{"id":400438,"date":"2001-03-09T23:00:00","date_gmt":"2001-03-09T23:00:00","guid":{"rendered":"https:\/\/exindex.hu\/?p=400438"},"modified":"2022-06-13T21:00:29","modified_gmt":"2022-06-13T20:00:29","slug":"hiany-1","status":"publish","type":"post","link":"https:\/\/exindex.hu\/en\/tema\/hiany-1\/","title":{"rendered":"Missing links"},"content":{"rendered":"
\r\n\r\n\t\r\n\t\t
\r\n\t\t\t\"img\"<\/a>\r\n\t\t<\/td>\r\n\t\t
<\/div>\r\n\t\t
Outer World<\/a><\/div>\r\n\t\t
Hungarian artists abroad<\/div>\r\n\t\t<\/td>\r\n\t<\/tr>\r\n<\/table>\r\n<\/div>\r\n\r\n
\r\n\r\n\r\n

 <\/p>\r\n\r\n\r\n

(ring-a-ring o’roses … a-tishoo, a-tishoo … let him go … mo!)<\/p>\r\n\r\n

Art is also arranged into formations that can be perceived at the social level by specialists and institutes \u2013\r\ninstitutes on the border of perceptibility. An infrathin structure. It would be nice to be able to dissect out the\r\nword \u201ethin\u201d and the space after it from the previous sentence.<\/p>\r\n\r\n

Missing links. Let’s start at the end.<\/p>\r\n\r\n

One of the primary problems is the lack of qualified specialists. Traditionally art historians are regarded as\r\nsuch specialists, normally they are appointed to fill the leading positions of the most important institutes. At\r\nthe same time contemporary fine arts are not included in art history studies, not even at a more advanced level.\r\n\u201eContemporary arts are not included in the research fields of art history\u201d, as it was put down in writing recently\r\nby one of the prominent personalities in the profession. Well, this may be right. So whose research field is it\r\nactually? Research? Here we come against the first gap: curators are needed in higher education (and in the\r\nParliament)!<\/p>\r\n\r\n

We are seriously lacking an institute similar to the DCA (Danish Contemporary Art Foundation)<\/a>, which would be responsible for the international\r\nrelationships of Hungarian fine arts. In connection with this, the other sad fact is that the most significant\r\ninternational exhibitions take place without the participation of Hungarian artists. Here is a list of a few more\r\nsignificant exhibitions: Documenta (the eleventh exhibition will be organised next year), Berlin Biennale (the\r\nsecond will take place this year), Biennale di Venezia (forty-ninth), Biennale de Lyon (last year the fifth\r\nexhibition was organised), Biennale of Sydney (the eleventh last year), Carnegie International (the seventh took\r\nplace in its new form), Istanbul Biennial (the seventh will be organised his year), Liverpool Biennial (the second\r\nwill take place next year), Melbourne International Biennial (the second), S\u0103o Paulo Bienal (the twenty-fifth next\r\nyear?), Site Santa Fe (the fourth exhibition this year), Kwangju Biennial (they organised the third one last\r\nyear), Johannesburg Biennial (after two exhibitions it was stopped by the authorities), Manifesta (the nomad\r\nbiannual, the fourth will be organised next year).<\/p>\r\n\r\n

From some countries there are as many as 10-15 participants at a time. However, Hungary’s statistics<\/i>\r\nare not like this at all.
It only happened once that there was a Hungarian participant at Documenta*, when\r\nJ\u00e1nos Sug\u00e1r took part in the ninth exhibition. No Hungarians have ever participated in the Berlin Biannual. Thank\r\nGod, there is a Hungarian pavilion in Venice, so there are a few Hungarian participants each time. The question is\r\nwhen will one of them be invited to the central exhibition at last, which would represent a real challenge. Then\r\nthe next question is when will a Hungarian artist be awarded a prize in Venice. I don`t ask more questions about\r\nthis for now. No Hungarians have participated in Lyon, unless we mention George Legrady who has been living in\r\nAmerica ever since he was a child. Orshi Drozdik went to Sydney once (it is no accident that she spells her name\r\nlike this, as she spends more time in New York than Budapest). Carnegie International: no Hungarian participants\r\never. Three Hungarian artists have been to Istanbul: Csaba Nemes, Antal Lakner and Bal\u00e1zs Be\u00f6thy. Liverpool:\r\nnobody. Melbourne: nobody. Sao Paulo is the most promising after Venice: J\u00e1nos Sug\u00e1r, Orshi Drozdik, Imre Bukta,\r\nAttila Cs\u00f6rg\u0151, Csaba Nemes, R\u00f3za El-Hassan, P\u00e9ter Forg\u00e1cs. Site Santa Fe: Imre Bukta. Kwangju: R\u00f3za El-Hassan.\r\nJohannesburg: K\u00e1roly Elekes (after that the biannual was banned by the local authorities, and according to the\r\nnews it was not because the Hungarian participant was robbed in the street in daylight. This is what the\r\natmosphere is like in Johannesburg). Manifesta, the European biannual started very well from the aspect of\r\nHungarian artists, as one of its very first curators was Katalin N\u00e9ray, and due to this two Hungarian<\/i>\r\nartists, R\u00f3za El-Hassan and J\u00e1nos Sug\u00e1r were able to take part in the exhibition. The second one was also\r\nsuccessful, when the curators discovered Emese Bencz\u00far. But then the third one turned out to be a scandal:\r\nalthough at the opening ceremony of Manifesta 2 in Luxembourg it was officially announced that Manifesta 3 would\r\ntake place in Budapest, <\/i>no one really undertook the organising here<\/i>. Time went by and it suddenly\r\nturned out that Budapest had been replaced by Ljubijana. At the same time Hungarian artists were also replaced by\r\nother artists, which meant that apart from Finland only Hungary was not represented by anybody. If we want to\r\nremain subtle, we can call it another missed opportunity.<\/p>\r\n\r\n

If we add it all up, it comes up to 72 missed opportunities altogether (Drozdik, Cs\u00f6rg\u0151 and Bukta went to Sao\r\nPaulo in the same year, so they only count as one**).<\/p>

In fact, in the last century two Hungarian artists\r\ngained recognition in world-wide art history: Moholy-Nagy and Vasarely, one of them was supported by the\r\ninfrastructure of Berlin while the other by the infrastructure of Paris.<\/p>

Recognition or gratitude is\r\nmissing from here \u2013 I thought in connection with the above. I also remembered that with the exception of Venice\r\nand the Manifesta all the opportunities that were not missed were due to the same person. This person is Suzy\r\nM\u00e9sz\u00f6ly, who came here from Australia at the end of the eighties. She arrived with the east wind, like Mary\r\nPoppins, and left with the west wind. It did not take long for her to realise what serious deficiencies we have in\r\nthe field of international relations. She attuned herself to the process of the events and soon she determined the\r\npace. Her style and ways were often criticised<\/i>, but no one can question her efficiency. She was a\r\nconsultant in Istanbul and Santa Fe. She was the first and, so far, the only national commissioner of the Sao\r\nPaulo Biennale. She also raised the financial background for the participants. She gave a new meaning to the word\r\n“curator”<\/i>.<\/p>

It cannot really be said that the participation of Sug\u00e1r at the Documenta was due to\r\nher, although they were husband and wife at that time, but the situation was different then. The winning idea was\r\nwhen the M\u0171csarnok invited Jan Hoet, the actual Documenta trustee to be a member of the jury at the international\r\nsmall sculpture exhibition, and he picked the artist who won first prize. Or rather, he picked the work of art and\r\nnot the artist, but that is another story.<\/p>

Ring-a-ring o” roses, a pocket full of poses Let us fill one of\r\nthe gaps now. This one first. As if we were saying an incantation. Thanks Suzy. Thank you Suzy.<\/i> <\/p>\r\n\r\n

And then another gap can be filled. Eeny meeny miny. Click.<\/i><\/p>\r\n\r\n\r\n

* we have to mention here the participation of L. R\u00e9v\u00e9sz, A. B\u00f6r\u00f6cz and J. Szirtes in Documenta 8`s\r\nperformance section.<\/p>\r\n\r\n

** also organised by Suzy <\/p>","protected":false},"excerpt":{"rendered":"

Outer World Hungarian artists abroad   (ring-a-ring o’roses … a-tishoo, a-tishoo … let him go … mo!) Art is also arranged into formations that can be perceived at the social level by specialists and institutes \u2013 institutes on the border of perceptibility. An infrathin structure. It would be nice to be able to dissect out […]<\/p>\n","protected":false},"author":1,"featured_media":630431,"parent":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[11],"tags":[],"class_list":["post-400438","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\/400438","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=400438"}],"version-history":[{"count":3,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400438\/revisions"}],"predecessor-version":[{"id":2023709,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400438\/revisions\/2023709"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media\/630431"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media?parent=400438"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/categories?post=400438"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/tags?post=400438"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}