ARTPOOL EVENTS IN 2006

Six is a perfect number in multiple senses: it is the dubiousness/doubleness of the threes and the unity of this duplicity; two plus four may also be three times two.
The fact that mathematical thinking is ahistorical was already proved by Wittgenstein when he remarked that it would make no sense saying, “Two plus two equals four, around six o'clock in the afternoon.” The mathematical frame of mind, however, became organically integrated into alphanumeric code, having been carried away by the momentum of the historical frame of mind. (Vilém Flusser)

The Experimenter and the Art of Perception
Finissage
an evening of the Artpool Program centred on the newest generation

Márta Mészáros / Millesime presenting her international Mail Art Project,

NEW COMPATIBILITIES – Sinepress/2005

“compatible”: 1 : capable of existing or operating together in harmony 2 : capable of cross-fertilizing freely or uniting vegetatively 3 : being or relating to a system in which color television broadcasts may be received in black and white on receivers without special modification 4 : capable of forming a homogeneous mixture that neither separates nor is altered by chemical interaction [invitation]

Participants: Jean-Luc Lacroix (F) • Domenico Severino (I) • Ryosuke Cohen (J) • Dr. Baron Joseph A. Uphoff, Jr. (USA) • Sidney Tome (BR) Miguel Jimenez El Taller de Zenón (E) • Vycki Angel (USA) • Suzlee Ibrahim (Malaysia) • C.G.W. (USA) • Tamara Windham (USA) • Denis Charmot (F) • Annie La'Bel (AUS) • Michel Della Vedova (F) • Morena Regaiolli (I) • Mujinga (NL) • Millesime (H)

Website: sineart.blogspot.com

OVEKK_FINNISH FOR BEGINNERS
Ovekk_Finnish_Duo: An audiovisual event by Péter Szabó and Csaba Csíki

The duo works hard at making something out of as little as possible, almost nothing. They confine themselves to a minimum of basic materials: the sound of electricity, sound editing programs used as microscopes, and the solitary or serial induction of guitar pedals.
With increasingly firm hands, they shape and guide sound phenomena by marking out directions. They are adamant about total improvisation, in which they respectfully calculate the characteristics of the machines they know. [invitation]

Web: ovekkfinn.go.ro

Moderna galerija / The Museum of Modern Art Ljubljana

Interrupted Histories / Historiae interruptae

The Interrupted Histories exhibition is the third show in a series of exhibitions staged by Moderna galerija, Ljubljana, entitled Arteast Exhibitions.
The exhibition, among others, deals with spaces of interrupted collective histories and with spaces of “little histories” of the 70s and 80s of the Eastern Bloc Countries. In this period in particular neo-avant-garde artists were most often their own historians and archivists – sais Zdenka Badovinac curator of the exhibition, who discovered Artpool’s Active Archive conception on the net and invited to the show.
The projects selected were: the “Balatonboglár Chapel Studio” from the 70s and the “Hungary Can Be Yours” exhibition from the 80s.

As a program of the Budapest Spring Festival

mozART, bARTók And the thiRd secTor

acoustic space-installation by György Galántai (1941–)

using works by
Tibor Hajas, W. A. Mozart, Miklós Erdély, Béla Bartók and Mieko Shiomi

Listening simultaneously to musical works representing paradigm shifts of current and historical time transforms a linear time-convention imperceptibly into a multilinear, natural experience. Combining three dimensional space and three space-dimensions acoustically models the old experience now matured into a new paradigm, according to which every telematically observed doubt is unity. In the space and time specific present, the information of life is the work, and the information of the work is life. In other words, in the “virtual” spaces of works, or the “true spaces” of life (or vice versa) information permanently swap, unite or fall apart. The continuous current (fluxus) of these manoeuvres (cultivation) is life, the property of a healthy regenerating culture. [invitation]

PROCESS REVEALED

EvoMUSART 2006 – Budapest

Process Revealed at Artpool P60 is a new venture for European Conference on Evolutionary Music and Art. For the first time a curated exhibition is running concurrently with the 4th European Conference on Evolutionary Music and Art. 19 works from 8 different countries are presented. They include video and audio works, generative software programmes, installations and live performance. [invitation]

Participants: Alice Eldridge (GB) Ollie Bown (GB) & Sebastian Lexer (D) Bret Battey (USA) Christy Matson (USA) David Whitcraft (USA) Dennis Miller (USA) Derek Gerstmann (USA) François-Joseph Lapointe (CDN) Günter Bachelier (D) Jeremy Thorp (CDN) Janis Jefferies & Tim Blackwell (GB) Pascal Dombis (F) Ron Herrema (USA) Stanza (GB) Thanos Chrysakis (GR) Tim Barrass (AUS) Tim Howle & Nick Cope (GB) Tao G. Vrhovec Sambolec (NL)

Curators: Janis Jefferies & Tim Blackwell (GB)

12 April 2006 at 7 p.m. - Artpool P60

Process Revealed closing event

Algorithmic and Live Music

Zamyatin Inversion
Ollie Bown (UK) and Sebastian Lexer (Germany), Live improvisation and electronics

fond punctions
Alice Eldridge (UK), interactive audio-visual piece for cello and computer

Swarm Techtiles (Woven Sound)
Tim Blackwell and Janis Jefferies (UK), Saxophone, Hungarian brush and swarm animation

Changing Weights
Ron Herrema (USA), Algorithmic composition

klanggarten
Thanos Chrysakis (Greece), generative electronic music

Europe Day 2006

new Europe-flag project

On May 9 the new European flag made by Dutch visual artist, Maarten Vanden Eynde will be presented at several art spots all over the European union.

The flags will be flying in the heart of Budapest, above the entrance of the Liszt Ferenc square 10., at Artpool Art Research Center.

Artpool’s Guest: Edwin Varney

Ed Varney (alias Big Dada) has coined the phrase “Canadada”. The word appeared for the first time in 1974, on the stamp sheet of Coach House Press, and in the artists’ stamps of James W. Felter. In 1976, Varney made a stamp sheet of anthological character, the first of its kind, which featured stamp images of a few, named, friends in addition to his own images. His other Conceptual, Fluxus or Network inspired pieces, as well as his recent stamps are all “Canadada” products. At Artpool, Ed Varney was interested mostly in the topic of artistamps, first and foremost with the bequest of Mike Bidner. He spoke of Mike's perforating machine, which he uses at present, with words of respect and love.

Artpool’s Guest: Patricia Tavenner

Pat Tavenner, American artist, a representent of the idea of “me-art”, did a series of artistamps in 1973 as her ars poetica. She is a regular participant of network projects, and she is an organizer of events as well. She presented at Artpool her newest images, artistamps and bookworks did by the aid of video and computer.

Artpool’s Guest: Participants of the Visions After the Fall Workshop

Participants of the workshop, “Visions after the Fall: Museums, Archives and Cinema in Reshaping Popular Perceptions of the Socialist Past,” (organised by the Open Society Archives) visited Artpool, where Júlia Klaniczay gave a presentation of the institution’s activities.

Artpool’s Guest: Tjebbe van Tijen

Tjebbe van Tijen visited Artpool for the first time in the mid-1980s to research the documents of Hungarian alternative and underground culture. Subsequently, in 1989, he invited Artpool to take part in the festival of alternative culture that he organised in Amsterdam, “Europe Against the Current”.

In 1973, Tjebbe van Tijen founded the Documentation Centre of Social Movements at the library of the Amsterdam University. At present, he is new media advisor at the International Institute of Social History, Amsterdam. His ongoing multimedia artistic activity bears the name “Imaginary Museum Projects”. He held a lecture on the latter project at the OSA “Visions after the Fall” program in Budapest.

Peter Netmail (Peter Küstermann), German cul-tourist, a globe-trotting artist most of the time on the road, is totally obsessed with net-mail-art, yet a completely normal, incalculable person. Whenever he turns up – in his Postman uniform – , he brings something that he produced with a “free technique”. For twenty years, he has organised the annual Mail Art Mekka meetings in the German city of Minden where he lives in and out. He will return and hold a lecture at Artpool within its autumn network event.

ARTPOOL Budapest

presentation by Péter Fuchs

The presentation of Péter Fuchs (independent curator from Budapest), being based upon a textual work by Hungarian artist and theoretician Miklós Erdély – the Extrapolation Exercises (1982) is focused on the intellectual heritage of Eastern European conceptualism, the perspectives it opens to the notion of art and its future (in the age dominated by virtual reality), and the way this heritage is preserved by institutions such as Artpool Art Research Center in Budapest. Beside introducing Erdély’s work to the Belgrade audience, the intention is to give a personal statement about the state of contemporary art in Hungary today, as well as to point out those theoretical patterns that open up the space for the re-articulation of conceptualist lessons to the emerging “digital generations” of their followers. While sharing the same dreams with Kassák, Erdély and Galántai, in the context of Hungarian avant-garde and neo-avant-garde movements, Fuchs will concentrate on the utopian aspects of socially engaged practices which still offer possible scenarios for the future.

Artpool presentation at the JAK (Attila József Circle) Camp

An Alternative Memory Institute and Venue for the Research of Art
The ARTPOOL ART RESEARCH CENTER
Presented by György Galántai, Júlia Klaniczay and Endre Szkárosi

As a major forum for young writers and contemporary literature, the JAK Camp provides opportunity of collaboration and exchange of ideas for young writers, including possibilities of learning how the older generation of writers thinks and offering a general inquiry into the issues of literature. The professional annual JAK meetings aim at posing topical questions, responding to any quiver of contemporary literature and thematicizing unfolding and not yet expounded problems.

A Network of Relationships and Memory

19 September 1976 - Rózsa (Rose) Café, Budapest

“Remembrance is made possible by the spiral structure of ‘private time’. The distance between points of time is not linear, but copied onto one another and onto the totality of future time. And all that is going to happen in the future appears as a new layer upon that which has already happened.” (Miklós Erdély: Memory Model)

Károly Kelemen: “The Myth Ready-made. The Rózsa (Rose) Myth”

Heiko Idensen: “In the beginning, myth was a story, then a statement, while today it is the network of relationships.”

György Galántai: The program of the Rózsa Café is the ritualisation of models, the author of which is within the communication process. Within the network of such relationships, exactly 30 years ago, it happened that two people met, who would subsequently found and who have ever since run the Artpool Art Research Center: Júlia Klaniczay and György Galántai.

DECENTRALIZED WORLD CONGRESSES,

THE NETWORK EVENTS OF ART (1986–2006)

IDEAS, STRATEGIES, PROJECTS, STORIES, MEETINGS, ARTWORKS, DOCUMENTS, PUBLICATIONS, ETC. [call] [invitation] [hungarian invitation]

Lectures and screenings related to the exhibition event [video]:

On the 3rd: the Budapest session of the 1992 Worldwide Networker Congress – György Galántai (Budapest)

On the 8th: Networking has changed my life – Peter Netmail (Minden, Germany)

“Collaborative projects – live documents” – Colette & Günther Ruch (Genf, Switzerland)

On the 10th: An independent arts laboratory: The ZEROGLAB – Károly Tóth (Rotterdam, The Netherlands)

On the 15th: Aesthetics of Escape – Marko Stamenkovic (Belgrade, Serbia)

On the 17th: Migration Easthetics – Péter Fuchs (Budapest)

‘I Confess that I Was There: Art, Archives and Location[s]’

exhibition, screenings, round-table discussions, and symposium organized by INTERFACE : Research in Art, Technologies and Design (School of Art and Design, University of Ulster, Belfast – Director: Declan McGonagle )

23 November - Switch Room, Belfast

Opening Event
Exhibition by Artpool Art Research Center, Amanda Dunsmore, Trace(s) Archives 2000–2006, Brian Hand, Peter Richards, City Arts – Art of Social Change, Philip Napier/Mike Hogg (Table), North West Visual Arts Archive, ‘Insinuations’ by Lee Hassal, Bert Greenhalgh, Chris Reid , Phil Babot (Trace Collective – Live work) and Wonderland.

24 November 2006 - Switch Room, Belfast

SCREENINGS: ARTPOOL
Júlia Klaniczay co-founder of Artpool and Judit Bodor curator and former researcher at Artpool will present performance videos from Artpools’ collection including, He! Viva Dada, fragments from an unrealised documentary film of the 2e Festival de la Libre Expression, American Center, Paris (1965). Chaired by artist and Interface Researcher Julie Bacon

25 November 2006 - Linenhall Library, Belfast

INVESTIGATING ARCHIVES
A Symposium exploring established and experimental archival practices,
from the perspective of artists and archivists.
John Gray (Librarian, Linen Hall Library, Belfast), Nick Stuart (artist, London), Judit Bodor (curator and former researcher at Artpool, Budapest), Julie Bacon (artist and researcher at Interface, Belfast), Pat Cooke (Director, MA in Cultural Policy/Arts Management, UCD, Dublin), Walid Raad (The Atlas Group, Beirut/NewYork). Chaired by Hugh Maguire (Museums and Archives, Officer, The Heritage Council, Ireland).

Artpool’s Guest: Jon Hendricks and Astrit Schmidt-Burkhardt

Jon Hendricks from the Gilbert & Lila Silverman Fluxus Collection, Detroit and Astrit Schmidt-Burkhardt, curator of the touring exhibition of Maciunas’ historical flow-charts: “Maciunas’ LEARNING MACHINES. From Art History to a Chronology of Fluxus” came to the finnissage of the show in Budapest. Jon Hendricks brought the greetings of the Silvermans.

Gilbert and Lila Silverman visited Artpool in 1983. Their visit became memorable because they bought György Galántai’s recently finished sound-sculpture (World in Motion). The Silverman’s are most celebrated for their internationally renowned collection of Fluxus art, the largest in the world, featuring objects and more conceptual works that emphasize seizing the moment, and seeing “art” in the smallest human gesture and production. The genius of their philosophy, buying works-in-process, is that it allows the Silvermans to have intimacy with the creative act, but it also allows artists to benefit from patronage before a work has materialized. It’s a reason why they are so important in the Detroit community. The curator of the collection is Jon Hendricks. He is principally renowned for his catalogue raisonne Fluxus Codex

Artpool’s Guest: Ágnes Háy

Stories from my slack

simultan screening of all the films by Ágnes Háy

The first ever presentation of the “Pigeons of Russell Square”

Ágnes Háy is a Hungarian experimental animated film maker living in London [invitation] [video]