Specifications, definitions, approaches, texts and quotes, connection points on other pages. Contextual art pages on the worldwide web. (contextual art on the Internet)

CONTEXT lat 1. ling. textual connections, a text containing connected and unified conceptual links 2. lit. body of experiences in which a given work of art was conceived and in which it can be interpreted 3. a complex of connections and circumstances (dictionary of foreign words)

Every sign, linguistic or nonlinguistic, spoken or written (…), can be cited, put between quotation marks; thereby it can break with every given context, and engender infinitely new contexts in an absolutely nonsaturable fashion.” (Derrida)

Approaches, texts and quotes

A prime object differs from an ordinary object much as the individual bearer of a mutant gene differs from the standard example of that species. The mutant gene may be infinitesimally small but the behavioral differences which it occasions can be very great indeed. (…)
Prime objects and replications denote principal inventions, and the entire system of replicas, reproductions, copies, reductions, transfers, and derivations, floating in the wake of an important work of art. (George Kubler: The Shape of Time. Remarks on the history of Things, Yale University Press, New Haven and London, 1970, 39–40)
(Quote from the invitation “Context As”.)

“The museum reflects a value system made up of the rather subjective opinions of artists, art historians, critics and philosophers; however, argumentation and context must remain on the grounds of objectivity.” (Lóránd Hegyi), see also: György Galántai: Mint molekulák az őslevesben [Like Molecules in the Primordial Soup]

“... a good artist is one who builds good connections...,” says George Legrady. “In the network of good connections – in which a given work can come into being – the experiences can be interpreted as a complex of unified conceptual circumstances. Contexts become visible if the work is regarded as a sign generator and we carefully unravel the connections pertaining to the visual signs.”

(György Galántai: The Work as a Signal Generator)

“[...] I disguise what I want to show, I make what I showed disappear, I show what I make disappear, disguise the disappearance or show the disguising.” (Gyula Pauer: Semmi a pszeudó-galaxisban [Nothing in the Pseudo Galaxy])

When you have named every profession and trade: mathematician, politician, plumber and cook, and you reached the end of the list and don’t know how to define the rest, then you say: artist.” (George Brecht quoted by Robert Filliou in his conversation with László Beke.) See also: TELEPATHIC MUSIC no. YOUNG ARTISTS’ CLUB

Connection points on other pages

The page titled “The influence of conceptual art in Hungary” is worth looking at contextually.

(contextual art on the internet)

Cluster Images and the explosion of an urban art concept

Inés Lombardi’s work is based on a concept, which regards art not as a static, but a changeable system. The system takes on its meaning by docking with manifold historical, topographical or conceptual reference points and running through different situations and stages of representation. Her research on the topics of perception, space and the position of the visual in an array of systems, her investigations into the interaction of relations intrinsic to the work and the circumstances of presentation, are among the most forceful contributions to contextual art that have been made in recent years in Austria.” (Brigitte Huck)

Henryk Gajewski: What do you identify with?

Decalog - “Without doubt, today’s artist-run spaces owe their existence to the rebellious energy of youth culture...”

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