<\/p>\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
During the autumn\/winter\r\nseason, I visit the TATC<\/b> events with the most pleasure. It is not\r\nso simple to explain why something should be considered as an event, but\r\nthese seem so to me. Perhaps due to the direct, intimate, \r\ninformal atmosphere<\/a>. Perhaps on the grounds of the unusually fresh\r\nprogramme. And being that one comes every week, it is thus an event series.\r\nMaybe this is the most precise wording for that which has been going on\r\nfor several months in Budapest in two studios that are suited for such.\r\nThe series is signed by two artists (R\u00f3za El-Hassan, J\u00e1nos\r\nSug\u00e1r) and two curators (D\u00f3ra Hegyi, Emese S\u00fcvecz).<\/p>\r\n\r\n\r\n No one should be\r\ndeceived by the location. There is more going on here than a studio exhibition.\r\nThe aim is not to bring the artists’ own works into the public eye: according\r\nto the communiqu\u00e9 published by the organising group, they are guided\r\nby the intent to render critical discourse a part of the local scene.\r\nFor which, certainly – let us admit, like a man (or woman) –\r\nthere is a real need in Budapest. If here, the expressions \u201ccritical\u201d\r\nor \u201cdiscourse\u201d are heard, many do not even know really what\r\nthis means. The combination of the two words then is decipherable with\r\neven more difficulty. Nevertheless, it is worth combining them. This might\r\nbe the tool that aids in orientation. Globally and locally. From which\r\nthe zeitgeist<\/i>-penetrated force field is delineated, within which\r\neach artwork is rendered perceptibly operative, gaining value and meaning\r\n– and that is an inspiration. Consequently something – a proposition,\r\na statement, an action, a deed, a work of art – does not simply hang\r\nin the air, but connects with the thoughts of others. The fabrication\r\nof the oft-mentioned intellectual space: think globally, act locally<\/i>.<\/p>\r\n\r\n\r\n Because, after all,\r\nwhat does criticism, for example, really mean? Something of the like that\r\nour literary agents know very well. (Sure, it’s easy for those whose primary\r\nmeans of expression is language, someone might say. But it is not the\r\nlanguage that is lacking, but the discipline, I would hasten to add.)\r\nIt does not mean, thus, boring descriptions and appraisals that operate\r\nwith an obsolete vocabulary, are unreflective, that cry out into the wilderness,\r\nof the kind that characterises the discourse on art in these parts, but\r\nrather thematics that are based upon an international consensus and that\r\nbuild upon each other.<\/p>\r\n\r\n\r\n Each to his\/her own\r\nweapon. The artist, the curator, the critic, the journal, the non-profit\r\nand the commercial gallery, the private and the public collection, the\r\nmuseum, and in this way they together weave the network that cultivates\r\nand engages, into which the audience can also become involved. Do it out\r\nof a commitment, for free or officially, for a fee (each according to\r\nhis\/her own temperament).<\/p>\r\n\r\n\r\n In the case of TATC,\r\nin any case, the commitment remains. A voluntary task, a private force,\r\nthrough private channels. Executed gracefully, exactly, well.<\/p>\r\n\r\n\r\n Content follows form.\r\nThe presentation of artworks, and of strategies. Only non-mediated, direct\r\nphysical experiences. An intentional elite, unconventional, slowly receptible.\r\nHmm. Slow reception? Disassembled form? Elite as a value? " …the\r\npreviously rightfully scorned elitism is rendered progressive, locally\r\ncapable of resisting the manipulations, of a positive value", asserts\r\nthe TATC communiqu\u00e9<\/a>.<\/p>\r\n\r\n\r\n In the spirit of\r\nrecycled attention<\/i>, the subtitle of the series, an artwork, a group\r\nof artworks, an artist is thrown into the common consciousness in an intensive\r\nrhythm, with a weekly regularity. They draw from an astonishingly\r\nwide spectrum<\/a>: from caricaturists through young artists and international\r\nstars to the great masters, living and deceased, all worthy of mention.\r\nThe selection is spontaneous, based on personal contacts and arising opportunities:\r\nfor the most part, works and actions that are not in the spotlight, though\r\nthey are deserving of such a place. An economy of attention.<\/p>\r\n\r\n\r\n The culmination until\r\nnow, as far as I am concerned, has been the pictures of Diana\r\nKingsley<\/a>. Perhaps the organisers, too, felt this way, because they\r\ndoubled this event. Not only galleries, but museums might also be envious\r\nof this chamber exhibition that took place twice (in changing forms) for\r\nan evening.<\/p>\r\n\r\n\r\n
![\r\ninformal atmosphere<\/a>. Perhaps on the grounds of the unusually fresh\r\nprogramme. And being that one comes every week, it is thus an event series.\r\nMaybe this is the most precise wording for that which has been going on\r\nfor several months in Budapest in two studios that are suited for such.\r\nThe series is signed by two artists (R\u00f3za El-Hassan, J\u00e1nos\r\nSug\u00e1r) and two curators (D\u00f3ra Hegyi, Emese S\u00fcvecz).<\/p>\r\n\r\n\r\nNo one should be\r\ndeceived by the location. There is more going on here than a studio exhibition.\r\nThe aim is not to bring the artists’ own works into the public eye: according\r\nto the communiqu\u00e9 published by the organising group, they are guided\r\nby the intent to render critical discourse a part of the local scene.\r\nFor which, certainly – let us admit, like a man (or woman) –\r\nthere is a real need in Budapest. If here, the expressions \u201ccritical\u201d\r\nor \u201cdiscourse\u201d are heard, many do not even know really what\r\nthis means. The combination of the two words then is decipherable with\r\neven more difficulty. Nevertheless, it is worth combining them. This might\r\nbe the tool that aids in orientation. Globally and locally. From which\r\nthe zeitgeist<\/i>-penetrated force field is delineated, within which\r\neach artwork is rendered perceptibly operative, gaining value and meaning\r\n– and that is an inspiration. Consequently something – a proposition,\r\na statement, an action, a deed, a work of art – does not simply hang\r\nin the air, but connects with the thoughts of others. The fabrication\r\nof the oft-mentioned intellectual space: think globally, act locally<\/i>.<\/p>\r\n\r\n\r\nBecause, after all,\r\nwhat does criticism, for example, really mean? Something of the like that\r\nour literary agents know very well. (Sure, it’s easy for those whose primary\r\nmeans of expression is language, someone might say. But it is not the\r\nlanguage that is lacking, but the discipline, I would hasten to add.)\r\nIt does not mean, thus, boring descriptions and appraisals that operate\r\nwith an obsolete vocabulary, are unreflective, that cry out into the wilderness,\r\nof the kind that characterises the discourse on art in these parts, but\r\nrather thematics that are based upon an international consensus and that\r\nbuild upon each other.<\/p>\r\n\r\n\r\nEach to his\/her own\r\nweapon. The artist, the curator, the critic, the journal, the non-profit\r\nand the commercial gallery, the private and the public collection, the\r\nmuseum, and in this way they together weave the network that cultivates\r\nand engages, into which the audience can also become involved. Do it out\r\nof a commitment, for free or officially, for a fee (each according to\r\nhis\/her own temperament).<\/p>\r\n\r\n\r\nIn the case of TATC,\r\nin any case, the commitment remains. A voluntary task, a private force,\r\nthrough private channels. Executed gracefully, exactly, well.<\/p>\r\n\r\n\r\nContent follows form.\r\nThe presentation of artworks, and of strategies. Only non-mediated, direct\r\nphysical experiences. An intentional elite, unconventional, slowly receptible.\r\nHmm. Slow reception? Disassembled form? Elite as a value? " …the\r\npreviously rightfully scorned elitism is rendered progressive, locally\r\ncapable of resisting the manipulations, of a positive value", asserts\r\nthe TATC communiqu\u00e9<\/a>.<\/p>\r\n\r\n\r\nIn the spirit of\r\nrecycled attention<\/i>, the subtitle of the series, an artwork, a group\r\nof artworks, an artist is thrown into the common consciousness in an intensive\r\nrhythm, with a weekly regularity. They draw from an astonishingly\r\nwide spectrum<\/a>: from caricaturists through young artists and international\r\nstars to the great masters, living and deceased, all worthy of mention.\r\nThe selection is spontaneous, based on personal contacts and arising opportunities:\r\nfor the most part, works and actions that are not in the spotlight, though\r\nthey are deserving of such a place. An economy of attention.<\/p>\r\n\r\n\r\nThe culmination until\r\nnow, as far as I am concerned, has been the pictures of Diana\r\nKingsley<\/a>. Perhaps the organisers, too, felt this way, because they\r\ndoubled this event. Not only galleries, but museums might also be envious\r\nof this chamber exhibition that took place twice (in changing forms) for\r\nan evening.<\/p>\r\n\r\n\r\nWith diligence resuscitated\r\nunder the influence of inspiration, allow me also to recycle an event-series.\r\nA memory of evenings of the value of an artwork, restoring the general\r\ncondition, weaving a network. The Fast\r\nCulture<\/a> evenings. They took place in the Kossuth Club, in the last\r\ncentury, in the mid-eighties. One street’s distance from the TATC base.\r\nThey are close to each other, in space, and, strange as it may sound,\r\nin time as well. Never did I think seriously that time really stands still.\r\nMaybe habits don’t change quickly enough. Still we inhabit this space.<\/p>","protected":false},"excerpt":{"rendered":" During the autumn\/winter season, I visit the TATC events with the most pleasure. It is not so simple to explain why something should be considered as an event, but these seem so to me. Perhaps due to the direct, intimate, informal atmosphere. Perhaps on the grounds of the unusually fresh programme. And being that […]<\/p>\n","protected":false},"author":1,"featured_media":630157,"parent":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-400157","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-flex"],"acf":[],"_links":{"self":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400157","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/comments?post=400157"}],"version-history":[{"count":0,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400157\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media\/630157"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media?parent=400157"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/categories?post=400157"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/tags?post=400157"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"\/wp-content\/uploads\/images\/media\/terek_pszichologiaja\/2m2kvarnai.JPG\"){kind=link}