{"id":400399,"date":"2005-01-23T23:00:00","date_gmt":"2005-01-23T23:00:00","guid":{"rendered":"https:\/\/exindex.hu\/?p=400399"},"modified":"2022-06-13T22:38:46","modified_gmt":"2022-06-13T21:38:46","slug":"az-intervencio-ezzel-meg-nem-ert-veget","status":"publish","type":"post","link":"https:\/\/exindex.hu\/en\/tema\/az-intervencio-ezzel-meg-nem-ert-veget\/","title":{"rendered":"The Intervention Does not Stop Here"},"content":{"rendered":"
\r\n\r\n\t\t\r\n\t\t
\r\n\t\t\t\"img\"<\/a>\r\n\t\t<\/td>\r\n\t\t
<\/div>\r\n\r\n\t\t
Much-travelled Monument<\/a><\/div>\r\n\t\t
Little Warsaw: Instauratio<\/i><\/div>\r\n\t\t<\/td>\r\n\t<\/tr>\r\n\t<\/table>\r\n<\/div>\r\n\r\n
\r\n\r\n\r\n

 <\/p>\r\n\r\n

The exhibition \u201cTravelling without Moving\u201d is presently on display in Amsterdam; you are one of its curators. The Little Warsaw group has a work in that show that\r\nincorporates another work, created earlier. What is more, that work is now on display in the same building as Instauratio, another Little Warsaw piece. This makes for a very\r\ncomplex situation. How do these two works relate to each other?<\/i><\/p>\r\n\r\n

They are companion pieces, inasmuch as both are preexisting works that have been relocated. First of all, let me describe Little Warsaw\u2019s contribution to Travelling\r\nwithout Moving<\/i> [2]<\/b><\/sup><\/a>. One important bit of background: for the period of its renovation,\r\nthe Stedelijk Museum has moved temporarily into Amsterdam\u2019s former Main Post Office building, an 11-story modernist building next to the Central Station. The Stedelijk\r\noccupies its second, third, and fourth floors. The Time and Again<\/i> exhibition is on view on the third floor, including Little Warsaw\u2019s Instauratio<\/i>. At the same\r\ntime, another significant \u2013 though completely different \u2013 institution in the Netherlands\u2019 cultural palette, has moved into the basement of the same building, also just\r\ntemporarily: W139. This is where we showed the group exhibition Travelling without Moving<\/i>, which includes Little Warsaw\u2019s project Censorship Blvd.<\/i> Even\r\nbefore this project was created, it was crucial to be aware of how these two institutions would occupy their spaces, that two different works would be appearing in different\r\nsettings within the same building. This was constantly kept in mind in considering the recontextualization of the Somogyi sculpture. For Censorship Blvd., <\/i> Kar Ilyich\r\nPelgrom\u2019s 1958 sculpture Vogel<\/i> (Bird<\/i>) was borrowed from the Stedelijk\u2019s collection. This work found itself in a completely new context as a result of the\r\nbuilding\u2019s simple, vertical dynamic. At such times you need to know a few things about the artist, since during the process of recontextualization, the selection of pieces is at\r\nleast as important as the manner in which it is displayed. The sculptor in this case was a member of the Cobra Group, and the overtones of his name are no accident: He took\r\nthe name Karl after Marx, and Ilyich after Lenin. Pelgrom was an exponent of such radical artistic thinking in the 1960\u2019s that he became isolated, even within the Cobra Group\r\nitself. In 1966, for example, he was given a professorship at the University of Groningen, only to be kicked out two years later for behavior irreconcilable with the spirit of that\r\ninstitution. This event created a tremendous stir among the students, some of whom then joined him in establishing a new group, Creative Work<\/i>. They were\r\ncharacterized by a critical stance that saw problems in aesthetics, in the cult of the creative personality, and in the placing of works of art on pedestals. One of their goals was\r\nto bring the process of artistic creation as close as possible to daily life. In this sense, it was very fortunate that Little Warsaw took up this sculpture.<\/p>\r\n\r\n

On what basis was this choice made?<\/i><\/p>\r\n\r\n

Because of their similar chronology, for one thing. The Somogyi sculpture dates from 1965; it was crucial to present what the 1960\u2019s meant in art from another angle as\r\nwell. The critical position inherent in the work of Little Warsaw, and its constant reevaluation of the status of art, are very similar to the views represented by Creative Work\r\n<\/i>. On top of that, there was a special harmony with the mission of W139, and its role within the range of institutions. So it seemed that Vogel<\/i> was getting its\r\nappropriate place and context.<\/p>\r\n\r\n

It got more than that\u2026<\/i><\/p>\r\n\r\n

Little Warsaw\u2019s intervention does not stop there. A physical change happened to the Somogyi sculpture, through its new setting, involving the direct participation of the\r\nartist: a micro-port<\/b><\/a> was attached to that small piece, with a cord leading from its base to a cassette recorder that lay on the floor. <\/p>\r\n\r\n

How different are these two types of removal \u2013 from public space and from a museum setting?<\/i><\/p>\r\n\r\n

The public space is largely an inherent part of the work created for it. This is even managed by legal formulas. In an urban setting like H\u00f3dmez\u0151v\u00e1s\u00e1rhely, the \u201cstrategic\u201d\r\nlocation of a statue is crucial in determining the role it will play in the urban environment. With Vogel<\/i>, the collection itself provides the context, so its internal\r\ndynamics are most significant. The question may arise how a formerly rebellious artist who was once expelled by institutional culture can become part of the canon over time,\r\nand his oeuvre reevaluated \u2013 a process that \u201cends\u201d with one of his works ending up in an important collection.<\/p>\r\n\r\n

With Instauratio, what kind of encounter do you see taking place within the work (and within the public around it) between varying concepts of art?<\/i><\/p>\r\n\r\n

It is almost as if the entire tradition of conceptual art is being questioned in the polemic being played out in the press. Of course Instauratio<\/i> is a work of art, and\r\nthe intervention that placed it in another context is a significant gesture. The \u201caddition\u201d of content is more than just strictly sculptural. I do not think the autonomy of the\r\nSomogyi sculpture suffered from becoming the focal point of a contemporary group\u2019s project \u2013 one that examines our thinking about art in relation to the statue.<\/p>\r\n\r\n

Budapest, January 14, 2005
\r\nInterviewed by Nikolett Er\u0151ss
\r\nTranslation by: Jim Tucker<\/p>\r\n\r\n

 <\/p>\r\n

\r\n

 <\/p>\r\n\r\n

1<\/b><\/a> Edit Moln\u00e1r is a curator, leader of the Gallery of the Young Artists Association (St\u00fadi\u00f3 Gal\u00e9ria), Budapest<\/p>\r\n

2<\/b><\/a> W139, Amsterdam, 18. 12. 2004 \u2013 23.01.2005. Curated by Ann Demeester, Edit Moln\u00e1r, Hajnalka Somogyi <\/p>\r\n\r\n\r\n\r\n<\/div>","protected":false},"excerpt":{"rendered":"

Much-travelled Monument Little Warsaw: Instauratio   The exhibition \u201cTravelling without Moving\u201d is presently on display in Amsterdam; you are one of its curators. The Little Warsaw group has a work in that show that incorporates another work, created earlier. What is more, that work is now on display in the same building as Instauratio, another […]<\/p>\n","protected":false},"author":1,"featured_media":630393,"parent":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[11],"tags":[],"class_list":["post-400399","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tema"],"acf":[],"_links":{"self":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400399","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=400399"}],"version-history":[{"count":1,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400399\/revisions"}],"predecessor-version":[{"id":2023779,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400399\/revisions\/2023779"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media\/630393"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media?parent=400399"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/categories?post=400399"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/tags?post=400399"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}