Title: 1956 in Hungary and the Concept of East European Art
Abstract: Click to increase image sizeClick to decrease image size Notes 1 ‘The Alba Platform’, Potlatch: Information Bulletin of the Lettrist International, no 27, 2 November 1956. Reprinted in Ken Knabb, ed, Situationist International, Anthology, Bureau of Public Services, Berkeley, 1981, pp 14–15 2 For a detailed analysis see Peter Wollen, ‘Bitter Victory: The Art and Politics of the Situationist International’, Elisabeth Sussmann, ed, On the Passage of a Few People through a Rather Brief Moment in Time: Situationists 1957–1972, Institute of Contemporary Arts, Boston, Massachusetts, 1990, p 30 3 Imre Kertész, Az angol lobogó (The Union Jack), Magvető Kiadó, Budapest, 1991, my translation 4 ‘Az Európai Iskola Manifesztuma’ (Manifesto of the European School), in Az Európai iskola füzetei (Brochures of the European School), Misztótfalusi, Budapest, 1946, p 1, author's translation 5 For example, Ernő Kállai: ‘Szabad népnek szabad művészetet’ (Free art for a free people!) Kis Újság, 12 April 1945, ‘Művésztehetségek munkás és parasztsorban’ (Artistic talents among workers and peasants), Kis Újság, 26 April 1945, ‘Az új művészet és a dolgozók’ (The new art and the working people), Kis Újság, 3 June 1945 6 József Jakovits, Önéletrajz (Autobiography), Lajos Hatvany Museum, Hatvan, no 6, 1980 7 Ernő Kállai, A természet rejtett arca (The Hidden Face of Nature) Misztótfalusi, Budapest, 1947 8 Ernő Kállai, ‘Szelíd válasz egy csípős kritikára. Válasz Andrássy‐Kurta Jánosnak’ (A mild answer to a biting piece of criticism. Response to János Andrássy‐Kurta), Köztársaság, 27 June, 1946 9 György Lukács, ‘Az absztrakt művészet magyar elméletei’ (Hungarian theories of abstract art), in Lukács, Új magyar kultúráért (For a new Hungarian culture), Szikra kiadó, Budapest, 1948, pp 152–69 10 Georg Lukács, Essays On Realism, ed Rodney Livingstone, trans David Fernbach, MIT Press, Cambridge, Massachusetts, 1980 11 The brochures were published in the series titled Index Vitairatok (Index debate papers) in 1946 and 1947. 12 Kázmér Fejér and Dr Pál Zoltán Szabó, A mohácsi busók (The busó of Mohács), Kázmér Fejér, Budapest, 1946 13 Péter György, Gábor Pataki, Az Európai Iskola (The European School), Corvina, Budapest, 1990, p 105 14 Margit Anna, Endre Bálint, Lajos Barta, Jenő Gadányi, Dezső Korniss, Endre Rozsda 15 It has to be noted that the official style of the visual arts in the Hungary of the 1960s cautiously deviated from the classical socialist realist style. An official attempt at ‘modernisation’ was discernible that allowed some stylisation within the boundaries of realistic, figurative and representational art and the choice of a more personal subject matter, but the limitations of this strict control on subjectivity were also clearly visible. 16 Jean‐François Lyotard, The Postmodern Condition, trans G Bennington and B Massumi, University of Minnesota Press, Minneapoolis, 1984 (originally published by Les Editions de Minuit, Paris, 1979) 17 For a detailed description of the history of this development see my essay ‘How the New Left Invented East European Art’, Centropa 3:2, May 2003, pp 93–104. 18 Larry Wolff, Inventing Eastern Europe, Stanford University Press, Stanford, California, 1994 19 See Boris Groys, The Total Art of Stalinism, Avant‐Garde, Aesthetic Dictatorship, and Beyond, trans Charles Rougle, Princeton University Press, Princeton, NJ, 1992 20 Consider the Beaubourg exhibitions Paris–Berlin, 1978, Paris–Moscou 1978, Présences Polonaises, 1983; Tendenzen der Zwanzigen Jahre, Neue Nationalgalerie, Akademie der Künste, and the Grosse Orangerie im Schloss Charlottenburg, West Berlin, 1977. 21 Wolff, op cit, p 371
Publication Year: 2006
Publication Date: 2006-03-01
Language: en
Type: article
Indexed In: ['crossref']
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Cited By Count: 2
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