nazi parties in the European Parliament

It’s time to act and counteract the alarming rise of far-right and neo-Nazi parties in the European Parliament.

“Minority rights, such as those of Roma, are currently at risk in many countries. At the EU level, this could entail heavy consequences for inclusion policies addressed to Roma, hence jeopardising the little progress hardly achieved so far” denounced ERIO’s director.

Read the full statement here
European Roma Informational Office

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“Azt a beszédet kihúztuk volna” – A dramaturg hallgatók válasza Kerényi Imre a Keresztény Színházi Fesztiválon elhangzott beszédére

A Színház- és Filmművészeti Egyetem elsőéves színházi dramaturg hallgatói válaszolnak Kerényi Imre kijelentéseire.

A dramaturg szerintünk felelősen gondolkodó színházi szakember.
A dramaturg olvas, ajánl, elemez, ír, átír, húz, fordít.
A dramaturg érvel és érveket hallgat. Nem hipnotizál, nem manipulál.
A dramaturg nem népben-nemzetben gondolkodik, hanem alanyban-állítmányban.
A dramaturg nem ideológiák, hanem értékek mentén dönt.
A dramaturg nem ítélkezik, nem támad és nem köpköd.
A dramaturg szerint a többség és a kisebbség nem alárendelő, hanem mellérendelő szerkezet.
A dramaturg, a rendező, a színész és a kritikus egyenrangú része a színházi kultúrának.
A dramaturg egy szakma, amit európai színvonalon oktatnak a Színház- és Filmművészeti Egyetemen.

Ha mi lettünk volna Kerényi Imre dramaturgjai, akkor azt a beszédet kihúztuk volna.

Osztalykep
A Színház- és Filmművészeti Egyetem elsőéves színházi dramaturg hallgatói:

Balázs Júlia
Bodor Panna
Fabacsovics Lili
Gábor Sára
Kautzky Máté
Kukk Zsófia
Nagy Mihály
Sényi Fanni
Szász Hanna
Varga Vanda
Varga Zsófia

2014. 05. 26

forrás (+előzmények): szinhaz.hu

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Protesters Stage Intervention at Guggenheim’s Futurist Exhibition

Nine of the 28 specially designed graphics designed b G.U.L.F. for tonight's protest at Manhattan's Guggenheim Museum. (images courtesy G.U.L.F.)

Last night’s protest action at New York’s Guggenheim Museum by the Gulf Ultra Luxury Faction (G.U.L.F.) is the group’s fourth intervention and the latest to raise awareness about the labor conditions on Saadiyat Island in the United Arab Emirates. The group attempted to unfurl a banner in the atrium of the Upper East Side museum, while other members browsing the Futurist art exhibition taped up Futurist-inspired graphics with messages targeting museum trustees and other labor-related messages, including “No Museum Built on Death” and “Chairman Mack, No Time to Waste.” A number of G.U.L.F. protesters also distributed flyers to museum visitors with a statement from G.U.L.F, which is reproduced below.

A museum visitor reading one of the G.U.L.F. graphics by a Futurist art work. (image by the author for Hyperallergic) (click to enlarge)The group of over 40 individuals, which included NYU students, artists, and activists, entered the museum during the weekly pay-what-you-wish Saturday evening and beginning at roughly 6:45pm ET the group ignited their protest. A booming voice, speaking briefly from a megaphone that was quickly taken away by museum security, sparked the beginning of the museum-wide intervention.

Activists attempted to unfurl a mylar banner in the atrium, but a museum security official quickly ran and grabbed the banner before it was fully revealed. Participants later told me that the banner and megaphone was a planned distraction for security so that other activists could stick the graphics of what one person was calling “augmentations” near art works that “inspired” them. The activists said they worked to ensure that all the materials they used for the action would not harm the walls of the museum or other surfaces.

more: hyperallergic.com

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Protesters Urge Guggenheim to Aid Abu Dhabi Workers

Protesters critical of the Guggenheim Museum’s planned franchise in Abu Dhabi smuggled artworks into the museum on Saturday evening, placing them in an exhibit of Italian Futurism.
The art created by the group, Global Ultra Luxury Faction, known as G.U.L.F., bore a stylistic resemblance to the museum’s work but also listed names of some of the institution’s board of trustees.
As about 40 protesters spread through the multilevel museum, a voice boomed across the open rotunda: “No justice, no art.”
The intervention staged by G.U.L.F., which lasted about 15 minutes, was part of a growing protest of labor conditions on Saadiyat Island, off the coast of Abu Dhabi in the United Arab Emirates. The Frank Gehry-designed Guggenheim will soon be built there, alongside an under-construction branch of the Louvre museum and a recently completed campus of New York University. The group called on museum officials to ensure that workers there are treated fairly.
Some museum visitors seemed bewildered to encounter a protest inside one of New York City’s leading cultural institutions, but security guards were less surprised; the protest on Saturday was the third since February to take place inside the museum. Guards quickly ejected protesters and ripped down the unsanctioned art.
Museum protests are the latest tactic employed by groups critical of the Guggenheim’s project: The highly visible spectacles are meant to draw attention to a campaign that has been waged more quietly for years.
Much of the work on Saadiyat Island, a luxury enclave being developed by the Emirates government, is done by foreign migrants, who are required to pay large recruitment and transit fees, critics say. In addition, the critics add, employers often seize the workers’ passports, house them in substandard conditions and pay them less than expected, all while enforcing demanding work schedules.
A statement from the Solomon R. Guggenheim Foundation said that strengthening labor protections was a museum priority.
“The recent reports that allege continued worker mistreatment at Saadiyat Island are disturbing and should give anyone pause,” the statement said, adding: “The Guggenheim is working closely with our partners in Abu Dhabi at the highest levels to continue to improve workers welfare practices.”
It is unclear, however, how much influence the museum might wield in a project that is being led by the Emirates government.

more: TheNewYorkTimes

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