{"id":400672,"date":"2001-11-14T23:00:00","date_gmt":"2001-11-14T23:00:00","guid":{"rendered":"https:\/\/exindex.hu\/?p=400672"},"modified":"2023-03-17T11:12:23","modified_gmt":"2023-03-17T10:12:23","slug":"az-ido-lagy-tenyeren","status":"publish","type":"post","link":"https:\/\/exindex.hu\/en\/tema\/az-ido-lagy-tenyeren\/","title":{"rendered":"Pampered by Time"},"content":{"rendered":"<div class=\"topic_container\">\r\n\t\t\t<table  class=\" table table-hover\" width=\"100%\" cellpadding=\"0\" cellspacing=\"0\" border=\"0\">\r\n\t\t\t\t<tbody><tr>\r\n\t\t\t\t\t<td align=\"left\" valign=\"top\">\r\n\t\t\t\t\t\t<a class=\"cikkcim\" href=\"\/tema\/05_mmmmmm_en.php?l=en&#038;t=tema&#038;tf=05_en.php\"><img loading=\"lazy\" decoding=\"async\" class=\"imgborder\" src=\"\/wp-content\/uploads\/images\/tema\/momamumu.gif\" width=\"74\" height=\"50\" border=\"0\" alt=\"img\" title=\"About the Museum of Hungarian Modern Art\"><\/a>\r\n\t\t\t\t\t<\/td>\r\n\t\t\t\t\t<td align=\"left\" width=\"90%\"><div class=\"cikk_szerzosor\"><\/div>\r\n\t\t\t\t\t<div class=\"cikk_cimsor\" onmouseover=\"this.className='cikk_cimsor_over';\" onmouseout=\"this.className='cikk_cimsor';\"><a class=\"cikkcim\" href=\"\/tema\/05_mmmmmm_en.php?l=en&#038;t=tema&#038;tf=05_en.php\">About the Museum of Hungarian Modern Art<\/a><\/div>\r\n\t\t\t\t\t<div class=\"cikk_alcimsor\"><\/div>\r\n\t\t\t\t\t<\/td>\r\n\t\t\t\t<\/tr>\r\n\t\t\t<\/tbody><\/table>\r\n\t\t\t<\/div>\r\n\t\t\t\r\n\t\t\t\r\n\t\t\t<div class=\"cikk\">\r\n\t\t\t\r\n\t\t\t\r\n\r\n<p>The matter of the\r\nMuseum of Modern Hungarian Arts is languishing held captive by time and\r\nmoney. Ever since the beginnings shrouded in mystery those who are concerned\r\nhave been taking steps relating to the steel grip of time (as it is a\r\nsingle opportunity, which must not be missed!), justifying the partial\r\nor complete exclusion of publicity by saying sometimes this or something\r\nelse at other times. The few initiated ones behave as if they were participants\r\nof a great game. They do not seem to realise that with one single democratic\r\nstep they could break out of the vicious circle at any time; instead they\r\ntake up a hedgehog position. In the meantime the events of the past slowly\r\nsink into oblivion, new conceptions and constructions leak out, and the\r\nwhole affair is just moving on at an evil, slow rate, on its way, which\r\nseems to be inevitable.<\/p>\r\n<p>Everything started\r\nwith the idea. It seems irrelevant now whether it was S\u00e1ndor Demj\u00e1n&#8221;s\r\nor Zolt\u00e1n Rockenbauer&#8221;s idea. In his time even J\u00f3kai dealt\r\na lot with the estate affairs of the Pest side, and from SimCity 2000\r\nit became clear to everybody that cultural buildings significantly increase\r\nthe value of the neighbouring offices and shops. Cultural investments\r\nare monuments of different governments: Sulinet (Schoolnet) is evanescent,\r\nbut buildings stand for a long time. So joint realisation seemed an extremely\r\nattractive construction for the two concerned parties. The first problem\r\nwas that they treated the whole museum affair affecting the profession\r\ndealing with contemporary arts as if it were the issue of building an\r\noffice block for ministerial purposes. And the issue of building office\r\nblocks is not anybody&#8221;s concern apart from the architects and problem\r\nsolvers (CCC+Bogner acting as Harvey Keitel), anybody who wants can find\r\nout information from the ministerial decrees. And time is running out.<\/p>\r\n<p>For example, the\r\ntime up to the deadline was running out. According to the first reports\r\nthe plans were going to be made by December 2000, and the opening planned\r\nin the autumn of 2002 seemed a little late. And money was running out.\r\nIn this case the public acquisition act necessarily could not be applied,\r\nas the private investor would not provide such favourable conditions again\r\nfor making a museum. As time and money was running out, the preparation\r\nof the museum technology plans had to be started rapidly to be able to\r\nstart preparing the architectural plans after a quick tendering process.\r\nAfterwards everybody would have had enough time to think over the concept.\r\nThe crazy pace called for suitable decision making processes, the opinion\r\nof the profession may provide interesting additional information in connection\r\nwith this later on. And then immediately a previously promised private\r\ncollection was needed to ensure the position of the museum. Finally time\r\nwas running out for the concept to be born.<\/p>\r\n<p>Let us see the individual\r\npressing problems one by one, which &#8211; as it turned out time was passing\r\nby &#8211; are surrounding the affair like soft semolina pudding. There is no\r\nreal deadline any more, there is no chance for significant representation\r\neither before parliamentary or the local authority elections, the year\r\n2004 is stated in the present plans. Maybe. Public Acquisition has been\r\nforgotten, and the financial affairs have turned upside down, numbers\r\nnever seen before have appeared from sources never seen before. The decision-making\r\nprocesses are incomprehensible, it can only be guessed whether G\u00e1bor\r\nBell\u00e1k, who prepared the concept, holds responsibility with respect\r\nto the investor or to the minister, or whether the architect holds responsibility\r\nwith respect to Demj\u00e1n or CCC+Bogner (or maybe the minister). Due\r\nto G\u00e1bor Bell\u00e1k &#8211; who, avoiding the official way, sent his\r\nproposal to a few specialists asking for their opinion &#8211; the opinion of\r\nthe profession can be listened to again (although it is not guaranteed\r\nat all), but the whole of the construction still remains in mystery. CCC+Bogner\r\nstill insists on being responsible only for the technology. As a result\r\nof more than twelve months of work the museum technology plan (funnily\r\nin the arguments they always talk about setting the humidity) must be\r\napproaching the peaks of precision, although a sound museum concept was\r\nprepared during these twelve months. The architectural plan is being changed\r\nat the moment, and the person of the architect may be the only thing that\r\nstill fills us with hope. Unfortunately we all know what happened to the\r\nVasilescu collection, it is obvious now that it was a premature and legally\r\nunprepared decision to talk about it.<\/p>\r\n<p>The concept is the\r\nonly thing that should have been argued since the very beginning, although\r\nnone of the parties concerned seem to find it important. Nobody brings\r\nup the issue any more that what is really missing is a comprehensive strategy\r\nin connection with the collective sphere and future of the Museum of Contemporary\r\nArts, the National Gallery and other smaller institutions (and then we\r\nhave not mentioned the theoretical questions of the museum of the future).\r\nThe narrow concept, only relating to the new institute to be established,\r\nwhich is necessarily only a slap-dash concept, may be made public now\r\nas a result of the counter-advice. G\u00e1bor Bell\u00e1k&#8221;s essay\r\nclamps Hungarian art history in the iron hoop of the period between 1910-1980.\r\nBoth its creator and the owner of CCC+Bogner, Dieter Bogner, find it a\r\ntemporary solution, which may determine the character of the institute\r\nfor the next 10-15 years. And then hard-handed directors will come, with\r\niron-willed ministers in the background, who will be allowed to change\r\neverything. Until then we can all lie back and let ourselves be pampered\r\nby time.<\/p>","protected":false},"excerpt":{"rendered":"<p>About the Museum of Hungarian Modern Art The matter of the Museum of Modern Hungarian Arts is languishing held captive by time and money. Ever since the beginnings shrouded in mystery those who are concerned have been taking steps relating to the steel grip of time (as it is a single opportunity, which must not [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":630619,"parent":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[11],"tags":[],"class_list":["post-400672","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\/400672","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=400672"}],"version-history":[{"count":1,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400672\/revisions"}],"predecessor-version":[{"id":2027691,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400672\/revisions\/2027691"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media\/630619"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media?parent=400672"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/categories?post=400672"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/tags?post=400672"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}