Artmagazin 117 - 6/1919.

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. ARTMAGAZIN 117. Our home page is New York, which is still the center of the world and where you have a great career to do. Especially if it means doing things like helping to invent and implement a Midnight Project. That is, an animation of a contemporary artist will appear on Time Square’s electronic displays for three minutes before midnight every month for a month instead of neon signs. András Szántó also took part in this - our conversation reveals what else. Our next article is also there, only about older careers, about Ilonka Kárász, who has worked in many other genres but has been particularly successful with a lot of drawings on the cover of The New Yorker. As soon as the drawings of another Hungarian, István Bányai, also appeared, the newspaper still preserves the tradition: they publish illustrations drawn both on the front page and inside. Another interesting topic is how a lot of young artists and intellectuals got to Rome after 1945 (for example, Vera Molnar, but we will write about it in a separate article), to the Hungarian Academy there, and after which the Iron Curtain came down, which of them got to Paris and got stuck at home. How it all happened, and how young people lived in some strange state of exlexity after the war. Or how many of the Hungarian-born photographers who have moved to France can now be seen in the art trade at the Budapest History Museum, and how to break into the international market with contemporary Hungarian photography. Even if not as overwhelmingly successful as the Rubik's Cube did after an article in The Observer in 1979 entitled Six-Sided Magic. We also write about this, placing the magical little object that originally started as an illustrative tool in the context of design history of the era. We also publish an exhibition critique, with an artist writing about an artist and what the ATARI Joystick meant to the growing generation in the ’80s, and another article about another exhibition analyzing what a contemporary artist’s so-called ivory tower looks like. The location of our next article is an Argentine cemetery, and the Calvary of Evita Perón's corpse is the most horrific of the horror stories that can be told about the tombs in it, which sheds light on the absurdity of historical situations. Then again, we recommend graphics, an exhibition that presents a selection of the works of Alfons Mucha, who achieved fantastic success in Paris with his "macaroni" style. And what to read: the result of decades of research that grew out of a childhood memory, the book of the Hungarian painter Mária Varga, who has been living in Switzerland for a long time, about one of the Bauhaus students (then his teacher for a short time) and the textile artist Berger Otti. A story with direct lessons. CONTENTS ARTANZIX Interview Nóra Winkler: A WHOLE MY LIFE A series of knocks on the doors Interview with András Szántó Background Szuda Barna - Miklós Vincze: HISTORIC STORIES Mária Varga: Between Heaven and Earth - Otti Berger, the textile artist of Redmembert History Emőke Gréczi: THE FOUR APOSTOLS AND OTHERS Circles of Reigl and Hantai in the 1940s Exhibition Mónika Kumin: MONOTONITY, SYMMETRY, SURPRISE CUBES ARE NOT DISCARDED Everything you want to know about the Rubik's Cube Art trade Gábor Martos: ANYTHING MORE? AU REVOIR! "French-Hungarian" photographers in the artefacts market Interview with Sára Vilma Nagy: BUT THIS WAS PRESENTED LAST YEAR! Conversation with the founders of ABB Gallery The charming and creepy Recoleta Cemetery in Buenos Aires Exhibition Ágnes A. Kovács: WOMAN + SZIROM The Mucha Recipe Artanzix - Miklós Fáy