[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” padding_top=”5″ padding_bottom=”25″ css=”.vc_custom_1539299974784{margin-top: 0px !important;}”][vc_column css=”.vc_custom_1413446275149{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_column_text]<\/p>\n
13 October 2018 \u2013 24 March 2019<\/p>\n
Curators:
\nD\u00f3ra Hegyi, Zsuzsa L\u00e1szl\u00f3, Zs\u00f3ka Leposa, Enik\u0151 R\u00f3ka, L\u00e1szl\u00f3 Sz\u00e1zados<\/p>\n
Cooperative artist:
\nTam\u00e1s Kasz\u00e1s<\/p>\n
[\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”25″][vc_single_image image=”18371″ img_size=”full” alignment=”center” qode_css_animation=”element_from_fade”][vc_separator type=”transparent” up=”1″][vc_column_text]<\/p>\n
G\u00e1bor Attalai<\/p>\n
Dangerous chair (Imaginations),<\/em> 1972, photo, paper<\/p>\n King St. Stephen Museum, Sz\u00e9kesfeh\u00e9rv\u00e1r<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” padding_top=”10″][vc_column width=”1\/4″ css=”.vc_custom_1413446334543{margin-top: 0px !important;margin-bottom: 20px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][\/vc_column][vc_column width=”3\/4″][vc_column_text]The starting points of the exhibition 1971 \u2013 Parallel Nonsynchronism<\/em> are two contemporaneous bodies of artworks, which demonstrate the parallel tendencies of art in state socialist Hungary, during the so-called K\u00e1d\u00e1r era (1957\u20131989).<\/p>\n It examines the complex relationships of two defining generations of artists, without giving aesthetic or historical judgment. The exhibition endeavors to reveal and present artworks and the contexts in which they were produced: different and simultaneously existing concepts of art, opposing positions, disputes, and ultimately the complex relationship between state power and art.[\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”20″][vc_single_image image=”18372″ img_size=”full” alignment=”center” qode_css_animation=”element_from_fade”][vc_column_text]<\/p>\n Gyula Hincz<\/p>\n Science<\/em>\u00a0(detail of the tapestry sketch), 1963\u201364, mixed technique, cardboard<\/p>\n Museum Ign\u00e1c Tragor, V\u00e1c<\/p>\n [\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”20″][vc_column_text css=”.vc_custom_1539360626180{margin-top: 25px !important;}”]Both case studies date from 1971, and based on this, they are embedded in a broadly understood period between 1968 and 1973, a time in which the historical \u201cforce coefficients\u201d were the atmosphere of a major economic reform initiated in socialist Hungary and the cultural policies that saw and wanted Hungary to be seen as a proponent of modernity, but had a still vacillating position regarding the latest trends in then contemporary art. The two case studies from 1971 represent two generations of artists and the manifold connections that can be detected between them.<\/p>\n Following this bipartite theme, the exhibition has two main sections at the Kiscell Museum \u2013 Municipal Gallery: in the now desecrated church interior, in the so-called Temple space, and in the Oratory located in the first floor of the building.[\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”20″][vc_single_image image=”18375″ img_size=”full” alignment=”center” qode_css_animation=”element_from_fade”][vc_column_text]<\/p>\n D\u00f3ra Maurer<\/p>\n Searching for D\u00f3zsa,<\/em> 1972\u201373 | Cameraman: J\u00e1nos Guly\u00e1s | Bal\u00e1zs B\u00e9la Filmst\u00fadi\u00f3 \/ Hungarian National Film Fund \u2013 Film Archive<\/p>\n [\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”20″][vc_column_text css=”.vc_custom_1539332121656{margin-top: 25px !important;}”](\u2192M\u2190) In the Temple space, there are works by artists who adapted to the demands of Socialist Realism in the 1950s, and were able to progress and modernize their art following the thaw of cultural policy after 1956. Their works were perfectly in line with this post-1956 political program, the ideals of the modern, socialist state of de-Stalinization; and hence, these artists were successful in strengthening their positions. In 1971, their story connects to the Budapest History Museum, the parent institution of the Kiscell Museum \u2013 Municipal Gallery. In its newly opened Buda Castle building, in the modern, rebuilt interiors, which were to abolish the damages of the war as well as the memories of the past, exhibitions embodying the cornerstones of state cultural policy took place in 1971. In the spring of 1971, the exhibitions of artists Gyula Hincz (1904\u20131986) and J\u00f3zsef Somogyi (1916\u20131993) came directly from the Venice Biennale of 1970, and in the autumn, the retrospective exhibition of Endre Domanovszky (1907\u20131974) was the quasi-rehearsal for the artist\u2019s participation in the 1972 Venice Biennale. The works are exhibited in the temporary structure developed by artist Tam\u00e1s Kasz\u00e1s. Based on the Abstract Cabinet by El Lissitzky in 1927 in Hanover Kasz\u00e1s constructed a display cabinet which creates an interpretative framework for the presentation of monumental works and documents made at the turn of the 1960s and 1970s.[\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”20″][vc_single_image image=”18376″ img_size=”full” alignment=”center” qode_css_animation=”element_from_fade”][vc_column_text]<\/p>\n Dezs\u0151 Korniss<\/p>\n Space Grid (Imaginations),<\/em> 1971, pencil, graph paper<\/p>\n Collection of L\u00e1szl\u00f3 Beke<\/p>\n [\/vc_column_text][vc_separator type=”transparent” up=”5″][vc_column_text css=”.vc_custom_1539332283614{margin-top: 25px !important;}”](\u2190V) The Oratory space can also be accessed through the \u201cTowers,\u201d where documentary films revisiting the era are being screened.<\/p>\n (\u2192E\u2190) The other group of artworks, presented in the Oratory space of the Kiscell Museum, belongs to a much younger generation and to the self-organized, underground scene. This generation \u2014 before they established their own semi-public infrastructure \u2014 made several, unsuccessful attempts to find their ways into the state-run institutions. One of these endeavors was L\u00e1szl\u00f3 Beke\u2019s Imagination<\/em> project. Beke made a call for participation in 1971, in which he requested works realized in A4 sheets of paper from 28 young artists for an exhibition that would only be \u201crealized in thought,\u201d but be \u201caccurately documented.\u201d The artists he approached, including Imre Bak, Mikl\u00f3s Erd\u00e9ly, Gy\u00f6rgy Jov\u00e1novics, Ilona Keser\u00fc, L\u00e1szl\u00f3 Lakner and Endre T\u00f3t presented in the preceding years works that went beyond traditional genres of art. In Hungarian art history writing, 1971 is considered the beginning of Hungarian Conceptual art, based on the Imagination<\/em> project. In the 1971 \u2013 Parallel Nonsynchronism<\/em> exhibition, for the first time, the collection of L\u00e1szl\u00f3 Beke is on view together with the works that art historian M\u00e1rta Kovalovszky collected \u2014 from almost the same list of artists as Beke did \u2014 for an exhibition entitled Imaginations,<\/em> which was to be presented at the municipal Istv\u00e1n Kir\u00e1ly Museum in Sz\u00e9kesfeh\u00e9rv\u00e1r. The exhibition in Sz\u00e9kesfehr\u00e9v\u00e1r, which would have introduced the first manifestations of Conceptual art to the wider public, was eventually not allowed to be realized by the cultural authorities.[\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”20″][vc_single_image image=”18377″ img_size=”full” alignment=”center” qode_css_animation=”element_from_fade”][vc_column_text]<\/p>\n Tam\u00e1s Kasz\u00e1s<\/p>\n Space Grid,<\/em> 2018, Digital graphics<\/p>\n [\/vc_column_text][vc_separator type=”transparent” up=”20″ down=”20″][vc_column_text css=”.vc_custom_1539337237028{margin-top: 25px !important;}”](\u2191T\u2193) Between the younger and older avant-garde generations, artist Dezs\u0151 Korniss (1908\u20131984) was one of the most significant point of connection, who was the only one of his generation who volunteered to participate in Beke\u2019s project. In the courtyard of the Kiscell Museum Tam\u00e1s Kasz\u00e1s, commissioned by the museum, introduces another interpretive layer. Kasz\u00e1s picks up on the Space Grid plan by Korniss, which he made on graph paper for the Imagination project, and creates its 1:1 \u201csemi-finished\u201d version, bordering between imagination and realization.<\/p>\n (\u2190K\u2192) The two micro-historical case studies of 1971 are linked together by a chronology, which, through documents and original artworks from the parallel art events of an era (1968\u20131973) defined by cultural policy, demonstrate the direct intellectual context of the showcased projects.<\/p>\n The two Imagination actions as well as the exhibition and collection history of the Budapest History Museum, displayed in one building in two locations, draws attention to phenomena which took place simultaneously but bifurcated later in historical memory. The exhibition project thus ultimately underlines the complexities of reconstructing the past. This is referred to by the subtitle of the exhibition, borrowed from Ernst Bloch: parallel nonsynchronism.<\/em>
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