Spolon posedenie

Sitting Together

vstava v / exhibition in tranzit.sk, Bratislava, 2016

 Spolon posedenie

Sitting Together

Oblka | Cover:
Peter Barto: Pasenie oveky | Grazing a Lamb, 1979, Bratislava
(Zdroj | Source: Umenie akcie 1965-1989, SNG, Bratislava, 2001, s. | p 229)
 Spolon posedenie Sitting Together

Paraleln chronolgie zhd okolnost vo vchodnej Eurpe Parallel Chronologies of Coincidences in Eastern Europe

Lszl Beke (1944), legendrny historik umenia
zBudapeti, aktvny od konca esdesiatych rokov a
priate slovenskho umenia aSlovkov, je vytrvalm
zberateom zhd okolnost. Zhodu okolnost definuje
ako formu umenia, alebo presnejie povedan
ready-made, ktor mono iba njs, no ned sa
vytvori. m je prekvapivej, tm lepie. Tvrd vak,
e na zhody okolnost je mon plnovite striehnu
alebo ich vyvola. Zdrazuje tie, e zhoda
okolnost predstavuje jednu znajvch vziev pre
avantgardnch umelcov snaiacich sa predstihn
svoju dobu. Pre umelcov, ktor as od asu narazia
na inch umelcov, ktor prili svemi podobnou
revolunou mylienkou skr alebo sbene snimi.1
Vstava Spolon posedenie si chce posvieti na
zhody okolnost vytvrajce zdanlivo nhodn, no z
dnenho pohadu paradigmatick svislosti medzi
paralelnmi chronolgiami vo vchodoeurpskych
umeleckch scnach.
Vstava vzila z projektu Parallel Chronologies
(2009 ), ktor sa zaober chronolgiou ako
nrom hrajcim urujcu rolu vtransformcii
atomizovanch udalost do podoby histri
aknonov, ato hlavne vprpade umeleckch
akci vo vchodnej Eurpe. Seba-historizcia
tohto reginu, definovan medzinrodnm
synchronizmom alebo loklnym asynchronizmom,
bola dleitou stratgiou, ktorej cieom bolo
kompenzova obmedzen publicitu viacerch
progresvnych udalost. Umeleck podujatia s
primrne miestom, kde sa podnecuje pozornos
a verejn diskusia. Ich histria teda potvrdzuje
verejn apolitick potencil umenia inak, ne
to rob histria umenia. Tto stratgia prina
dleit nhad nielen na premenu verejnej
sfry a spoloenskej role umenia, ale aj na to,
ako regionlna kultrna politika sjej intitciami
reagovala na medzinrodn trendy ahnutia.
Vstava vtranzit.sk sa zameriava na obdobie
normalizcie v sedemdesiatych rokoch, poas
ktorej sa fenomn paralelnej kultry vyvjal ako
jedin mon sfra kritickho anezvislho
myslenia zdanlivo oddelenho od politickho
boja. Tto paraleln kultra zahala sple vemi
rznorodch disidentskch pozci zhadiska cannot make. The least realistic they are the
ideolgi, umeleckch hnut aivotnch tlov.1 better. However, he also states that coincidences
Spolon posedenie pripomna udalosti
akladie veda seba dokumenty zeskoslovenskej,
maarskej, poskej ajuhoslovanskej umeleckej
scny, ktor boli determinovan rznymi
podobami ttneho socializmu akapitalizmu,
premenami politickho dohadu nad umeleckmi
akciami ameniacim sa rozliovanm medzi
oficilnou aparalelnou kultrou. Nekonformn
umenie tejto doby, okolo ktorho sa sstredil
vskum vdevdesiatych anultch rokoch, bolo
obvykle charakterizovan izolciou, utajovanm,
individualizmom aapolitickmi postojmi
disidentov vprotiklade koficilnej kultre, ktorej
mechanizmom sa prli nevenovala pozornos.
Vstava predstavuje tri sstavy dokumentov, ktor
maj prekona tto dialektiku aodhali miesta, kde
sa prekrva loklne amedzinrodn, individulne
akolektvne, spontnne attne organizovan.
Manvruj medzi rznymi stratgiami kritiky
aspoluprce ako alternatvami khrdinskmu
disentu adobrovonej izolcii. 2
1 Lszl BEKE, Vletlen, mint mvszet (1976), In: Lszl
Beke: Mvszet/Elmlet, Balassi, 1994, s. 149.
2 Projekt Paraleln chronolgie, ktor realizuje
tranzit.hu, iniciovali Dra Hegyi a Zsuzsa Lszl vo forme
vskumu, vstavy a sympzia v roku 2009 v svislsoti
s medzinrodnou spolurcou Art Always has its
Consequences. Pre viac iformci vi: http://tranzit.org/
exhibitionarchive/
Lszl Beke (1944), legendary art historian from
Budapest, active since the late 1960s, also as a
friend of Slovak art and people, is a persistent
collector of coincidences. He defines coincidence
as form of art, more precisely as a readymade,
something that you have to find and that you
very heterogeneous dissident positions defined
on the level of ideologies, art movements, or
can be consciously trapped or triggered. He
points out that coincidence is one of the greatest
challenges to the avant-garde artist who wishes
to be in advance of his era, but who from time to
time encounters other artists who have already
or simultaneously come up with very similar
revolutionary ideas.1 The exhibition Sitting
Together endeavours to trap coincidences that
create seemingly accidental but from the present
point of view paradigmatic links between parallel
chronologies of East European art scenes.
The exhibition has grown from the project Parallel
Chronologies (2009 ), which features a genre,
chronology, which plays a significant role in
transforming atomized events into histories and
canons, especially in the case of East European
art events. In this region, self-historization
defined by international synchronicity or local
asynchronicity was an important strategy
counteracting the limited opportunities for
publicity available for progressive events.
Art events are primary sites for mobilizing
attention and public discussion, thus their
history establishes the public and political
potential of art in a different way than it does
the history of art. It enables important insights
into the transformations of the public sphere,
the changing social role of art, and how regional
cultural politics and its institutions interact with
international trends and movements.
The exhibition at tranzit.sk focuses on the
1970s, the Normalization period in which the
phenomenon of parallel culture evolved as the
only possible sphere for critical and autonomous
thinking seemingly detached from political action.
This parallel culture incorporated a network of
life-styles. Sitting Together evokes events and
juxtaposes documents from the Czechoslovakian,
Hungarian, Polish and Yugoslavian art scenes
determined by different versions of state-
socialisms and -capitalisms, changing political
control of art events, and shifting the distinction
between mainstream and parallel culture. The1
non-conformist art of the era which was at
the centre of research in the 90s and 2000s
was usually characterised by isolation, privacy,
individualism and anti-political dissident positions
in opposition to official culture, the mechanisms
of which were much less discussed. Three
constellations of documents are presented
at the exhibition that aim to overcome these
dialectics and trace coincidences between local
versus international, individual versus collective,
and self-organised versus state-run overlaps
that manoeuvre between various strategies of
criticism and cooperation as alternatives to heroic
dissidence or solitary withdrawal.2
1 Lszl BEKE, Vletlen, mint mvszet (1976), Lszl
Beke: Mvszet/Elmlet, Balassi, 1994, p 149.
2 Tranzit.hus project Parallel Chronologies was started
by Dra Hegyi and Zsuzsa Lszl in 2009 in the form
of aresearch exhibition and symposiumin Budapest
connected to the international collaboration Art Always
has its Consequences. For more information see: http://
tranzit.org/exhibitionarchive/

4 5
 Medzinrodn stretnutia umelcov International Artist Meetings

Ako hovori o vchodnej Eurpe? How can we talk about Eastern-Europe?

Vidme dvoch nepodobnch muov sediacich veda
seba vprostred, ktor m evokova atmosfru
oficilneho stretnutia. Vymieaj si gest
inteligentnej komunikcie, no zst im miesto slov
vychdzaj bubliny sln. Tento mkvy rozhovor
sleduje kamera. Jednm zmuov je Gbor Bdy
(1946 - 1985), maarsk experimentlny filmr,
len miestneho amedzinrodnho umeleckho
undergroundu, priekopnk video-artu, ktor zaloil
medzinrodn video magazn infermental. Zhodou
okolnost bol vroku 1978 vPari, kde stretol
Marcela Odenbacha (1953), tudenta architektry,
histrie umenia asemiotiky pvodom zKolna, ktor
bol vtedy vPari na tudijnom pobyte. Odenbach
bval unemeckho herca Uda Kiera, s ktorm
vtedy Bdy spolupracoval. Video Dialg medzi
vchodom azpadom (1978) natoili spontnne na
Marcelovu prenosn kameru, neskr ho zaradili do
prvho vydania infermentalu.
o sa tu paroduje? o reprezentuj astnci tohto
dialgu? Zatia o medzivojnov avantgarda bola
vskutku medzinrodn, poas studenej vojny boli
kultrne produkty opozinch strn vnman tou
druhou stranou vdy ako potencilne nebezpen
a ich vmena bola vpdesiatych rokoch zsadne
obmedzen. Vesdesiatych rokoch sa vak miesto
obmedzovania cezhraninho pohybu arenia
informci zakladali intitcie pre rozvoj kultrnych
vzahov (napr. Artcentrum v eskoslovensku),
ktor mali dohliada na kultrnu vmenu nielen
so spriatelenmi, ale aj skapitalistickmi
arozvojovmi krajinami. Neoavantgardn
umelci rozvinuli nezvisl sie medzinrodnch
vzahov predovetkm prostrednctvom mail-
artu adistribcie samizdatovch publikci, ale aj
medicie umeleckch akci apublikci vydvanch
vzpadnej Eurpe.
Vber medzinrodnch akci, ktor dali vznikn
sieti umelcov aprofesionlov zo sveta umenia
psobiacich vo vchodnej Eurpe, atm tie
spochybnili geopolitick kategrie, predstavuje
sstava sie chronolgia diagram. Je
zostaven vspoluprci sLszlm Bekem, jednm
znajdleitejch inicitorov apredstaviteov tejto
We see two different looking men sitting next blocks were mutually viewed as potentially
to each other in a setting resembling an official dangerous, thus exchanges were dramatically
conference. They turn to each other with gestures blocked in the 50s. In the 60s, however, instead of
of intelligent communication, but instead of words restricting mobility and the spread of information
they produce bubbles of saliva. The camera institutions of cultural relations were founded
follows this silent conversation. One of them to build and control cultural exchanges not
is Gbor Bdy (1946-1985), Hungarian director only within Friendly Countries, but also with
of experimental films, member of the local and Capitalist States and Developing Countries.
international underground art scene and pioneer Neo-avant-garde artists developed an independent
of video art, who conceived the international network of international relations mainly
video magazine, infermental. He happened to through mail-art and the distribution of samizdat
be in Paris in 1978, and met Marcel Odenbach publications, but also through the mediation of art
(1953) from Cologne, a student of architecture, art events and publications issued in Western-Europe.
history and semiotics who was in Paris thanks to
a study grant and staying in the apartment of the A selection of international events that created
German actor Udo Kier, who Bdy collaborated a professional network between the artists and
with at that time. Odenbach had a portable art professionals active in Eastern European
video equipment with him and to shoot the video countries, and that also raised the question of the
Conversation Between East and West (1978) validity of geopolitical categories, is presented as a
was a spontaneous idea, the result of which was Network Chronology Diagram. It is compiled
later included in the first issue of infermental. in collaboration with Lszl Beke, one of the
most important initiators and a protagonist of this
What is this parody about, what do the participants network, as well as on the basis of the chronologies
of the conversation represent? Whereas the pre- contributed so far to the project Parallel
World War II avant-garde was truly international, in Chronologies. From this non-linear narrative two
the Cold War era cultural products of the opposing decisive events are featured in more detail.

Demontrcia Mariny Abramovi na Works and Words, medzinrodnej manifestcii umenia

Marina Abramovics demonstration at Works and Words international art manifestation
(Zdroj | Source: Work and Words, katalg vstavy | exhibition catalogue, de Appel, 1980, s. | p 2)

Klaus Groh, Aktuelle Kunst in Osteuropa: CSSR, Jugoslawien, Polen, Rumaenien, UDSSR, Ungarn. Anna Kutera: vod | Introduction , F-Art Festival, Gdask, 1975
Dumont, 1972 (Oblka knihy | Cover of the book) (Foto | Photo: Romuald Kutera, S lskavm povolenm | Courtesy of Anna Kutera)

6 7
 Medzinrodn stretnutia umelcov
Ako hovori o vchodnej Eurpe?
siete, na zklade dosia zozbieranch chronolgi
vprojekte Parallel Chronologies. Dvom zsadnm
udalostiam ztohto nelinerneho prbehu sa pritom
vstava venuje podrobnejie.
Priatestvo nrodov v akcii
Stretnutie eskch, slovenskch amaarskch
umelcov vBalatonboglri v roku 1972 bolo prvm
adodnes je inpiratvnym pokusom nadviaza
vsedemdesiatych rokoch profesionlne vzahy
bez zpadnch sprostredkovateov, no tie
nezvisle na strohej kultrnej diplomacii medzi
spriatelenmi krajinami komunistickho bloku.
Stretnutie3 sa konalo vopustenej kaplnke v
ateliri Gyrgya Galntaia (1941), ktor vrokoch
1970 1973 fungoval ako nezvisl miesto
rznych podujat. Inicitorom stretnutia bol
Lszl Beke, ktor bol od konca esdesiatych
rokov v kontakte sTomom traussom (1931
- 2013). Poas svojho tdia na univerzite sa
Beke zaal z vlastnej iniciatvy ui po slovensky,
m chcel prekona naptie medzi nrodmi
prevajce u od ias Rakska-Uhorska. Pri
prleitosti stretnutia napsal esk, slovensk
amaarsk slov na karty atie pripevnil na
stenu. Niektor slov evokovali dmyseln radn
doublespeak tej doby vrazmi ako provokcia,
reakcia, represvna tolerancia a funkcionr,
zatia o in zachytvali odlinosti apodobnosti
medzi jazykmi, m vytvrali nielen praktick
pomcku asymbolick slovnk normalizcie, ale
aj utpiu porozumenia bez spolonho jazyka.
Beke inicioval aj dve participatvne akcie
snzvom Monosti, ktor prezentovali intrukcie
ako koncept. Npad na prv znich vznikol, ke sa
Bekemu dostalo do rk pecilne eskoslovensk
vydanie kultrneho asopisu Pages, v ktorom
bola fotka maarskch vojakov preahujcich sa s
lanom poas okupcie eskoslovenska v auguste
1968. Beke priiel snpadom vytvori tableau
vivant, iv obraz zopakovanm plivej fotografie,
ktor v om mala by zrove znien tm, e
poslila ako lano. Druh bola Akcia potriasania
rk: umelci si poda intrukcie podvali ruky,
postupne kad Maar skadm Slovkom
pred Bekeho fotoapartom. Beke potom tieto
International Artist Meetings
How can we talk about Eastern-Europe?
anonymn fotky stiskov rk zozbieral avytvoril Friendship of Nations in Action the meeting he wrote Czech, Slovak and Hungarian
tabuu identifikujc ich smenami astnkov. words on cards and pinned them on the wall.
The Meeting of Czech, Slovak, and Hungarian Some words echoed the shrewd and bureaucratic
Medzi mnohmi zaujmavmi prspevkami, Artists in 1972 in Balatonboglr was the first, doublespeak of the era with expressions like
rezonoval sBekeho nvrhom koncept situci and even from todays perspective one of the provocation, reaction, repressive tolerance,
Petra Bartoa (1938). Jeho sociositucia most exceptional attempts in the 1970s to create and functionary. Some others traced the
Meditcia sudskm srdcom spovala professional contacts without western mediators differences and similarities between the
vtom, e jej astnci mali zotrva vtichu, km and independent from the stringent cultural languages, creating a practical aid and symbolic
nenapotaj esdesiat derov srdca. Toto diplomacy between the friendly states of the dictionary of normalisation as well as the utopia of
stretnutie inpirovalo aj Bartoove neskorie Communist Bloc. The meeting3 was organised understanding without a common language.1
koncepty zaloen na trojici holubc atrojici in Gyrgy Galntais (1941) Balatonboglr Studio,
kon reprezentujcich mierov posolstv which functioned as an independent venue Beke also initiated two participatory actions,
ospolunavan troch susednch nrodov.1 between 1970-1973 in a deserted chapel. The Possibilities, with instructions presented as
initiator was Lszl Beke, who had been in contact concepts. He came across a special Czechoslovak
Zd sa, e poas priateskho stretnutia with Tom trauss (1931-2013) since the late
vBalatonboglri nemali astnci problm 60s. Beke during his university studies started to 3 Participants: Imre Bak, Peter Barto, Lszl Beke, Mikls
stm, e reprezentuj iriu komunitu. V druhej learn Slovak as a personal undertaking, with the Erdly, Stano Filko, Gyrgy Galntai, Pter Halsz, Bla Hap,
polovici sedemdesiatych rokov sa vak konalo purpose to overcome the tension between the two gnes Hy, Tams Hencze, Gyrgy Jovnovics, J. H. Kocman,
Pter Legndy, Jnos Major, Lszl Mhes, Gyula Pauer,
niekoko medzinrodnch umeleckch podujat peoples which could be traced back to the time of Vladimr Popovi, Petr tembera, Rudolf Sikora, Tams
zameranch na predstavenie umenia spoza the Austro-Hungarian Empire. For the occasion of Szentjby, Anna Szeredi, Endre Tt, Pter Trk, Ji Valoch
eleznej opony, ktor vyvolali naliehav otzky
o oprvnenosti kategrie vchodoeurpskeho
umenia. Po fiasku Dissident Biennale
vroku 1977, ktor malo predstavi umelcov
zmajcich inak, no bez toho, aby sa vzali
do vahy mon politick dsledky, sa v roku
1979 konala ambicizna vstava v de Appel
vAmsterdame Works and Words predstavujca
konfrontciu umelcov podobnej citlivosti
zMaarska, eskoslovenska, Poska, Juhoslvie
aHolandska. Ilo omanifestciu, ktor sa
sstredila na dialektick interakciu teoretickho
apraktickho, prc aslov.4 Aj ke tu vraz 2
vchodn Eurpa explicitne nezaznel, astnci
ani recenzenti sa tmto diskurzvnym prstupom
nenechali oklama akldli podnes aktulne
otzky tkajce sa jazyka amoci, individualizmu a
internacionalizmu, reprezentcie a dokumentcie:
Je zjavn, e vraz vchodoeurpske umenie je
3 astnci stretnutia: Imre Bak, Peter Barto, Lszl Beke,
Mikls Erdly, Stano Filko, Gyrgy Galntai, Pter Halsz,
Bla Hap, gnes Hy, Tams Hencze, Gyrgy Jovnovics, Fotografia zo Stretnutia eskch, slovenskch a maarskch umelcov (organizovan
J. H. Kocman, Pter Legndy, Jnos Major, Lszl Mhes, Lszlm Bekem) a Lszl Beke: esk, slovensk a maarsk slov vystaven na stretnut
Gyula Pauer, Vladimr Popovi, Petr tembera, Rudolf
Photo of the Meeting of Czech, Slovak, and Hungarian Artists (organised by Lszl Beke) and
Sikora, Tams Szentjby, Anna Szeredi, Endre Tt, Pter
Trk, Ji Valoch. Lszl Beke: Czech, Slovak and Hungarian Words exhibited at the meeting | Atelir Kaplnka
4 Frank GRIBLING, Preface. In: Works and Words, Gyrgyho Galntaia | Chapel Studio of Gyrgy Galntai, Balatonboglr, 1972
Amsterdam: de Appel, 1980, s. 3. (Foto | Photo: Gyrgy Galntai. S lskavm povolenm | Courtesy of Artpool Art Research Centre)
8 9
 Medzinrodn stretnutia umelcov International Artist Meetings

Ako hovori o vchodnej Eurpe? How can we talk about Eastern-Europe?

chybnm oznaenm, ato ani tak nie pre odlin
podmienky povedzme vPosku aJuhoslvii, ale
predovetkm preto, e nov, dnes pouvan
umeleck jazyky maj medzinrodn platnos
anie s viazan na nrodn kultrne intitcie. 5
Metdy historizcie aumenie vctenia
Jedna situcia sa stle opakuje: mlad umelec
alebo historik umenia navtvi protagonistu
aarchivra sedemdesiatych rokov, otvoria
sa zaltnut anny, vypadn asn fotky
adokumenty, zaznej ptav prbehy. Spomienky,
ktor poas takchto stretnut oij, vinou ved
kpomyslenm dialgom sostatnmi astnkmi
akci, na ktor sa spomna. V snahe vies zase raz
skuton dialg sa konalo prpravn stretnutie,
potla archvov, ktorho sa zastnili Lszl
Beke aprotagonisti aarchivri bratislavskej
umeleckej scny sedemdesiatych rokov:
Peter Barto, Kvta Fulierov (1932), ubomr
Lszl Beke: Nvod - koncepty k akcim na Stretnut eskch, slovenskch a maarskch umelcov
Instruction-concepts for actions at the Meeting of Czech, Slovak, and Hungarian Artists,
Atelir Kaplnka | Chapel Studio, Balatonboglr, 1972
(S lskavm povolenm | Courtesy of Lszl Beke)
urek (1948) aRudolf Sikora (1946). Stretnutie
bolo zaznamenan na video a sprevdza ho
obrazov prbeh dokumentov vytvoren Petrou
Feriancovou (1977). Z mnostva spomienok,
oktorch sa hovorilo poas stretnutia, zrove
vybrala a zrekontruovala v poetickej intalcii
prechdzku zorganizovan vroku 1979
Petrom Bartoom. Petra Feriancov vytvra
askma archvy u niekoko rokov.Okrem Petra
Bartoa tie nadviazala uniktnu spoluprcu
sKvtou Fulierovou, partnerkou Jliusa Kollera
(1939 2007), v rmci ktorej rozkrva subtlne
svislosti medzi skromnmi aprofesionlnymi
aktivitami tejto dvojice predstavujce slep kvrnu
vkollerovskom knone.3
5 Michael GIBBS, Documents. In: Artzien, 3, . 1, janur
1981, s. 27. Tto sta vychdza z textu: Jelena Vesi: Works
and Words Early critiques of the discourse of Eastern
European Art. In: Parallel Chronologies. http://tranzit.org/
exhibitionarchive
issue of the cultural magazine Pages, which critical relevance today in relation to language
featured a photo of the Hungarian troops and power, individualism and internationalism,
playing tug of war during the occupation of representation and documentation: It is clear that
Czechoslovakia in August of 1968. Beke proposed the term East European art is a misnomer, not
to create a tableau vivant repeating the painful so much because of the different circumstances
image, but also suggested to destroy the photo in, say, Poland and Yugoslavia, but more because
by using it as a rope. The other was a Handshake the new artistic languages currently in use are
Action for camera: artists were instructed to shake internationally recognised and are operated
hands with each other one by one, Hungarians outside of national cultural institutions.523
with Czechoslovaks, for Bekes camera. Then Beke
assembled the anonymous images of handshakes Methodologies of Historization and the Art of
and created a tableau of it identifying all the Empathy
participants.
It is a recurring situation: a young artist or art
Among many other intriguing contributions, Peter historian visits a protagonist and archivist of
Barto (1938) created concepts for situations in the 1970s, yellowed folders are opened, thrilling
delicate resonance with Bekes proposals. His photos and documents pop up, absorbing
socio-situation Meditation with Human Heart stories are told. The memories activated
was performed with the participants, who were during such discussions create a mostly virtual
asked to listen in silence till they had counted dialogue with the other participants of the
60 heartbeats. Bartos recurring later concepts events recalled. As an attempt to make this
of three doves and three horses representing dialogue actual again, a preliminary meeting,
peace messages about the coexistence of three a potlatch of archives, was organised for
neighbouring nations were also inspired by this Lszl Bekeandprotagonistsandarchivist
meeting. of the Bratislava art scene of the 70s: Peter
Barto, Kvta Fulierov (1932), ubomr urek
In the friendly gathering at Balatonboglr the (1948),andRudolf Sikora (1946). The meeting
participants - it seems - did not feel it to be an was recorded on video and is accompanied by a
onerous task to represent a wider community, visual narrative of documents created by Petra
whereas in the second half of the 1970s several Feriancov (1977). From the pool of memories
international art events were organised to that were discussed during the meeting she
showcase art from behind the Iron Curtain, also selectedandreconstructed in a poetic
which raised sharp questions about the validity installation a walk organised by Peter Barto in
of the category East European Art. After the 1979. Petra Feriancov has been creating and
fiasco of the Dissident Biennale of 1977 that aimed researching archives for years, and started a
to feature artists who think differently without unique collaboration with in addition to Barto
considering the possible political consequences, Kvta Fulierov, the partner of Jlius Koller
the ambitious exhibition at de Appel, Amsterdam, (1939-2007), and unearthed the delicate interplay
Works and Words in 1979 staged a confrontation between the private and professional activities
between artists who share a common sensibility of this couple, which is a blindspot of Kollers
from Hungary, Czechoslovakia, Poland, canonization.
Yugoslaviaand the Netherlands. It was a
manifestation which focused on the dialectical 4 Frank Gribling, Preface, Works and Words, de Appel,
interaction of reflection and action, of works and 1980, p 3.
words.4 Though the category Eastern Europe 5 Michael Gibbs, Documents, Artzien, vol 3, no 1, January
was not used overtly, participants as well as 1981, 27 p. This passage is based on Jelena Vesi: Works
and Words Early critiques of the discourse of Eastern
reviewers could see through the discursive European Art, in Parallel Chronologies. http://tranzit.org/
approach, and raised questions that are still of exhibitionarchive

10 11
 Pasenie oveky. Pokus o rekotrukciu popoludnia. Grazing a Lamb. An Attempt to Reconstruct an Afternoon

Petra Feriancov Petra Feriancov

Prv fotografia zobrazuje
celkom neformlnu, mono
a banlnu scnku. Pr
ud, ktor sa medzi sebou
poznaj, zhovraj sa, sediac
na lke, medzi nimi oveka.
Tto fotografia vak generuje
chod vec sp. Kto ju vid m akhosi matrixu, ktor on sm
kopu otzok. Je prkladom
postproduknej kodifikcie
dokumentu v osi historick,
pretoe jej symbolike a
mnostvu referenci nie je
mon sa vyhn. Je presne
tm, o stle hadm, i vo svislosti so svojimi pojmovmi
vlastnch, alebo v cudzch
veciach. Obraz, prevyujci
svoj pvodn zmer a ktor je
mimo nau schopnos, alebo
schopnos autorovej kontroly.
Obraz, ktor pochopme, a
ke objavme to a preo bez pecifickej dramaturgie
vlastne. Asociatvne zblesky,
vybavenos, s ktorou stojme
pred nm asto plne bezradne,
pretoe aj vzdelanie a intucia
s subjektvne a oberaj
ns o monos zhodn sa spomienok zastnench. Tch
v porozumen. Asi sa zas
opakujem ale odporam pozrie
si Antonioniho zveninu, a o
najskr, nie ako ja.
Fotografiu z Pasenia oveky
som prv krt videla u Kvty.
Nebola to jej fotka, bola vak
na nej a bola v jej archve. T
fotka ma fascinovala natoko,
e som ju opakovane musela
poui. Najprv na vstave v
rmci OFF Bienle (Vulnerable,
Yet Everlasting, From Archive
Of Kvta Fulierov), neskr na
vstave Domov / Homeland
Petra Bartoa v amt, a
znovu sa k nej musm vrti
teraz. V Kvtinom prpade
lo o kategriu stretnut s
priatemi a vonoasovch, i
polopracovnch aktivt (v klme
ktorch vlastne vznikali kov
Kollerove veci).
V prpade Bartoa mi lo skr o
dodanie jeho vlastnho zdroja,
nespoetne vea krt prepisoval,
vdy s novm vznamom. no,
Barto obrazy prepisuje tak,
ako sa pu ikony a tak, ako
to spomna aj Jlius Koller v
rozhovore s Lszlom Bekem v
obrazmi. V prpade oboch
umelcov je prbuznos s ikonami
len v akte ich prepisovania a
sn aj opakovania.
Peter Barto usporiada akciu
a kontroly nad jej dynamikou,
ktorej jedinm vstupom, a aj
to len nhodnm (pretoe autor
sm sa o jej zdokumentovanie
nestaral) je pr fotografi a
fotografi odrazu pribda, pretoe
viacer zastnen si spomen,
e fotili. Niektor, na ktorch som
sa vyslovene spoahla ako napr.
uba ureka, fotoapart nemali.
Na lke nad Lamaom v skorom
jarnom vetre na ete chladnej
zemi posedva bratislavsk
vtvarn elita, lpe vekonon
vajka a ak, km Peter Barto
napoj oveku, ktor priniesol
v take zo zoologickej zhrady.
Peter Barto dnes vrav o
stretnut disentu. Ke nachdzam
jeho prekresby, Vekonon
motv a symbolika oveky je
zjavn. Ke sa ochlad, udia
sa po skupinkch rozptlia po
lese. Vznik pr novch vec.
urek ope strom, Koller This photo shows a pretty Kvtas case it was a category the weather gets colder people
sprav otznik, trauss pobehuje informal, perhaps even banal of meetings with friends and disperse in groups into the
s papekom v zuboch po lese. scene: a few people who know leisure time, or half-work half- woods. A couple of new things
Zbieraj odpadky. Zdu dole k each other, talking, sitting in a leisure activities (where most of are created. urek girdles a
prameu. meadow and in-between them Kollers key works originated). In tree, Koller makes his question
there is a lamb. This photo, Bartos case it was more about mark, trauss runs around with
Cel t krajina nad Lamaom however, it causes things to go supplying his own resources bough in his teeth around the
je Bartoova. Barto chce, aby backwards. One who sees it for me, a kind of matrix that he woods. They collect garbage.
sme sa tm kusom prostredia may have a lot of questions. It is himself had rewritten countless They go down to the spring.
preli tak, ako ke prechdzame an example of a post-production times, always with a new
vstavou alebo katedrlou. codification of a document into meaning. Yes, Barto rewrites That whole countryside above
Prroda je priorita. A ete v something historical, because his works, just how icons Lama is Bartos. Barto
skratke, o mi Peter nadiktoval. its symbolism and references are rewritten, as Jlius Koller wants us to walk through that
Stretli sme sa tam, lebo sme cannot be avoided. It is exactly mentioned when describing his area, as when we go through
boli ist ako t oveka. Oveka what I always look for in my works with conceptual images an exhibition, or a cathedral.
je mdium. Bola to etipska own or others work. An image, in an interview with Lszl Nature is a priority. And just
oveka a bola bielo ierna, lebo exceeding its original intention, Beke, (which I got my hands on very briefly what Peter had
aj nae Slovensko je bielo ierne. which goes beyond our ability, yesterday). For both artists, the dictated to me: we met there,
Tu nie je demokracia ABC, tu je or the ability of the author, to affinity with icons is only in the because we were as pure as the
to tak alebo tak. Aj ke dvojica, control it. An image that can act of rewriting, and perhaps lamb. The lamb is a medium. It
pr, je v podstate v poriadku tak, be understood only once we also repeating. was an Ethiopian lamb, and it
ako esko a Slovensko. Zklad uncover what and what was white and black, just like
spolonosti tvor predsa ABC. for. Associative flashes the Peter Barto organized an event our country, Slovakia, is white
Mu a ena je len pr - A a B. facilities, with which one stands without specific editing and and black. There is not an ABC
in front of it, often completely control over the momentum, of of democracy, here it is like
baffled, because education and which the only outcome, one this or like that. Even though a
intuition are both subjective and that is also only accidental (as couple, a pair, is basically fine,
deprive us of the opportunity to the author himself did not care just like the Czech Republic and
agree on one meaning. Probably about the documentation) are a Slovakia. The basis of a society
I will repeat myself again, couple of photos and memories is ABC. A man and a woman is
but I recommend watching of those involved. Those just a pair - A and B.
Antonionis Blow Up, and as photographs suddenly grow
soon as possible. in numbers because several
participants remembered that
I first saw the photo of grazing they took pictures.
a lamb at Kvtas. It was not
her photograph, but she In a meadow above Lama in an
was on it and it was in her early spring breeze and on the
archives. The photograph cold ground sits the Bratislava
fascinated me so much that I artistic elite; peeling Easter eggs
Peter Barto: 3 kone pij had to use it repeatedly. First, and waiting for Peter Barto to
ist vodu | Three Horses are in the exhibition within the give milk to the lamb; which he
Drinking Clear Water, 1979 OFF Biennial (Vulnerable, Yet brought in a bag from the ZOO.
(Zdroj | Source: Pertu No 7: Everlasting, From the Archive Today Peter Barto calls it a
Peter Barto, St. Auby Tams, of Kvta Fulierov), then in the meeting of the dissent. Looking
katalg vstavy | exhibition exhibition Domov / Homeland through his re-drawings, the
catalogue, Galria umenia by Peter Barto in amt, and now Easter motif and symbolism
Nov Zmky, 2007) I have to go back to it again. In of the sheep is obvious. Once

12 13
Od udovho vzdelvania a po demokratizciu umenia
Neoavantgardn umelci ako vychovvatelia udu
Vo vine socialistickch krajn vchodnej Eurpy
sa zakladali intitty udovho vzdelvania, ktor
mali za lohu emancipova robotncku triedu
prostrednctvom systmu miestnych centier
zastreujcich kurzy pre amatrov akrky
udovho vzdelvania. Tieto centr, rovnako ako
diskurz udovej osvety, si osvojili i jednoducho
pouvali viacer neoavantgardn umelci pre
potreby didaktickch akonceptulnych innost.
Poprivhradne skromnch a spontnne
organizovanch akcich avmench viedli lenovia
bratislavskej umeleckej scny Peter Barto, Jlius
Koller, Kvta Fulierov, ubomr urek a al do podoby kolektvnej sksenosti, ako naprklad
amatrske krky,uili stredokolkov alebo
organizovali vstavy aakcie vkultrnych centrch,
ktor boli ovea progresvnejie ne to, o sa vtedy
vystavovalo vgalrich. Mylienku demokratizcie
umenia akreativity ako utpie nielen socialistickej,
ale aj Fluxusu, realizoval vpraktickej iteoretickej
rovine okrem Jiho Valocha (1946) aj pedagg
anovinr Igor Zho (1925 1997), len neoficilnej
brnianskej umeleckej scny.
Edukan situcie
Umeleck aktivity ubomra ureka,
konceptulneho umelca, performera, filmra
aautora experimentlnych textov a knh aktvneho
vBratislave od sedemdesiatych rokov, predstavuj
zaujmav prklad toho, ako je mon vyplni trochu
vyprzdnen demokratick posolstvo socialistickej
pedagogiky avantgardnm umenm. Okrem
toho, e vytvral konceptulne, performatvne
aparticipatvne situcie, acelkovo sa vyhbal
oficilnemu ineoficilnemu vystavovaniu, zaal
urek u krtko po absolvovan vysokej koly
popri prleitostnch scnografickch zkazkch
pracova aj ako stredokolsk uite vtvarnej
vchovy. Tmto innostiam sa vak nevenoval
len ako obive, predstavuj zaujmav kontinuitu
medzi jeho umeleckou apedagogickou innosou
i praxou itkovho vtvarnka. Vroku 1976, vstavu tejto zbierky, priom mdium predstavoval
kedy urek pracoval ako nvrhr vObvodnom
kultrnom a spoloenskom stredisku Bratislava
I (ObKaSS I), zorganizoval konceptulnu
mikulsku besiedku pre deti zamestnancov.
Po jej spechu ureka oslovili na vytvorenie
dekorci pre karneval v Muko klube, ktor
From Peoples Education to the Democratisation of Art
The Neo-avant-garde Artist as Educator of People
poal ako Psychologick prostredie. No kee In most of the socialist countries of Eastern was embraced on both a practical and a theoretical
odmietol, aby ich sasou boli aj politick hesl, Europe Institutions of Peoples Education were level by the pedagogue and journalist Igor Zho
jeho prca nebola prijat stakm nadenm ako founded in order to emancipate the working class (1925-1997), a member of the Brno unofficial art
na detskej oslave. Vrokoch 1981 1986 uil spolu through a system of local cultural centres hosting scene, as well as Ji Valoch (1946).
sJliusom Kollerom aKvtoslavou Fulierovou aj amateur courses and popular education circles.
na amatrskych letnch kolch vrmci ObKaSS The venues, as well as the discourses of popular Educational Situations
II. Vytvorili anafotili niekoko kolektvnych education, were appropriated or simply used
aperformatvnych akci. Podobne ako pri for the purpose of the didactic and conceptual The artistic practice of ubomr urek
Cvieniach kreativity (ktorm sa bliie venujeme practices of several neo-avant-garde artists. In (conceptual artist, performer, filmmaker, and
v nasledujcej kapitole) cieom niektorch zadan, addition to completely private, self-organised author of experimental texts and books), who has
ktor urek pravidelne pouval vo vuke, je actions and exchanges, Peter Barto, Jlius Koller, been active in Bratislava since the 1970s, is an
fragmentcia individulneho umeleckho silia Kvta Fulierov, and ubomr urek, among engaging example of how to fill the quite hollow
others members of the Bratislava art scene democratic educational missions of socialism
vPosolstve IV (1982). taught amateurs circles, secondary school with avantgard art. In addition to producing
students or organised exhibitions and events in conceptual, performative, and participatory
Vzhadom na to, e je urek silne skeptick cultural clubs presenting much more progressive situations and generally staying away from both
k mdiu vstavy, primrnou formou recepcie practices than what was exhibited in fine art official and unofficial exhibiting, urek soon after
urekovej umeleckej praxe, ako poznamenva galleries. The idea of democratisation of arts and his graduation along with occasional set design
Mira Keratov vo svojom texte vkatalgu creativity as a socialist as well as a fluxus utopia commissions started to work as a secondary
kumelcovej retrospektve, je nvteva jeho ateliru,
alebo presnejie jeho medzipriestoru.61Vea jeho
prc sa zaklad na performatvnej adidaktickej
vmene medzi umelcom anvtevnkom. Vmeny
mali aj formu nedench tematickch Jarnch
aJesennch prechdzok po meste (1977 1978)
aletnch exkurzi za asti Petra Bartoa, Jna
Budaja (1952), Stana Filka (1937 2015), Vladimra
Havrillu (1943), Juraja Mihlika (1949) a Ladislava
Snopka (1949). Tieto aktivity urek fotograficky
dokumentoval aarchivoval ako vizulne narcie
kolektvnych umeleckch situci. Diskusie,
krtke prednky, fotograficky dokumentovan
situan performancie adoasn kompozcie
fungovali ako pomyseln spojivo kolektvnej
vstavy organizovanej vhradne pre dan moment
vzjomnej komunikcie medzi astnkmi.72
Pravideln stretnutia atvoriv vmeny
vbratislavskej kaviarni Palacka vrokoch 1978
1984 slili ako vchodisko vtvorbe umeleckch
kariet, ktor na urekov podnet vytvrali lenovia
tohto neformlneho krku. Zostavil tie kolektvnu
balek kariet.
6 Mira KERATOV, ubomr urek. Situan modely
komunikcie. Bratislava: Slovensk nrodn galria, 2013.
7 Daniel GR, Species of Exhibitions and Artists
Communities in the 1970s and 80 in (Czecho)Slovaki. In: ubomr urek: Posolstvo IV | Message IV, 10.11.1982
Parallel Chronologies, http://tranzit.org/exhibitionarchive (Z archvu ubomra ureka | From the archive of ubomr urek)
14 15
Od udovho vzdelvania a po demokratizciu umenia
Neoavantgardn umelci ako vychovvatelia udu
aisko urekovch prc tvorili intmne
aminimalistick situcie. Veda toho sa vak
venoval aj kritickmu dialgu spropagandistickou
vizulnou kultrou aspoloensko-politickou
realitou tzv. normalizcie tm, e tento kontext
vo svojom diele podvracal arecykloval. Mestsk
prostredie anhodn interakcie sdavom aumi
na ulici slili ako vznamn pole didaktickch
experimentov viacerm umelcom psobiacim
vBratislave, ponajc Kollerovou aBartoovou
Antigalriou (1968 1969) vo vklade akoniac
verejnmi akciami Doasnej spolonosti
intenzvneho prevania (1978 1980), sktorou
spolupracoval aj urek. Vrmci Tda
poulinho divadla usporiadal Rezonancie (1979),
svojho druhu situacionistick drive, ktorho sa
zastnilo pribline dvadsa ud. Rozmiestnili sa
po ulici avytvrali geometrick formcie, ktor
ubomr urek: Viacgeneran priatesk stretnutie pri jazere (al z mnohch pokusov by neviditenm)
Cross generation friendly meeting by the lake (another of the many attempts to be invisible), slide show, detail
(Z archvu ubomra ureka | From the archive of ubomr urek)
mali vyvola interakcie sokoloidcimi. Intrukcie
kneuskutonenej performancii Prosm, obrte
ma sprvnym smerom, prosm (1980), kde mali
performeri chodi vkrabiciach vydan napospas
okoloidcim, boli vroku 1980 vystaven ako
koncept na medzinrodnej vstave Drawing
vPcsi vMaarsku. al urekov participatvny
projekt, NFRMC Informcia orukch auoch
(1982), vytvoren v spoluprci s smimi astnkmi,
ktor okrem hmatu nemohli pouva iadne zmysly,
je zaloen na vzdelvacej akolektvnej sksenosti
zskanej zobmedzenej zmyslovej interakcie.83
8 Tto sta vychdza zinformci ainterpretci vtexte Mira
KERATOV,ubomr urek. Situan modely komunikcie,
Bratislava: Slovensk nrodn galria, 2013. alej z jej
rozhovorov subomrom urekom, kde rolu prostrednka
lskavo zohrala Petra Feriancov, ako aj zvskumu, ktor pre
tto vstavu vypracovala Elika Mazalanov.
16
From Peoples Education to the Democratisation of Art
The Neo-avant-garde Artist as Educator of People
school art teacher. Instead of fulfilling these jobs Palacka (a coffeehouse in Bratislava) between
only for financial reasons there is an intriguing 1978-1984 were the starting point of works in a
continuity between his artistic and educational format of playing cards created by the members of
or design practice. Working as a designer in the this informal circle on the initiative of urek, who
first Districts Cultural and Social Centre (ObKaSS) compiled a collective exhibition of this collection in
in 1976 urek organised a conceptual Father the medium of a pack of cards.
Christmas party for the children of the employees.
After its success urek was commissioned Whereas he predominantly created intimate and
to create a display for a carnival party in Muko minimalist situations, ureks practice was also
Club, which was realised as a Psychological in critical dialogue with propagandist visual culture
Environment. Since he refused to insert political and the social-political reality of the so-called12
slogans, it was not received with the same Normalisation era, subverting and recycling this
enthusiasm as the childrens fiesta. Between 1981 context into his work. The urban environment and
and 1986 he also taught amateur summer schools accidental interactions with the crowd and people
in the framework of ObKaSS II, together with Jlius in the street were also an important field of didactic
Koller and KvtoslavaFulierov. They created experiments for several artists active in Bratislava
various collective and performative actions for from Kollers and Barto Antigallery (1968-9) which
camera. Similarly, as in the case of the Creativity took place in a shop window to the public actions of
Exercises (discussed in the next chapter), several the Temporary Society of Intense Experience (DSIP,
assignments that urek regularly applied in 1978-80), with whom urek also collaborated.
his teaching activity aimed at the fragmentation For the Week of Theatre on the Street he designed
of individual artistic achievement into a group Resonances (1979), kinds of situationist drives
experience, such as in Message IV (1982). performed by about 20 people scattered in the
street to create geometrical formations that
Since urek has a deep mistrust of the medium of trigger mobile interactions with pedestrians. The
the exhibition, the most valid form for the reception instructions for his unrealised Please, turn me
of urek artistic practice as Mira Keratov in the right direction, please (1980) a plan for
notes in her text in the artists retrospective walking performers enclosed in boxes at the mercy
catalogue was a visit to his studio, more precisely of passers-by - was presented as a concept at the
his interspace.6 A lot of his works rely on a international Drawing exhibition in Pcs, Hungary
performative and didactic exchange between in 1980. Another participatory project by urek
the artist and the visitor. Exchanges also took NFRMC. Information about Hands and People
the form of thematic Spring and Autumn Walks (1982), staged for eight participants with limited
(1977-8) taken in the city on Sundays, and summer senses, only entering in communication with
excursions with the participation of their co- their hands, is also based on the educational and
organizer Peter Barto, and others like Jn Budaj collective experience gained from reduced sensory
(1952), Stano Filko (1937-2015), Vladimr Havrilla interaction.83
(1943), Juraj Mihlik (1949), and Ladislav Snopko
(1949). These activities were documented by
6 Mira Keratova, ubomrurek. Situational Models of
photos and archived by urek as visual narratives
Communication, Slovak National Gallery, 2013.
of collective artistic situations. Discussions,
7 Daniel Gr, Species of Exhibitions and Artists
brief lectures, situational performances for photo Communities in the 1970s and 80 in (Czecho)Slovakia,
camera, and temporary compositions were the non- Parallel Chronologies, http://tranzit.org/exhibitionarchive/
material bonding agent of thecollective exhibition 8 This passage is based on the information and interpreta-
organized exclusively for the given moment of tions in Mira Keratova, Situational Models of Communica-
tion (op cit), and conversations with ubomr urek, Petra
mutual communication among the participants.7 Feriancov, and Mira Keratova, as well as on the research
Regular meetings and creative exchanges at by Elika Mazalanov made for this exhibition.
17
Od udovho vzdelvania a po demokratizciu umenia
Neoavantgardn umelci ako vychovvatelia udu
Cvienia kreativity
Mylienka udovho vzdelvania bola vMaarsku
zaveden v sedemdesiatych rokov, aby nahradila
hierarchick vzahy naznaen vchovou
udu (doslovn preklad udovej osvety). Vtej
dobe zaal fungova aj Intitt udovej osvety
ako vemi progresvne vskumn stredisko
podporujce mldencku kultru, sociologick
vskum, ale inekonformn umenie. Jeden takto
otvorene zmajci pedagg v kultrnom centre
budapetianskeho zvodu pozval vroku 1975
umelcov Dru Maurer (1937) aMiklsa Erdlyho
(1928 - 1986), aby tu viedli kurzy vtvarnho umenia
pvodne zaman ako osveta pre robotnkov.
Predstavili tu nov demokratick pedagogick
princpy ovplyvnen zisteniami modernej
psycholgie, ale aj Bauhausom, Fluxusom
aakcionizmom. Cvienia kreativity sa preslvili
ako priam kultov workshopy vtvarnej pedagogiky,
ktor vak vskutonosti nenavtevovali robotnci,
ale perspektvni umelci. Maurer svoj koncept
atudijn pln navrhla tak, aby vyvila pnutia
vntri skupiny arozdiely v schopnostiach tudentov
pouva tradin vtvarn techniky: kolektvne
kresliarske zadania dopali cvienia zameran
na pohyb, fotografick afilmov experimenty, ale
imedziodborov prednky. Erdly sa zaujmal
ometdy rozvoja kreativity prostrednctvom
paradoxov, absurdt avzdialench asocici.
Vo svojej tdii snzvom Cvienia kreativity,
cvienia pre rozvoj predstavivosti, 1976 9 Erdly
definuje tvorivos ako ndejepln aeuforick stav
azdrazuje jej rozdielnos voi produktivite. Draz
kladie aj na to, e tvoriv stav mysle nachdza
svoj itok aj vkadodennom ivote, nech u ide o
skromn i verejn sfru. Kurzu sa niekokokrt
zastnil aj Lszl Beke, ktor vo verejnom liste
adresovanom astnkom zhrnul najdleitejie
zvery medzinrodnej debaty otvorivosti akolskej
reforme (Bauhaus, Arthur Koestler, Robert Filliou,
Allan Kaprow, Joseph Beuys, Ivan Illich). Vroku
1977 ukonila zvodn kultrna komisia s Erdlym
zmluvu, take vprci so svojou skupinou (toho
asu u ilo oskupinu InDiGo Interdiszciplinris
Gondolkods, Interdisciplinrne myslenie) musel
pokraova vinom kultrnom stredisku. Vo vuke
amatrskych kurzov pokraovala aj Dra Maurer,
ktor zaala vyuova na Akadmii itkovho
umenia a koncom osemdesiatych rokov. Zfotiek
avideozznamov vytvorench poas Cvien
kreativity vytvorila vroku 1988 film snzvom
Kretaivita-Vizualita.10456
Sbene sCvieniami kreativity zaloili
tudenti maarskej vtvarnej akadmie (dnen
Maarsk univerzita vtvarnch umen)
postkonceptualistick umeleck skupinu s
nzvom Krok Rzsa (1976 1977). Osvojili si
sce jazyk aner konceptulneho umenia, ale
ditancovali sa nielen od utopickho vchovnho
posolstva avantgardy, ale aj od vemi tradinej
umeleckej vchovy, sakou sa stretli na Akadmii.
Miesto toho sa sstredili na otzky identity,
samostatnosti arodovch vzahov. Orshi Drozdik
(1946), lenka Krku Rzsa, realizovala v roku
1977 akciu Akt/Model. Konala sa vpoloverejnom
Klube mladch umelcov, ktor prevdzkovala
Liga komunistickej mldee. Tto tde trvajca
performancia reflektovala musky orientovan
perspektvu v tradinej umeleckej vchove, ale
ajna neoavantgardnej umeleckej scne. Kreslila
ensk akt atto innos prezentovala ako in students skills in traditional arts: collective
vstavu,performanciu a podnet kzamysleniu.
Nvtevnci do miestnosti nemohli vstpi,
peformanciu sledovali len cez gzu, ktor
blokovala vstup. Na kad de pozvala Drozdik
nejakho mua, umelca alebo historika umenia,
medzi ktormi boli aj Mikls Erdly a Lszl Beke,
aby vstavu zahjili.11
Aktivity ospolonosti
Vporovnan sMaarskom aeskoslovenskom
vPosku tt podporoval ovea modernistickejiu
verziu achpanie socilneho realizmu avtvarnej
9 Sndor HORNYIK - Annamria SZKE (ed.),
Kreativitsi gyakorlatok, FAFEJ, INDIGO. Erdly Mikls
mvszetpedaggiai tevkenysge 1975-1986 / Creativity
Exercises, FAFEJ, INDIGO. On Mikl Erdlys art pedagogical
activity. Budape: MTA MKI-Gondolat-2B-EMA, 2008.
10 Dra HEGYI Zsuzsa LSZL, Creativity Exercises,
tranzit.hu, 2015.
11 Dra HEGYI Zsuzsa LSZL, How art Becomes Public,
In: Parallel Chronologies. AnExhibitionin Newspaper
Format, Budape: tranzit.hu, 2011.
18
From Peoples Education to the Democratisation of Art
The Neo-avant-garde Artist the Educator of People
Creativity Exercises experiments, as well as interdisciplinary lectures.
Erdly was interested in methods of developing
In Hungary the concept of popular education was creativity through paradoxes, absurdities and far
introduced in the 1970s to replace a hierarchic flung associations. In his study entitled Creativity
relation suggested by the cultivation of the Exercises, Fantasy Developing Exercises (1976),9
people [the literal translation of the Peoples Erdly defined creativity as a hopeful and 4
Enlightenment]. The Institute of Peoples euphoric state, and highlighted its difference from
Enlightenment also started to function as very productivity. He also emphasized that the creative
progressive research centre supporting youth state of mind could be useful in every field of life,
culture, sociological research as well as non- including both the private and public spheres.
conformist art. One such open-minded educator Lszl Beke also participated in the course on
at a Budapest factorys cultural centre invited several occasions, and summarized in a public
artists Dra Maurer (1937) and Mikls Erdly letter addressed to the participants the most
(1928-1986) in 1975 to teach the fine art courses important results of the international discourse on
originally intended for workers education. creativity and educational reform (Bauhaus, Arthur
They introduced new, democratic pedagogical Koestler, Robert Filliou, Allan Kaprow, Joseph
principles influenced by the conclusions of Beuys, Ivan Illich). In 1977 the cultural committee
modern psychology as well as Bauhaus, Fluxus, of the factory terminated the contract with
and actionism. Creativity Exercises became Erdly, so he continued the work with his group
a well-known, almost cultic workshop of art in another cultural house, which by the time was
pedagogy, attended not really by workers, but transformed into InDiGo Group (Interdiszciplinris
rather by prospective artists. Maurers concept Gondolkods, Interdisciplinary Thinking).
and curriculum aimed to counterbalance inner
tensions within the group and the differences 9 Kreativitsi gyakorlatok, FAFEJ, INDIGO. Erdly Mikls
mvszet pedaggiai tevkenysge 1975-1986 / Creativity
Exercises, FAFEJ, INDIGO. On Mikls Erdlys art pedagogical
drawing assignments were supplemented by activity, eds Sndor Hornyik and Annamria Szke, MTA MKI-
exercises in movement, photographic and film Gondolat-2B-EMA, 2008. (With English summary)
Lszl Beke a Mikls Erdly demontruj cvienie: Nvrh etudy pozitv - negatv komponovanej
pre dve postavy | Lszl Beke and Mikls Erdly demonstrate the exercise: Positive-Negative Etude
Design Composed for Two Figures, 1975
(Foto | Photo: Tams Papp, S lskavm povolenm dediov Tamsa Pappa a Mikls Erdly
Foundation | Courtesy of Heirs of Tams Papp and Mikls Erdly Foundation)
19
Od udovho vzdelvania a po demokratizciu umenia From Peoples Education to the Democratisation of Art

Neoavantgardn umelci ako vychovvatelia udu The Neo-avant-garde Artist the Educator of People

vchovy u od esdesiatych rokov. Vroku
1970 zaloili Zofia Kulik (1947) a Przemysaw
Kwiek (1945), tudenti Oskara Hansena na
Varavskej akadmii vtvarnch umen, duo
KwieKulik. Ako KwieKulik u poas tdi
reinterpretovali Hansenovu architektonick
avchovn teriu otvorenej formy, umeleck
formt zaloen na dynamickej interakcii
sdanm okolm aastnkmi, aaplikovali ju na
kolektvne akcie areflexiu praktickho vznamu
kamery afotoapartu. Vyhadvajc spoluprcu
sumelcami z inch discipln, zaviedli pojem
aktivita oznaujci spontnne akcie, ktor boli
predpokladom vzniku novej gramatiky silnch
umeleckch inkov. alm pojmom, ktor od
zaiatku sedemdesiatych rokov pouvali a dodali
mu pecifick vznam, bola hra. Oznaovala
otvoren, participatvny, ale pravidlami regulovan
proces, ktor inicioval dialg pomocou
vizulnej komunikcie. Aj ke nelo vyloene
odidaktick proces, povaovali aktivitu i hru
za experimentlne pole a jej vsledky mali
spsobi prevrat vangaovanom umen vtesnom
kontakte so ivotom vspolonosti. Film Aktivity
(1972) dokumentuje tvordenn kolektvnu
akciu zaloen na experimente so spoluprcou,
ktor prebehla vposkej nrodnej televzii.
Organiztori Przemysaw Kwiek, Zofia Kulik a
Jan S. Wojciechowski (1948) pozvali kasti
bsnikov, filmrov ahudobnkov. Jednotliv akcie
sa konali bez vopred danho scenra aloveka,
ktor by ich riadil. Spontnne gest organicky
stili do spoluprce.Tieto situcie sa nakoniec
prezentovali pomocou slov, zvukov arekvizt
televzneho tdia.
Vychdzajc zo svojho utopickho presvedenia
ospoloenskej roli avantgardnho umenia,
iniciovalo duo KwieKulik zaiatkom
sedemdesiatych rokov spoluprcu so ttnym
Intittom umenia, ktormu navrhlo rozrenie
jeho aktivt onov umeleck formty zaloen na public venue which was run by the Communist
Dra Maurer also continued teaching amateur and film cameras too. Seeking collaboration with
courses, and only became a faculty member for artists of other disciplines they introduced the
the first at the Academy of Applied Arts in the late term activity for ongoing spontaneous action
1980s. From the photos and footages created from which a new grammar of powerful artistic
during Creativity Exercises, Dra Maurer in 1988 effects could develop. The other term they used
made a film in the Bla Balzs Stdi entitled from the early 1970s with a specific meaning
Creativity-Visuality.10 was game, which meant an open, participatory,
but rule-governed process initiating dialogue
In parallel with Creativity Exercises a post- using visual communication. Though not directly
conceptualist artist group, the Rzsa Circle (1976- didactic, they considered activity and game as
7), was formed by students of the Hungarian Art an experimental field, the results of which should
Academy. They adopted the language and genres revolutionize committed art in close contact with
of conceptual art but distanced themselves social life. The film Activities (1972) documents
from both the utopian educational mission of the a four-day collective experiment on cooperation
avant-garde and the very traditional art education produced in the studio of Polish National TV. The
of the Academy they attended, and raised new organizers were Przemysaw Kwiek, Zofia Kulik
issues like identity, self-management or gender and Jan S. Wojciechowski (1948), who invited
relationships. Orshi Drozdik (1946) a member poets, film makers, and musicians to participate.
of the Rzsa Circle, performed the action Nude/ They performed the activities without script and
Model in 1977 in the Club of Young Artists, a semi- leader. Spontaneous gestures organically enfolded
into cooperation, then situations designed with
Youth League. Her week-long performance words, sounds, and props taken from the TV
reflected on the male-centred perspective of studio were presented.56
both traditional art education and the neo-avant-
garde art scene. She was drawing a female nude Following their utopian conviction of the social
and presented this activity as an exhibition and role of avant-garde art, in the early 1970s Kwiekulik
performance, a sight for contemplation. The initiated collaboration with the states Institute of
visitors could not enter the room, but only look in Art and proposed to extend its scope of activity to
through a gauze cover that blocked the entrance. new art formats based on processes and collective
Drozdik invited various male artists and an art action. As representatives of New Red Art, along
historian, among them Mikls Erdly and Lszl with several other Polish artists, they criticised
Beke, to open her exhibition each day.11 the current form of social realism, as a synonym
of kitsch. They aimed to defy the cynicism of the
Activities in Society state and people collaborating with it accusing
them of not taking its own social utopias seriously
In Poland, compared to Hungary and and demonstrating its power through superficial
Czechoslovakia, the state supported much more restraints and allowances that encourage
modernist version and understanding of social consumption and individualism. The anti-politics
realism, as well as art education, from 1960s on. of the democratic opposition, which disapproved
The KwieKulik duo was formed in 1970 by Zofia of the political system not so much on ideological
Kulik (1947) and Przemysaw Kwiek (1945), both grounds as on a moral basis, and formed organic
of whom were students of Oskar Hansen at the communities with no responsibility to deal with
Warsaw Academy of Fine Art. Already during
their studies, KwieKulik reinterpreted Hansens 10 Dra Hegyi Zsuzsa Lszl, Creativity Exercises,
both architectural and educational theory of open tranzit.hu, 2015.

Orshi Drozdik: Akt/Model | Nude/Model, performance, form - an artistic format in dynamic interaction 11 Dra Hegyi Zsuzsa Lszl, How art Becomes Public,
Parallel Chronologies. AnExhibitionin Newspaper For-
Klub mladch umelcov | Club of Young Artists, 1977 with its surroundings and users - and applied it to mat, eds Dra Hegyi,Sndor Hornyik,andZsuzsa Lszl,
(S lskavm povolenm | Courtesy of Orshi Drozdik) collective actions, reflecting on the use of photo tranzit.hu, 2011.

20 21
Od udovho vzdelvania a po demokratizciu umenia
Neoavantgardn umelci ako vychovvatelia udu
procesoch akolektvnej akcii. Ako predstavitelia
New Red Art spolu sniekokmi almi poskmi
umelcami kritizovali sasn socilny realizmus
ako synonymum pre g. Chceli sa tak vzoprie
cynizmu ttu auom, ktor snm kolaborovali modernistick prejavy angaovanho umenia,
za to, e nebral vne svoje vlastn utpie asvoju
moc demontroval vpovrchnch obmedzeniach
astupkoch podnecujcich konzum
aindividualizmus. Odmietali vak aj antipolitiku
demokratickej opozcie, ktor politick systm ako
celok neodsudzovala ani tak zideologickch, ako
skr z morlnych dvodov a nabdala ku vzniku
organickch komunt bez zodpovednosti voi
iriemu spoloenskmu systmu. Po niekokch toho, e skupina koncom esdesiatych
mrnych pokusov oreformu konzervatvneho
prstupu Intittu umenia kangaovanmu
umeniu vytvorilo duo KwieKulik vo svojom
ateliri vlastn umeleck priestor azaalo
systematicky reflektova tylistick rozpory medzi
ich samostatnou attom zadvanou innosou,
ktor zahala nvrhy pamtnkov, vstavnch modelov ivota akreatvnej prce. Poas
prehliadok adekorci politickch podujat. Ako
emblm tejto situcie slila peiatka Art on the
Run (Umenie na teku, 1978).12
o znamen by spolu vumen
F-Art (medzinrodn festival tudentov
umeleckch kl z Pobaltia), ktor vroku 1975
zorganizovala ttna vysok kola vtvarnch
umen vGdansku, je ukkou toho, ako mono
progresvne mylienky integrova do oficilneho
podujatia. Festival organizovali t ist tudenti
umenia, ktor neskr zaloili slvnu vroclavsk
Recent Art Gallery (1975 1980) vspoluprci
smiestnym kultrnym strediskom. Anna
Kutera (1952) na tomto festivale predstavila
performanciu Introduction, prv prcu zo srie
Stimulated Situation. Kutera prizvala dev muov,
poskch izahraninch tudentov umenia, aby
si sou po jednom sadli za stl astrvili sou Applaud, Part 1, Wrocaw Contemporary Museum, 2014, s.
pr mint ticha. Bez slov tu vzniklo jemn puto
medzi dvoma umi, zakadm trochu in.13
From Peoples Education to the Democratisation of Art
The Neo-avant-garde Artist the Educator of People
Seminre osdrnosti7 larger social system, was also rejected by the first work from her Stimulated Situation series.
artist duo. After more futile attempts to reform the Kutera called nine participants, male art students
VJuhoslvii, ktor mala medzi socialistickmi Art Institutes conservative approach to engaged from Poland and abroad, to sit next her one by
krajinami pecilne postavenie, tt podporoval art, KwieKulik opened their own art space in their one at a table for a few minutes in silence. Without
studio, and started to reflect systematically on the words, a subtle bond formed between the two
tzv. socialistick modernizmus. Skupina 143,8 stylistic contradictions of their self-organised and people, each time slightly different.1378
pozostvajca z kurtorov, kritikov umenia, state-commissioned practice, which included the
filozofov aumelcov, psobila vrokoch 1975 1980 design of monuments, exhibition displays, and Seminars on Togetherness
vBelehrade, kde sa sstredila okolo tudentskho scenery for political events. The stamp Art on the
kultrneho strediska, ohniska Novej umeleckej Run (1978) created an emblem for this situation.12 In Yugoslavia, being a non-aligned socialist
praxe. Kjej lenom patrili Biljana Tomi(1940), country, the state supported modernist
Miko uvakovi (1954), Nea Paripovi(1942), The Meaning of Being Together in Art manifestations of engaged art, so-called socialist
Jovan eki (1953), Maja Savi (1954. Okrem
The F-Art (the International Festival of Art School 12 Zofia Kulik & Przemyslaw Kwiek: KwieKulik, eds Lukasz
rokov kriticky prehodnocovala hnutia Fluxus Students of the Baltic Region) organised by the Ronduda and Georg Schllhammer, 2013. (Especially:
aneodada, venovala sa tie post-pedagogike State Higher School of Fine Arts in Gdask in 1975 Maciej Gdula, KwieKulik: Defying Cynicism, Defying Anti-
aexperimentom so samovzdelvanm. Jej hlavnm is an example of a situation in which progressive Politics, pp 513-4)
umeleckm mdiom bola konverzcia. Skupina ideas could be integrated into an official event. The 13 Anna Markowska, The Glass Must Be Wiped Clean. The
Complicated History of the Recent Art Gallery (1975-1980)
143 fungovala ako mikrospoloenstvo zaloen organizers were the same art students who later at the Paacyk Culture Centre, The Recent Art Gallery. The
na zdiean poznania atvorbe alternatvnych founded the famous Wrocaw-based Recent Art Avant-Garde Did Not Applaud, Part 1, ed A. Markowska,
Gallery (1975 1980) in collaboration with a local Wrocaw Contemporary Museum, 2014, pp 287, and Ewa
Malgorzata Tatar, The Introduction performance by
Seminra zorganizovanho vroku 1978 vgalrii Cultural Centre. Anna Kutera (1952) presented a Anna Kutera, Parallel Chronologies (http://tranzit.org/
SKC vBelehrade spolone skmali lenovia performance Introduction during this festival, the exhibitionarchive/author/ewa-malgorzata-tatar/)
skupiny aich hostia zoempasu aZhrebu
rzne formlne, smantick akontextulne
otzky umenia. Jednu zprednok pod nzvom
Histria ako umenie aproces vzdelvania
udstva predniesol aj Marko Poganik. Tm, e
Seminr zdrazoval procesulne zaloen prcu
anehierarchick vmenu poznania, sa staval proti
tradinm akademickm spsobom vzdelvania.
12 Zofia Kulik & Przemyslaw Kwiek: KwieKulik, In: Lukasz
RONDUDA - Georg SCHLLHAMMER: KwieKulik, 2013.
(Predovetkm: Maciej Gdula, KwieKulik: Defying Cynicism,
Defying Anti-Politics, s. 513-4)
13 Anna MARKOWSKA, The Glass Must Be Wiped Clean.
The Complicated History of the Recent Art Gallery (1975-
1980) at the Paacyk Culture Centre. In: Anna MARKOWSKA
(ed.), The Recent Art Gallery. The Avant-Garde Did Not
287. alej tie: Ewa MALGORZATA TATAR, The Introduction
performance by Anna Kutera, Parallel Chronologies, http://
tranzit.org/exhibitionarchive/author/ewa-malgorzata-tatar/
KwieKulik: Umenie na teku | Art on the Run, gumov peiatka | rubber stamp, 1978
(S lskavm povolenm | Courtesy of Zofia Kulik)
22 23
Od udovho vzdelvania a po demokratizciu umenia From Peoples Education to the Democratisation of Art

Neoavantgardn umelci ako vychovvatelia udu The Neo-avant-garde Artist as Educator of People

Film . 4 dokumentuje jeden zo tudijnch vletov
skupiny do empasu vSlovinsku, kde sa lenovia
Skupiny 143 zastnili nekonvennho seminra
spolu sbvalmi lenmi slovinskej skupiny
OHO, ktor vtej dobe ili vkomne. Na konci
filmu vidme slvnostn odhalenie pamtnka
Da nrodnho povstania, ktor vytvoril Marko
Poganik a empask rodinu. Po tom, o aopakova ich.149
sme svedkami plnej slobody vkompletne
samoorganizovanej vzdelvacej situcii zaloenej
na didaktike prechdzky, cvien sfotoapartom
aspolonom ase strvenom vprrode, ns
kamera zavedie na scnu sjuhoslovanskmi
vlajkami, umi vo vojenskch uniformch,
oblekoch akravatch hovoriacich do mikrofnu
pred poetnm publikom, v ktorom vidme aj
hipkov zpredchdzajcich scn. Jeden znich
vystpi na pdium aprihovra sa uom ukazujc
na abstraktn pamtnk z kamennch stpov
v pozad. Hoci rznymi cestami aokukami,
avantgarda vytvrala vspolonosti jedinen
udalosti, ku ktorm by sme sa mali vraca
14 Jelena VESI, For Art as Knowledge Production
and Theoretical Inter-Textualism: The Seminars of the
Group 143, In: Parallel Chronologies, http://tranzit.org/
exhibitionarchive/author/jelena-vesic/
modernism. Group 143 was formed by curators, seminar together with the former members of
art critics, philosophers, and artists and was the Slovenian OHO group, living in a commune
active between 1975 and 1980 in Belgrade around that time. At the end of the film we see the
the Students Cultural Centre, the hotbed of inauguration of a monument commemorating
New Art Practices. Its members included Biljana the Day of the National Uprising created by
Tomi(1940), Miko uvakovi (1954), Nea Marko Poganik and the empas Family. After
Paripovi(1942), Jovan eki (1953), and Maja the utmost autonomy experienced in an entirely
Savi (1954). Engaged in critically re-evaluating self-organised educational situation based on
the neo-dada and Fluxus movements of the late the didactics of walk, exercises with a camera,
1960s, the group was also committed to post- and time spent together in nature, suddenly
pedagogy and experiments in self-education. Its the camera arrives at a scene with Yugoslav
main artistic medium was conversation. Group flags, people in army uniform or suit and tie,
143 functioned as a micro-society based on talking into a microphone in front of a board
the sharing of knowledge and the generation audience, among which we see the hippies of
of alternative models of life and creative work. the previous scenes. One of them goes to the
During the Seminar organized in 1978 in the SKC podium and speaks to the people pointing at an
gallery in Belgrade, the members of the group and abstract monument made of stone columns in
their guests from empas and Zagreb explored the background. Along different pathways and
various formal, semantic, and contextual issues detours, the avant-garde arrives in society at
of art. One of the lectures was the History of Art unique events that we should revisit and repeat.149
as the Process of Education of Humankind by
Marko Poganik (1944). Emphasizing process-
based work and non-hierarchical exchange of
knowledge, the Seminar was directed against the
traditional academic modes of education. Film
no. 4 documents one of the groups collective 14 Jelena Vesi, For Art as Knowledge Production
and Theoretical Inter-Textualism: The Seminars of the
study trips, to empas, Slovenia, where members Group 143, Parallel Chronologies (http://tranzit.org/
of Group 143 participated in an unconventional exhibitionarchive/author/jelena-vesic/)

Grupa 143: Zber z Filmu . 4 - empask seminr | Still from the film No 4 - empas Seminar
(S lskavm povolenm | Courtesy of Miko uvakovi)

24 25
 Tir Impressum
Tir


Impressum Impressum

Spolon posedenie Paraleln chronolgie zhd okolnost vo vchodnej Eurpe Publikcia | Publication
Sitting Together Parallel Chronologies of Coincidences in Eastern Europe
Texty | Texts: Petra Feriancov, Zsuzsa Lszl
13. 12. 2016 25. 2. 2017 Preklady | Translation: Palo Fabu, Natlia Tthov
tranzit.sk, Beskydsk 12, Bratislava Jazykov prava | Proofreading: Reuben Fowkes, Elika Mazalanov, Miroslava K. Valov
Grafick dizajn | Graphic design: Virg Bogy
Otvoren: streda sobota, 14.00 19:00
On view: Wednesday Saturday, 2 7 pm ISBN 978-80-972325-2-8
ISBN 978-615-80566-2-5
Autorky projektu | A project by
Zsuzsa Lszl a | and Petra Feriancov
Vydavate | Publisher: tranzit.hu | tranzit.sk
v spoluprci s | in collaboration with
Lszl Beke, Peter Barto, ubomir urek, Daniel Gr, Kvta Fulierov, Mira Keratov, Rudolf Sikora Nadcia ERSTE je hlavnm partnerom tranzit. | ERSTE Foundation is main partner of tranzit.

Diela, filmy a dokumenty | Works, films and documentations by:

Peter Barto, Lszl Beke, Gbor Bdy Marcel Odenbach, Orshi Drozdik, ubomr urek, Mikls
Erdly, Petra Feriancov, Stano Filko, Kvta Fulierov, Gyrgy Galntai, Group 143, gnes Hy, Gyrgy
Jovnovics, Jlius Koller, Anna Kutera, KwieKulik, Dra Maurer, Gyula Pauer, Vladimr Popovi, Rudolf
Sikora, Petr tembera, Tams Szentjby, Endre Tt, Pter Trk, Ji Valoch, a al | and others.

Architektra vstavy |Display architecture: Petra Feriancov Podujatia v rmci vstavy

Koordintorky projektu | Project co-ordinators: Petra Balkov, Elika Mazalanov
Loklny vskum | Local research: Elika Mazalanov 18. janur 2017, komentovan prehliadka a cvienia kreativity s Lszlm Bekem

pecilne poakovanie | Special thanks: Adrian Antoniewicz, Orshi Drozdik, Gyrgy Galntai, Lucia 16. februr 2017, komentovan prehliadka, prednky a diskusia, astnci: Daniel Gr (VVU,
Gregorov Stach, Dra Halasi, Petra Hankov, gnes Hy, Dra Hegyi, Lrnd Hegyi, Gbor Hushegyi, Bratislava), Mira Keratov (kurtorka a historika umenia, Bratislava), Zsuzsa Lszl (tranzit.hu,
Jlia Klaniczay, Jn Kralovi, Ji Kovanda, Zofia Kulik, Virg Ldi, Helena Markuskov, Mikls Peternk, Budape), Lucy Steeds (Afterall, Londn), Jelena Vesi (Haus der Kunst, Mnchov)
Nataa Petrein-Bachelez, Jana Psakov, Bojana Pikur, Miko uvakovi, Krisztina Szipcs, Ewa
Magorzata Tatar, Katalin Tmr, Alberto Matteo Torri, Natlia Tthov, Jelena Vesi
Programs during the exhibition:
Partneri | Partners: amt_project, Archiving Air, Artpool Art Research Center, Hungarian National Digital
Archive and Film Institute (MaNDA), LUDWIG MZEUM - Museum of Contemporary Art, Moravian 18 January, 2017 Guided tour and creativity exercises with Lszl Beke
Gallery in Brno, Warsaw Museum of Modern Arts, Warsaw Museum of Modern Arts
16 February, 2017 Guided tour, lectures and roundtable with Daniel Gr (Academy of Fine Arts and
Vstava Spolon posedenie vznikla ako spoluprca medzi tranzit.sk a tranzit.hu. Design, Bratislava), Mira Keratov (curator and art historian, Bratislava), Zsuzsa Lszl (tranzit.hu,
The exhibition Sitting Together is a collaboration project between tranzit.sk and tranzit.hu.Publikcia | Budapest), Lucy Steeds (Afterall, London), Jelena Vesi (Haus der Kunst, Munich)

26 27