Artmagazin 127 - 2021/1. song

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 127. Our cover page announces spring with an excerpt from a recently rediscovered designer poster, but fanfare can just encourage us to go outside now. In the meantime, with the help of this issue, it is as if we can get to at least Vienna: three of our articles are about exhibitions there, interesting oeuvres are in our field of vision, there are things that our author has been able to see, and there are places where we are getting ready. It is wonderful that things happened at home in the meantime, for example, the exhibition of the monochrome painting department at the Godot Institute of Contemporary Art was open and could be open for a relatively long time. This is a time when long-planned studies are being completed - we are now publishing two. One about Béla Kondor's special series of self-portraits, which is closely related to the research of his friend, the art historian Lajos Németh Csontváry, and another about why El Greco became the one in whom modern painters, but most of all German expressionists, respected their main predecessor. In our article, which shows the disadvantaged face of the art trade, there is some light on a book by Hanna Dallos about a poorly executed counterfeit that also differentiates our image of the pre-war Jewish-Christian relationship. We would also like to travel to Italy, say Venice, where it would be nice to walk under the huge trees of the Giardini; our article details the relationship between the biennial and trees as we become increasingly sensitive to everything that has to do with their impact on trees and the environment. We also recommend Rome and write about two books: one also takes me to Rome, as if we were just going there with Amerigo Tott. The other was written about irony, which, according to the author of the book, can almost always really unfold against a gloomy background. The worst background now is that László Révész died unexpectedly. We have written about his works several times, in the most sensitive analytical text, Péter Jósvai calls them images of memory from an unknown world. But this unknown world is what we lived in. Only now will there be no one to create our newer and newer memories of this world in a strange style that does not seek popularity at all. We are left alone, we must finally start looking more closely at the works that have been born so far. All that is left is to be taken seriously, there is no one whose personal presence would give them an ironic overtone.