tranzit.hu presents Parallel Chronologies - Invisible history of
exhibitions.
© Lunch - In Memoriam Batu Khan. The first happening in Hungary. June
25, 1966, in the cellar of Istvan Szenes. Participants: Gabor Altorjay,
Miklos Jankovics and Tamas Szentjoby
Parallel Chronologies - Invisible history of exhibitions
tranzit.hu
LABOR, Kepiro u. 6. Budapest 1053
Kretakor Bazis, Gonczy Pal u. 2., Budapest 1093
Phone: 0036707798132
Contact: Agnes Szanyi
[email protected]
www.tranzit.org
Exhibition opening: May 20
6 p.m. - LABOR
7 p.m. - Kretakor Bazis
On view: Tue and Thur 4 p.m. - 8 p.m. Sat 10 a.m. - 2 p.m.
Labor: May 26 – June 13
Kretakor Bazis: May 30 - June 13
International Symposium:
May 21 - 22, 10 a.m. – 6 p.m.
Kretakor Bazis
tranzit. hu (www.tranzit.org) organizes an exhibition and symposium with
the title Invisible History of Exhibitions, which aims at the formation
of a shared knowledge and discourse on Eastern European art exhibitions
from the 1960s till now. The events in Budapest are connected to a
series of exhibitions, discussions and publications initiated and
organized by the What, How and for Whom? curator formation in Zagreb
since Fall of 2008 on with the same title.
The larger framework of the project, Art Always has its consequences is
a long-term international collaborative platform, that focuses on
invisible, alternative histories through genres and forms of art
practices such as artist text, archives, and conceptual design, which
have had restricted international visibility and accessibility so far
and thus are often missing from the canonized narratives of contemporary
art in Eastern Europe (www.artalways.org)
The 'Invisible History of Exhibitions' project looks at the history and
the current interpretations of the exhibition, as the dominant format of
contemporary art production and presentation. 'History' in this context
is interpreted as constructed narratives based on events that constitute
shifts in the notions of art (art history) and the modes of its
presentation (exhibition history). While in western countries mainstream
art institution hosted curatorial group exhibitions that constitute the
landmarks in the history of exhibitions, in Eastern Europe between the
1950s-1980s progressive art events could often only happen in 'second
publicity', in private flats and off-site spaces outside of public art
institutions so they are deeply embedded in the historical conditions of
the public sphere. With this symposium we attempt to trace and introduce
a different methodology to be able to include Eastern-European events in
the international discourse on exhibition theory.
> > > > >
Parallel Chronologies. Invisible History of Exhibitions – documentary
and research exhibition
Parallel Chronologies investigates the exhibition as a cultural
phenomenon and a genre on its own right focusing on the period
determined by the state socialisms of the Eastern European region. The
project intends to break with the usual ways both international and
local art events and publications either ignore or exoticize this field.
For this aim we present a network of professional relationships,
exhibitions, events, and art spaces instead of the sheer display of
artworks from the period.
The exhibition contains two archives dealing with neo-avant-garde art
from Belgrade and Novi Sad. The prelom kolektiv has studied several
significant events of the SKC, the Student Cultural Center in Belgrade
in the 70s, and kuda.org new media center has collected the most
important documents of the neo-avant-garde in Novi Sad. The third
section of the exhibition presents progressive art events from the
60s-70s in Hungary. The exhibition and event documentations from Hungary
are structured around a research asking various Hungarian art
professionals about the art events from this period they find the most
significant in relation to their own practice. Instead of aiming at an
objective history gained from the synthesis or reconciliation of
differing individual points of views we rather would like to trace the
idiosyncratic pattern of difference and accordance, the map of
blind-spots and legends. The exhibition also addresses chronologies as
important channels of mediating art events of an epoch. Chronologies
play a defining role in transforming atomic events into histories and
canons especially in the case of Eastern-European art events that
happened in the second publicity during the 60s and 70s.
> > > > >
Invisible History of Exhibitions - international symposium
The symposium organized in parallel with the exhibition addresses
crucial questions in relation to auto-histories of Eastern-European
underground art, self-positioning through international exhibitions, and
reinterpretation of art history.
How can we remember, reconstruct, and recycle exhibitions in order to
include them in our shared historical knowledge? How could historical
research adapted to international curatorial discourses change the ever
prevailing feeling of being ignored and belated of historically and
geo-politically marginal art scenes? How Eastern-European art
practitioners could take advantage of - and at the same time overcome
the voyeuristic western market interest in communist past fueled by both
post-colonialism and globalism? How can we make sense of the shared
experiences of youth movements, sub-, parallel- and counter cultures,
political activism and the fundamental differences concerning the
legacies of neo-avant-garde?
Themes and sessions of the symposium:
1. Revisiting exhibitions: reconstruction and re-contextualization
2. Archives - the archive as exhibition format and exhibition archives
3. East European exhibitions as tools of identity-politics
4. Exhibition making as an emancipatory practice
Speakers:
Judit Angel (HU), Maja and Reuben Fowkes (GB, HR), Izabel Galliera
(USA), Reesa Greenberg (CAN), Vit Havranek (CZ), Yelena Kalinsky
(USA/RU), Julia Klaniczay (HU), kuda.org (SRB), Viktor Misiano (RU),
Cristian Nae (RO), Livia Paldi (HU), prelom kolektiv (SRB), Natasa
Petresin-Bachelez (SLO), Isabelle Schwarz (DE), Keiko Sei (JPN/THA),
Georg Schollhammer (AT), Emese Suvecz - Orshi Drozdik (HU), What How and
for Whom? (HR), Andrea Tarczali (HU), Katalin Timar (HU), Magdalena
Ziolkowska (PL)
Introduction and moderation: Dora Hegyi, Zsuzsa Laszlo
Detailed symposium program can be read on the website:
www.tranzit.org
curators of the exhibition: Dora Hegyi and Zsuzsa Laszlo, kuda.org Novi
Sad, prelom kolektiv Belgrade
concept of the symposium: Dora Hegyi, Zsuzsa Laszlo, and Emese Suvecz
The exhibition Parallel Chronologies and the symposium Invisible History
of Exhibitions is part of the international project Art Always Has Its
Consequences co-financed by the Culture 2007 program of the European
Union (partners: WHW Zagreb, tranzit. hu, Muzeum Sztuki Lodz, kuda.org
Novi Sad).
tranzit is a contemporary art program supported by the Erste Bank Group
supported by the National Cultural Fund, Hungary
Partners: Artpool Muveszetkutato Kozpont, Kretakor Bazis
Special thanks to: Hungarian National Gallery, Szent Istvan Kiraly
Muzeum, Szekesfehervar, Foksal Galllery Warsaw, Balazs Bela Studio, MTI,
Budapest Gallery, Dobos Archive, Laszlo Beke, Orshi Drozdik, Edit
Sasvari, Tamas St.Auby and others
Technical support: Ludwig Museum – Contemporary Art Museum, Kretakor Bazis
Answers by: Gabor Andrasi, Judit Angel, Gabor Altorjay, Laszlo Beke,
Balazs Beothy, Roza El-Hassan, Daniel Erdely, Miklos Erhardt, Maja and
Reuben Fowkes, Janos Fodor, Andreas Fogarasi, Eva Forgacs, Peter Fuchs,
Jozsef Havasreti, Sandor Hornyik, Tibor Horvath, Tamas Kaszas, Sevic
Katarina, Zsolt Keserue, Lilla Khoor, Szabolcs Kisspal, Gabor Klaniczay,
Julia Klaniczay, Peter Kovacs, Marta Kovalovszky, Katalin Ladik, Dora
Maurer, Andras Mullner, Laszlo Najmanyi, Gyula Pauer, Miklos Peternak,
Realiste Societe, Katalin S. Nagy, Tamas St.Auby, Janos Sugar, Annamaria
Szoke, Erzsebet Tatai, Gabor Toth, Tibor Varnagy
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