{"id":823249,"date":"2015-05-08T18:27:12","date_gmt":"2015-05-08T17:27:12","guid":{"rendered":"https:\/\/exindex.hu\/?p=823249"},"modified":"2015-05-08T18:28:31","modified_gmt":"2015-05-08T17:28:31","slug":"visualizing-ideology","status":"publish","type":"post","link":"https:\/\/exindex.hu\/hu\/hirek\/visualizing-ideology\/","title":{"rendered":"Visualizing Ideology:"},"content":{"rendered":"

Art, Culture, and Politics in the Cold War Era<\/strong>
\r\n 2nd conference organized by the Research Group of Critical Theories<\/em>
\r\n (led by Edit Andr\u00e1s and S\u00e1ndor Hornyik)
\r\n Institute of Art History, Research Center for the Humanities of the Hungarian Academy of Sciences<\/p>\r\n\r\n

After a quarter of a century, it is time to undermine the rigid duality of the ideologically charged official art and the autonomous, unofficial neo-avantgarde art. The conference aims to scrutinize the different ways of crossing ideological boundaries and the various forms of seemingly contradictory but actually overlapping artistic activities. The conference discusses the available theoretical frameworks to be applied for uncovering the ideological underpinnings of the Central and Eastern European neo-avantgarde in the time of socialism. The papers excavate the roots of its origins in the avant-garde culture and theory, and shed light on its connection to different visual cultures, i.e. socialist realism, abstract and surrealist art, pop art, etc.<\/p>\r\n\r\n

Location:<\/p>\r\n\r\n

Bart\u00f3k Hall, Institute for Musicology (Budapest, T\u00e1ncsics Mih\u00e1ly u. 7)<\/p>\r\n\r\n

Time:<\/p>\r\n\r\n

2015. May 15th Friday 9.30 am \u2012 13.00 pm<\/strong><\/p>\r\n\r\n

Keynote Speaker:<\/p>\r\n\r\n

Tyrus Miller (University of California, Santa Cruz)<\/p>\r\n\r\n

Presenters:<\/p>\r\n\r\n

D\u00e1vid Feh\u00e9r (Museum of Fine Arts, Budapest)<\/p>\r\n\r\n

Maja and Reuben Fowkes (Translocal Institute, Budapest \u2013 London)<\/p>\r\n\r\n

S\u00e1ndor Hornyik (Institute of Art History, Research Center for the Humanities of HAS)<\/p>\r\n\r\n

Katalin Tim\u00e1r (University of P\u00e9cs, Ludwig Museum \u2013 Museum of Contemporary Art, Budapest)<\/p>\r\n\r\n

Moderators:
\r\n Edit Andr\u00e1s (Institute of Art History, Research Center for the Humanities of HAS)
\r\n Hedvig Turai (International Business School)<\/p>\r\n\r\n

*<\/p>\r\n\r\n


\r\n Program:<\/p>\r\n\r\n

9.30 Introduction<\/p>\r\n\r\n

9.40<\/p>\r\n\r\n

Tyrus Miller (University of California, Santa Cruz)<\/p>\r\n\r\n

The Non-Contemporaneity of Gy\u00f6rgy Luk\u00e1cs: Cold War Contradictions and the Aesthetics of Visual Art <\/em><\/p>\r\n\r\n

Gy\u00f6rgy Luk\u00e1cs’s aesthetics were primarily based in literature, and his pronouncements on visual art were rare. However, in the early post-war years he polemicized against theories of abstract art appearing with the Eur\u00f3pai Iskola, and in later writings, continued to defend realism as the only mode of authentic art. Moreover, he expound the view of the art work as an autonomous heterocosm, as the exclusive mode through which art’s socially critical and ethically formative effects could be exercised: a process he termed „defetishization.” Paradoxically, in the West, theorists who likewise strongly defended the heterocosmic autonomy of form–most prominently Clement Greenberg and Theodor Adorno (strongly influenced by Luk\u00e1cs’s theory of reification)–did so in the name of abstractive
\r\n processes contrary to Luk\u00e1cs’s mimetic, realist orientation in the arts, which Adorno took (falsely) as a sign of conformity with Stalinist aesthetics. In a further complication, through the belated reception of Luk\u00e1cs’s youthful work by the Western New Left in the 1960s, the theory of reification and defetishism also helped legitimate neo-avantgarde practices that emphasized „art-work” as process and experience over the „artwork” as object. As perceived from the late socialist context, on the other hand, the self-contradictory and self-constraining nature of the elder Luk\u00e1cs’s contemporary aesthetics, which were neither fully „official” nor suppressed, were more evident. L\u00e1szl\u00f3 Lakner, for instance, in his 1970 work „My George Luk\u00e1cs-Book,” which alludes to English- and German- language as well as Hungarian contexts, captured in a complex image the non-contemporaneity of Luk\u00e1cs’s aesthetics to either the East or West sides of the Cold War divide. In so far as Luk\u00e1cs could be aesthetically „actual” in the late 1960s, especially in the West, it was via a younger set of theoretical writings that he had left behind and spurned; the „current” Luk\u00e1cs of late socialism (as represented by his aesthetics the 1960s) could no longer be in tune with the arts of his time.<\/p>\r\n\r\n

10.20<\/p>\r\n\r\n

S\u00e1ndor Hornyik (Institute of Art History, Research Center for the Humanities of HAS)<\/p>\r\n\r\n

Aesthetics in the Shadow of Politics: \u2018Surnaturalist\u2019 Painting in the Early Sixties<\/em><\/p>\r\n\r\n

The presentation focuses on the paintings of the so called Csernus Circle whose members produced figurative paintings and partly relied on the officially proposed themes and semantics. They, however, \u201cserved\u201d the system in an ambivalent or ironic manner since they \u201crevitalized\u201d the style of socialist realism on the basis of renaissance and modernist (abstract and surrealist) formalism.<\/p>\r\n\r\n

10.40<\/p>\r\n\r\n

Maja and Reuben Fowkes (Translocal Institute, Budapest \u2013 London)<\/p>\r\n\r\n

New Left East: Socialism as (if) It Really Existed <\/em><\/p>\r\n\r\n

The left critique of the socialist system in Eastern Europe was at best a precarious position and one that tended towards invisibility, in fact, to seriously argue for a freer and fairer version of communism was only possible for a relatively short period of time. The peak of intellectual criticism of ‘real existing socialism’ from the left took place in the late 60s and early 70s, a period that coincided with the emergence and flourishing of the neo-avant-garde in East European art.<\/p>\r\n\r\n

11.00 \u2012 11.30 Discussion<\/p>\r\n\r\n

11.30 \u2013 11.50 Coffee break<\/p>\r\n\r\n

11.50<\/p>\r\n\r\n

D\u00e1vid Feh\u00e9r (Museum of Fine Arts, Budapest)<\/p>\r\n\r\n

Consonants of Karl Marx: Left vs. left in the Hungarian Neo-Avantgarde (The Case of L\u00e1szl\u00f3 Lakner) <\/em><\/p>\r\n\r\n

The title of the paper comes from the title of L\u00e1szl\u00f3 Lakner\u2019s conceptual work. The presentation is about the usage of leftism and leftist symbols in the Hungarian neo-avant-garde focusing mainly on Lakner\u2019s artistic activity shedding light on some unknown works as well.<\/p>\r\n\r\n

12.10<\/p>\r\n\r\n

Katalin Tim\u00e1r (University of P\u00e9cs, Ludwig Museum \u2013 Museum of Contemporary Art, Budapest)<\/p>\r\n\r\n

Talking about Differences: Pop Art and Popism in the East and West<\/em><\/p>\r\n\r\n

The presentation is about to elaborate on the different social and ideological embedding of Eastern and Western pop art, partly informed by the Eastern reception of Western art and theory.<\/p>\r\n\r\n

12.30 \u201213.00 Discussion<\/p>\r\n\r\n


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Art, Culture, and Politics in the Cold War Era 2nd conference organized by the Research Group of Critical Theories (led by Edit Andr\u00e1s and S\u00e1ndor Hornyik) Institute of Art History, Research Center for the Humanities of the Hungarian Academy of Sciences After a quarter of a century, it is time to undermine the rigid duality […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-823249","post","type-post","status-publish","format-standard","hentry","category-hirek"],"acf":[],"_links":{"self":[{"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/posts\/823249","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/comments?post=823249"}],"version-history":[{"count":0,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/posts\/823249\/revisions"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/media?parent=823249"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/categories?post=823249"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/hu\/wp-json\/wp\/v2\/tags?post=823249"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}