Zofia Kulik and Przemysław Kwiek cease to work as a duo, 1987

In 1987 Zofia Kulik concluded her artistic collaboration with Przemysław Kwiek and started her own, independent artistic project. She abandoned the open form and performative actions. Her work became, in a way, the exact reversal of notions and ideas that represented her activities as a duo. Instead, she began to create “closed forms”, such as photographic collages, which were static objects, “closed” to any interference by others, while visually mimicking the ordered, hierarchical, organised, and ornamental patterns of cathedrals, altars, oriental carpets, and paintings of kings. Her works were created using a technique of multiple film exposure. They were composed of hundreds of photographs of symbols of totalitarian and military violence, as well as male human bodies twisted in a peculiar alphabet of gestures (e.g. The Gorgeousness of the Self). These works gained substantial recognition in the 1990s and were interpreted i.a. from the perspective of feminist theories.

Місце знаходження:
- Warsaw West County, Łomianki, Poland 05-092
Початок події:
- 1987
Основні актори:
- Kulik, Zofia
- Kwiek, Przemysław
Подія:
- KwieKulik Archive

Open Space Exhibition, Szentendre, 1987

In the autumn of 1987, the official collective yearly exhibition of the artists living in Szentendre ("Szentendrei Tárlat '87") was being organized in the museum on the main square of the city. A professional jury had selected and approved the works to be shown, and the spatial arrangement of the pieces had been completed.

Suddenly, the director of the museum called the curator and said that two particular works could not be shown (the painting by András Wahorn, to which they objected because of its explicit sexual references, and the installation by Imre Bukta because of his use of manure as one of the materials).

This decision created controversy among the exhibiting artists, and eleven of them (members of the Vajda Lajos Studio) decided to withdraw their works from the exhibition to protest the challenge to the jury’s decision and to express their solidarity with the artists who had created the banned works.

At the same time, they decided to arrange a parallel exhibition in their cellar gallery around the corner, which would open at the same time as the official opening. This became the “Open Space Exhibition” (the title in Hungarian refers also to the legendary open air exhibitions held unofficially from the late 1960s on, which created the community which later became the VLS).

The removal of the works by eleven artists created large gaps in the official exhibition arrangement, so the curator decided to put empty black frames in these gaps, together with a large apostrophe. The issue was addressed in the official opening speech, in which it was referred to as the “expressive gesture of young artists.” Later, the black frames and the apostrophe disappeared, and the gaps were filled with stored works from the museum collection.

Місце знаходження:
- Szentendre Péter Pál utca 6, Hungary 2000
Початок події:
- 1987
Основні актори:
Подія:
- Lajos Vajda Studio Archive

Official opening of the Black Hole club, 1988.

“At that time everybody played here, including the bands Európa Kiadó, Kampec Dolores, Balkán FuTourist and Sziámi,” said Gyula Nagy, the manager of the club Fekete Lyuk. “The musicians performed for free or for beer and bread with a bit of lard, and they recited poems or staged mini plays. So there was real life here. In 1986, however, the director of the culture house brought an end to this, and it took two years for us to succeed in creating Fekete Lyuk. The factory was closed then, so the cellars were empty. I called Balkán FuToursit and Második Műsor back, and they helped get things going here again. We opened on February 27, 1988, for three consecutive days Balkán, Baby-line, and the Vágtázó Halottkémek [Galopping Coroners] performed. This was a sort of attempt to see if we could draw in an audience, and to see if the authorities would give us permission to remain open. In the end, people came, and the authorities permitted us to continue, but there was great pressure both on us and the director too.” (Béla Jávorszky’s interview with Gyula Nagy). http://www.jbsz.hu/szekcio-blog/52-kezdetek-/931-nagy-gyula-uezenet-a-lyukbol.html).

Місце знаходження:
- Budapest Golgota út 3, Hungary 1089
Початок події:
- 1988
Основні актори:
- Kistamás, László
- Nagy, Gyula
Подія:
- Black Hole Underground Club. Nagy, Gyula Private Collection

Scandinavian years (1988-1989)

Baász’s relationship with Finnish culture dates back to the theme of his diploma work. He illustrated the Finnish epic, Kalevala, twice: first, in 1972, for the Romanian publishing house Kriterion, then, in 1975, for the Hungarian Európa. In 1988, he received a scholarship to Finland and had solo shows in Turku and in Stockholm. However, it turned out that the Finn partners had very different ideas about the depiction of their national epic. The stylistic disagreement and the artist’s scandalous Thanks…You Are Free! performance at the exhibition opening in Stockholm forced him to interrupt his stay and return to Romania.

Місце знаходження:
- Stockholm, Sweden
- Turku, Finland
Початок події:
- 1988
Основні актори:
- Baász, Imre
Подія:
- Baász Imre Collection

Bokor-members' demonstration

Bokor-members organized a demonstration in the autumn of 1988 in Budapest. They asked the president of the parliament to introduce and alternative (un-armed) form of military service in their petition. In the end, the parliament reached its decision on this issue in March 1989.

Місце знаходження:
- Budapest, Hungary
Початок події:
- 1988
Подія:
- Bokor Religious Base Community Collection