Artmagazin 108 - 2018/7.

Artmagazin's articles are published in the field of contemporary and classical art, focusing on Hungarian and international events, research, trends and trends. Our interest extends to border areas: fashion and design are as much a topic here as the connection points between theater, architecture and music. ARTMAGAZINE 108. Almost every article in this issue raises basic questions, even the seemingly harmless ones. What happens in a museum space, how a painter can get there, especially if in the age of artistic border crossings (when real border crossing is otherwise impossible or very difficult) you don’t want to wait for others to put it in is a basic question for a painter. Ákos Birkás gave an answer to this that corresponded to the spirit of the age as well as to his own, I could say operatic traditions (through his mother and stepfather, the Opera House played a central role in the life of their family) and mostly vitriol humor. We also have to think about what will be important in a difficult life situation, or what can give hope and then comfort when things become irreversible. More specifically, when faced with being irreversible. And we also have to reckon with what’s left after someone and what future generations start with. It is also an interesting question what it depends on where an artist leans, what methods he chooses to cite a small, excised piece of the world, quoting Anna Lesznai. Are you building or drawing? Does he create his own world as a rolled-up carpet that he rolls out, or as a system of geometric signs, perhaps more and more the same as the real world, only created to sound almost with the help of very intricately spun sign systems? And then we didn’t even talk about collectors (be they museum people, whether they were private or public), what they thought were worth preserving and why. So what will happen to us after our death, what will remain behind us, what and how they will preserve from us, for which we can again provide our readers with additives and literally constructive examples such as the Ostend exhibition, which is described in more detail in the European context. places, for example, the art of Lajos Kassák (whose reassessment at home last year he also had three exhibitions). But we can also re-evaluate the Hungarian art of the fifties, now the graphics, in connection with an exhibition in Miskolc that can now be seen, and we can also read about a central genre of Bortnyik's oeuvre, which can be called extremely controversial. And it is also a good practice to revive our relationship with heritage by looking at it through the eyes of a Hungarian living in Vienna. For example, the metro exit once called Moscow Square in the form of an emblematic fan. We can rest assured right away, the artists are wonderfully unpredictable. We never know what they will be. It’s just something that lives by what we look at. CONTENTS ARTANZIX Exhibition Renáta Szikra: THE EXCLUSION OF UNCONSCIOUSNESS György Péter Esszé: I WAS A PAINTER, I LOVED PAINTING Ákos Birkás Self-portraits Exhibition Zsanett Lépold , OR THE DOMESTICIZATION OF PAIN In memoriam Béla Szakács Zsolt Szakács SIANHY MARIANNE Sághy Marianne: TRANSITION - Maria de Faykod's crossroads Essay Weiner Sennyey THAT! In connection with one of the pictures from the Lesznai exhibition in Balatonfüred Interview Gábor Ébli: PRIVATE COLLECTION OR INSTITUTIONALIZATION? Interview with András Szöllősi-Nagy Study Gábor Dobó - Pál Szeredi: REPUBLIC OF JOURNAL EDITORS Similarities and relations in the Belgian and Hungarian historical avant-garde Gutenberg galaxy Éva Forgács: THE PLACE OF ADVERTISING The graphic work of Sándor Bortnyik (1914-1947) and the "Hungarian bauhaus" (1928-1938) Andrea Dunai: DECISIONS Ágnes Kovács: The bent hat. Deported Hungarian art treasures Gábor Martos: A BUILDING AND BEHIND IT (INSIDE) Ágnes Ziegler: The Black Church in Brasov - Reformation and Renovation