ARTPOOL EVENTS IN 1998

MAIL ART – EASTERN EUROPE IN THE INTERNATIONAL NETWORK
MAIL ART – OSTEUROPA IM INTERNATIONALEN NETZWERK

opening speech by György Galántai at 6 p.m. 18.02.1998. [original invitation]

Touring exhibition of the Staatliches Museum Schwerin (Germany) completed with original works and documents of the Hungarian Mail Art activity from the collection of Artpool.

For this occasion Artpool completed and published the chronology of the Hungarian Correspondence Art and Mail Art Movement (1956–1998), as well as the Mail Art On Line web site, from where information about Mail Art on the internet can be reached

INTERNATIONAL INSTALLATION FESTIVAL

“Poïpoïdrome à Espace-temps Réel No. 1 / Real Space-Time Poipoidrom No. 1” by Robert Filliou and Joachim Pfeufer (reconstruction of the Budapest installation in 1976), and presentation of installation documents and projects from various artists sent for this occasion at Artpool’s invitation or earlier material from the Artpool Archive and collections (i.e.: video installation, video documents of installations, sound and music installations, text installations, posters of installations, projects, fluxus-, mail art- and web-diagrams, etc.)

17 March, 1998, at 6 p.m.
Introduced by László Beke, director of Műcsarnok [invitation]

Documentation of the installation project on the web

The Fourth Window

CD-ROM presentation by Phil Dadson

Fourth Window documents the sound installations by six New Zealand sound artists – Chris Cree-Brown, Philip Dadson, Michael Hodgson, John Ioane, Juliet Palmer and Greg Wood presented over a sixth month period in a specially constructed project room at Artspace in Auckland in 1995. [original invitation]

Philip Dadson (1946) intermedia artist, founder of From Scratch. He represented New Zealand in the Sound Culture Festivals in Tokyo in 1993 and San Francisco in 1996. He is a senior lecturer in Intermedia at Elam School of Fine Arts, University of Auckland.

Hommage à Robert Filliou

performance by Jean-Jacques Lebel [original invitation]

Séance Filliou

performance / concert / installation by
Kántor István Monty Cantsin? Amen! (Canada)

On the occasion of his visit to Budapest and the reconstruction of “Poïpoïdrome à Espace-temps Réel No. 1 / Real Space-Time Poipoidrom No. 1” by Robert Filliou at Artpool, Cantsin with this event tries to get in a direct contact with Filliou’s spirit through the space of the “Économie poétique” [original invitation]

Other events by Monty Cantsin:
May 28, 1998 at 7 p.m.: C3 – Centre for Communication and Culture (1014 Budapest, Országház u. 9.)
Videos by István Kántor…!: selection of video works from the ‘90s

June 5 and 6, 1988 at 7 p.m.: Fővárosi Képtár/Kiscelli Múzeum (1037 Budapest, Kiscelli u. 108.)
István Kántor: Executive Machinery (performance/concert/installation)

Miklós Erdély: (SIDEWALK)

open air exhibition at the Liszt Ferenc square, Budapest

The boards installed on the 28 lampposts are quotations from a strange untitled writing of Miklós Erdély (1928–1986). This special edition of the text and the linguistic analysis of its inherent textual references can bring us closer to understanding Miklós Erdély’s artistic work.

URL: artpool.hu/Erdely/jarda.html

Memorial exhibition of Miklós Erdély in Műcsarnok, Budapest Kunsthalle (16 October–22 November 1998).

Endre Tót’s First Sidewalk table

Inauguration: Péter Sinkovits, art historian

The bronze casted table installed in the pavement is the first lasting piece in public domain of Endre Tót’s “I’m glad to…” series. This project at the entrance of the gallery goes back to 1996 and the work is up-to-date also because it is continuing directly Miklós Erdély’s “self assembling poetry” and it goes along with the context of Erdély’s occasional (Sidewalk) table exhibition on Liszt Ferenc Square, and - in another dimension - with Sándor Altorjai’s Aleatoric Demontages.

If we consider Endre Tót’s table a (“postneoavantgarde”) kind of symbol of canonization, we can experience the present as future built on the past. (“I am glad to have stood here” / to have kept standing / to have remained standing / to have stood for / to have stood over / to have stood down / etc.) [original invitation]

URL: artpool.hu/Tot/

Works by Sándor Altorjai

Aleatoric Demontage or Picture-installation?

Opening: Tamás St.Auby on 19 October, 1998 at 6 p.m.

In the catalogue of the last memorial Sándor Altorjai exhibition at Székesfehérvár (1990) László Beke wrote:
“…This exhibition is useful in first place because it lets us not forget his oeuvre.” The merit of this fragmentary exhibition is the maintenance of his memory and and the inclusion of previous/precedent values in new context. [original invitation]

The exhibition curated by Ákos Vörösváry is selected from the heritage of Sándor Altorjai (1933–1979) collected at the “First Hungarian Museum of Sight”. In the conception of György Galántai it is associated with the Lifework exhibition of his fellow artist and friend Miklós Erdély at Műcsarnok, Budapest Kunsthalle and his open air exhibition at Liszt Ferenc Square.

Among other works the “Painting for Blinds / I’m sorry” (1976) which was repeatedly banned and the “Jet-Coffin with a Blue Leopard in Form of Coloured Rag / For Christmas to My Family by Mihály Munkácsy’s Inspiration” (1976) will be exhibited – in this latter painting a hidden megaphone will broadcast Sándor Altorjai’s reading Miklós Erdély’s poem, the “Hidden Parameters”.

URL: artpool.hu/Altorjai/

(We plan for this exhibition the premier of two Altorjai movies transcribed for video which were finished just before his death.)

INTERNATIONAL INSTALLATION FESTIVAL,
AUTUMN SESSION

Installation documents, video installations and installation-videos, sound and music-installations, text-installations, photo documentation, posters, copies, projects, fluxus-, mail art and web diagrams.

The artistic products coming from different countries are linked to each other according to their content, erasing the borders between countries. Just like on the net, in the context of the installation strongly related things move away from each other, and the apparently distant ones become associated. There is no need of explanation, everybody understands his own version and the lecture of information will be based on personal horizons of expectations. This multilinearity is essential to all functioning installation (Galántai György). [participants] [original invitation]

See the documents of the installation project on the web.