Artmagazin 123. - 2020/4.

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 123. On our cover are the horses of the Apocalypse, on strange, laughing horses with a human mouth. It is not Wrath, War, Famine, and Death that come to mind, but that they want to bite into the future. Horse and rider are a figure here, but the focus is on horses, the animated and still unbridled part of the personality. Judit Reigl, whom we also remember with our cover, considered this surreal work to be her best picture. He says it is a self-portrait, he himself is featured on it with his three friends, with whom they traveled through Italy after the war and college, and with whom they longed for complete freedom, like all young people and like all artists. In this issue, too, you can read related articles that show some connection to each other: Tibor Tardos, writer György Lukács, comes home from Paris, leaving the young surrealists when Judit Reigl escapes through the fallen Iron Curtain. A dentist collects images, including those that have escaped, e.g. Simon Hantai was painted, but she is also interesting for another reason: she formed a women's association before the war, modeled on America. The late followers of the Tri Delta Club we visited there can be known from the Doctor Fox films, and could best be described as a sisterhood. One of these was founded by Bella Kunvári, who in the meantime treated the teeth of young, income-free artists for free - to have something to bite into into the future. His collection went to Pécs, as did a significant part of János Schadl's works. You can read about him and his tumultuous trip to Budapest in 1919, as well as about the scattering of members of a family of artists from Nagybánya - there were those who remained in Transylvania even after its detachment, and there were those who came to Budapest or went on to free Europe. We also show Turani pottery, if you can call it the Gorka vases inspired by the pots and other oriental motifs found in the tombs of the time of the conquest, or a designer whose name is associated with the objects that have become cult in the sixties and seventies. And moving towards contemporaries: we write about the British Grayson Perry, who also uses a vase form in his works, although his masterpiece is more his own. We interview József Bullás, who teaches painting at the University of Pécs, and report on the Riga Biennale, whose title is a good ending when we don't know if we live in apocalyptic times or "suddenly fall into bloom" like another exhibition at the Crystal Palace in Madrid. . In any case, the so-called Attenborough generation gives cause for hope.