Baász Imre Collection

http://courage.btk.mta.hu/courage/individual/n209932?uk

The bequest of Imre Baász is proof of the progressiveness of his thinking, the innovativeness of his artwork, and the dynamic cooperation in which he engaged in times of political, cultural, and intellectual oppression. In the 1980s, the progressive, radical creative work was detached from the capital Bucharest, which served as the perpetual center. In this reversed centrum–periphery relationship, the periphery offered more freedom, and it ensured security and the possibility of invisibility. An important example from Transylvania of the micro-groupings which promoted progressive ideas and Western European styles and methods is the MaMű Association of Târgu-Mureș, which actively encouraged the practice of concept art, mail art, action art, and abstract artistic language in general. Imre Baász, though never an official member of the MaMű, shared their artistic view and language, and his work in the town of Sfântu Gheorghe can be considered as the prolongation of the Association’s work.

Місце знаходження

Sfantu Gheorghe, Sfântu Gheorghe, Romania
Показати на карті

Мови

Румунська
Угорська

Назва колекції

Baász Imre Collection

Походження та культурна діяльність

Imre Baász was born in Arad on February 22, 1941 to a family of Jewish descent. He graduated from the Department of Graphics at the Ion Andreescu Fine Arts University of Cluj as a student of graphic artist László Feszt.

He moved to Sfântu Gheorghe in 1977 and began to be active as a kind of one-man institution. He organized workshops in his atelier to introduce local artists and art lovers to modern ideas; he organized an international forum for contemporary artists, Medium I. (1981) and Medium II. (1991); he launched the AnnART performance festival. These were all efforts to find tolerated institutional frameworks for progressive aspirations in art. I consider his heritage and the collection unique, mostly because of the wide array of documented activities in which he engaged, which were all carried out in the name of free international artistic creation.

In the 1980s, the artistic milieu in Romania was something like tiptoeing on eggshells for the intelligentsia and artists. The heritage of Baász, meaning both his tangible artifacts, instructive workshops, and bold event planning, offers examples of subtle, clever ways of opposing cultural oppression. Baász was observed by the Securitate from 1975. His files are extremely interesting from an art historical point of view, because during one of his interrogations (October 3–8, 1984), he formulated his ars poetica. On the other hand, during this interrogation, he was also forced to name all his acquaintances outside Romania.

The origin of the Imre Baász Collection dates back to 1991, when Baász prematurely died, and his artifacts became part of a bequest in need of collection and organization. This complex process of organization and institutionalization of the cultural heritage of Baász is still in process. The reason for the delay is the scattered nature of the collection, a problem which started while Baász was still alive. After moving to Sfântu Gheorghe, he was frequently unemployed, so he regularly relied on exchanges in kind, paying for food and various services with his art. As a consequence of this, a considerable amount of his work traveled on journeys which are now completely untraceable.

As mentioned, the ownership of the collection is still on shaky grounds, halfway in between private property, an institutionalized unit, and state property. In 1991, Baász initiated the Artemis Foundation, which took his name and became the Baász Foundation after his death. Not fully content with the work of the Baász Association, Baász-Szigeti Pálma founded another organization honoring his work: Medium Baász. This foundation is handled by the family, the curator being his daughter, Orsolya Baász, who is also a celebrated graphic artist in Romania.
At the moment, the collection is not open to the public and does not have any public activities. Nevertheless, it serves as an outstanding example of the desire to engage in free artistic work in the communist Romania and the kinds of efforts that were made to promote this kind of artistic endeavor.

Опис змісту

Considering that the Imre Baász collection is an artistic bequest, the majority of the content consists of artifacts. These are mostly the artist’s own works, as he was not a significant art collector. Therefore, the collection has two main sources: the artist’s works (independently of the owners) and his personal spaces.

The Baász collection is unorganized, unaffiliated with any institution, and scattered. Some of the present day owners’ identities are still unknown. The collection contains artworks from a variety of genres, as Baász experimented with traditional (Chinese painting, pencil drawing, charcoal, painting, graphics, sculptures) and new (objects, installations, photography, mail art, photographic documentation of action and performance art, etc.) forms of artistic expression. Beginning in the 1980s, when he first started experimenting with action and performance art, a considerable amount of his work was ephemeral, locked in a defined place and time period. In the cases of these works, the photographic documentation of the action serves as a substitute for the work itself.

In the case of the second source, there are two significant places related to Imre Baász, which still hold some of his works. The first one is his apartment in Sfântu Gheorghe (str. Józef Bem), where he lived with his second wife, Pálma Baász-Szigeti and his daughter, Orsolya. The apartment is not just the place where he used to live, where his personal belongings still are, and where a lot of artistic gatherings were held, but is also a space where Baász’s unfamiliar hidden creative aspirations can be seen. According to Pálma Baász-Szigeti, his widow, most of the living room’s furniture was designed by him. The furniture is a combined piece of a bookshelf and a drawer, which turned out to be very impractical due to its bold design, but which still serves as testimony to how he did not rely on any given, traditional genre, style, or solution.

The second important space connected to Imre Baász is also located in his chosen city, Sfântu Gheorghe, and it is his studio (str. Grigore Bălan, bl. 105). The apartment, which was given to him by the state, remained untouched after his death, so it gives an authentic impression of the surroundings in which he worked. The most relevant things accessible in the studio are his personal library (featuring books in the themes of European and African art history, regional folk art, history, anthropology, Hungarian, Romanian and Finnish literature, dictionaries), his belongings, furniture for personal use, and his equipment. His library is interesting from at least two points of view. First, we can trace his interests and sources of inspiration; second, it offers a good image of what types of books and written media were available in Romania in the 1970s and 1980s. Referring to the second point, we find several issues of Hungarian magazine Művészet, of the Polish Projekt, and of the Swiss Graphis. Projekt and Graphis were two of the most celebrated European artistic magazines promoting progressive graphical language. The fact that Baász had both in his collection indicates two things: his connections and his determination. The equipment he used is also still in his studio, one of the most items being the graphic press with which he worked.
Imre Baász’s work cannot be simply defined as political or as an example or form of cultural dissent. His work more is on the border of having been inspired by political expression and personal life. He did not believe in the straightforward fight against the regime. Instead, he wanted to understand the system and use its own weapon, deception, against it.

Вміст

Unknown type: 500-999
артефакти: 1000-
графіка: 1000-
картини: 100-499
обладнання (друкарські машинки, копіювальні апарати, аудіо-відео обладнання. тощо): 100-499
фотографії: 100-499

Оператор (и)

Власник (и)

Географічний обсяг недавньої операції

національний

Теми

Засновники

Baász-Szigeti, Pálma

Дата заснування

1991

Місце заснування

Sfântu Gheorghe, Romania
Показати на карті

Творець матеріалів

Baász, Imre

Колектор (и)

Важливі події в історії колекції

Oсобливо цінні експонати

Тип доступу

все закрите для публіки

Публікації

Bálint, Chikán. Baász Imre (1941-1991). Budapest: Szabad Tér Kiadó, 1994.

Vécsi Nagy, Zoltán "Felezőidő." Korunk, no. 8 (2002): 10-26. Accessed September 19, 2018. http://epa.oszk.hu/00400/00458/00056/felezoido.html

"Felezőidő – Romániai Magyar Művészet 1965-75." July 1, 2002. Accessed September 19, 2018. http://figyelo.transindex.ro/?cikk=167

"Három művész, három stílus: a Baász-család tárlata a Művészeti Múzeumban” 19th February 2010. Accessed September 19, 2018.
http://www.erdon.ro/a-3-baasz-tarlata/news-20080320-07145521

Ferencz, Zsolt: "Három művész, három stílus: a Baász-család tárlata a Művészeti Múzeumban” 13 February 2010. Accessed: 2018-09-19. http://www.kolozsvartarsasag.com/anunturi.php?action=3&anunt=533&subtema=3

Damokos, Csaba: "Szentgyörgyi Lovagok." In Könyv, Grafika. Könyvművészet Erdélyben, 215-21. Kolozsvár: Komp-Press Kiadó, 2011.

Bíró, Blanka: Blanka Bíró. "70 éves lenne Baász Imre." Krónika, 2011, 8.

Mózes, László: "Baász Imre, Az egyszemélyes intézmény." February 25, 2011. Accessed September 19, 2018.
https://www.3szek.ro/load/cikk/36963/Ba%C3%A1sz%20Imre,%20az%20egyszem%C3%A9lyes%20int%C3%A9zm%C3%A9ny

Bakk-Dávid, Tímea: "Baász Imre: Szabadsággyakorlatok a Diktatúra árnyékában." July 4, 2011. Accessed September 19, 2018. http://multikult.transindex.ro/?cikk=14810.

Mózes, László: "Baász Imre, a rácstörő” Háromszék, July 11, 2011. Accessed: September 19, 2018.
http://www.3szek.ro/load/cikk/39972/baasz_imre_a_racstoro

Egyed, Péter: "Rácsokból a világosság (Baász Imre tárlata a Magmában)” Háromszék, July 7, 2011. Accessed: September 19, 2018
http://www.3szek.ro/load/cikk/40620/racsokbol_a_vilagossag_baasz_imre_tarlata_a_magmaban

"Hetvenöt éve született Baász Imre (Kereplő és Tükörút)” Háromszék, February 22, 2016. Accessed: September 19, 2018
http://www.3szek.ro/load/cikk/89028/hetvenot_eve_szuletett_baasz_imre_kereplo_es_tukorut

"Itt mindig fújt a szél” Háromszék, February 22, 2016. Accessed: September 19, 2018. http://www.3szek.ro/load/cikk/89029/itt_mindig_fujt_a_szel

"Baász Imre-emlékszimpózium. Aki máig hat a művészeti életre” Háromszék, July 18, 2016. Accessed: September 19, 2018. http://www.3szek.ro/load/cikk/93481/aki_maig_hat_a_muveszeti_eletre_baasz_imre-emlekszimpozium

Lőrincz, Lili: "Erre megy az út ezután, nyomomban az újabb ösvény” – Baász Imre Kalevala-illusztrációi”. Sepsiszentgyörgy: ARTprinter Könyvkiadó, 2016.

Gábor, Dénes. "Az erdélyi-magyar könyvillusztráció (1944-től napjainkig)”." In Az Elsüllyedt Jelek, 97-102. Budapest: Magyar Képzőművészek és Iparművészek Társasága, 2003.

Kántor, Lajos. "A „két” Korunk és a Világszéles Művészet (1926-1986)." In Sors és Jelkép. Erdélyi Magyar Képzőművészet 1920-1990. Budapest: Magyar Nemzeti Galéria, 2015.

Murádin, Jenő: "Erdélyi köz-és magánygyűjtemények a XX. században” In Sors és Jelkép. Erdélyi Magyar Képzőművészet 1920-1990. Budapest: Magyar Nemzeti Galéria, 2015.

Banner, Zoltán: "Éjszakai vetítés. A magyar művészet fórumai 1950 után”, In. Sors és Jelkép. Erdélyi Magyar Képzőművészet 1920-1990. Budapest: Magyar Nemzeti Galéria, 2015.

Ileana, Pintilie: "Akcionista irányzatok Erdélyben (1970-1990)”, In. Sors és Jelkép. Erdélyi Magyar Képzőművészet 1920-1990. Budapest: Magyar Nemzeti Galéria, 2015.

Székely, Sebestyén György: "A modernitás rétegei a kolozsvári művészetben” In. Sors és Jelkép. Erdélyi Magyar Képzőművészet 1920-1990. Budapest: Magyar Nemzeti Galéria, 2015.

"Baász Imre” In Fitz Péter. Kortárs Magyar Művészeti Lexikon. Vol. II. Budapest: Enciklopédia Kiadó, 2001.

Ütő, Gusztáv. Akcióművészet Székelyföldön. Sepsiszentgyörgy: Sepsiszentgyörgy Könyvkiadó, 2014.

A. C.N.S.A.S., fond Informativ, dosar nr. 235147.

Brașoveanu, Mădălina. "Gondolatok egy dokumentum kiállításhoz. Nagyvárad – Marosvásárhely – Sepsiszentgyörgy művészeti hálózatának nyomai a Szekuritáté irattárában." Magyar Kisebbség, 1-2, 22, no. 83-84 (2017): 56-146.

[!]hasAuthorsOfEntry

Lőrincz, Lili

Список літератури

Bálint, Chikán. Baász Imre (1941-1991). Budapest: Szabad Tér Kiadó, 1994.

Vécsi Nagy, Zoltán "Felezőidő." Korunk, no. 8 (2002): 10-26. Accessed September 19, 2018. http://epa.oszk.hu/00400/00458/00056/felezoido.html

"Felezőidő – Romániai Magyar Művészet 1965-75." July 1, 2002. Accessed September 19, 2018. http://figyelo.transindex.ro/?cikk=167

"Három művész, három stílus: a Baász-család tárlata a Művészeti Múzeumban” 19th February 2010. Accessed September 19, 2018.
http://www.erdon.ro/a-3-baasz-tarlata/news-20080320-07145521

Ferencz, Zsolt: "Három művész, három stílus: a Baász-család tárlata a Művészeti Múzeumban” 13 February 2010. Accessed: 2018-09-19. http://www.kolozsvartarsasag.com/anunturi.php?action=3&anunt=533&subtema=3

Damokos, Csaba: "Szentgyörgyi Lovagok." In Könyv, Grafika. Könyvművészet Erdélyben, 215-21. Kolozsvár: Komp-Press Kiadó, 2011.

Bíró, Blanka: Blanka Bíró. "70 éves lenne Baász Imre." Krónika, 2011, 8.

Mózes, László: "Baász Imre, Az egyszemélyes intézmény." February 25, 2011. Accessed September 19, 2018.
https://www.3szek.ro/load/cikk/36963/Ba%C3%A1sz%20Imre,%20az%20egyszem%C3%A9lyes%20int%C3%A9zm%C3%A9ny

Bakk-Dávid, Tímea: "Baász Imre: Szabadsággyakorlatok a Diktatúra árnyékában." July 4, 2011. Accessed September 19, 2018. http://multikult.transindex.ro/?cikk=14810.

Mózes, László: "Baász Imre, a rácstörő” Háromszék, July 11, 2011. Accessed: September 19, 2018.
http://www.3szek.ro/load/cikk/39972/baasz_imre_a_racstoro

Egyed, Péter: "Rácsokból a világosság (Baász Imre tárlata a Magmában)” Háromszék, July 7, 2011. Accessed: September 19, 2018
http://www.3szek.ro/load/cikk/40620/racsokbol_a_vilagossag_baasz_imre_tarlata_a_magmaban

"Hetvenöt éve született Baász Imre (Kereplő és Tükörút)” Háromszék, February 22, 2016. Accessed: September 19, 2018
http://www.3szek.ro/load/cikk/89028/hetvenot_eve_szuletett_baasz_imre_kereplo_es_tukorut

"Itt mindig fújt a szél” Háromszék, February 22, 2016. Accessed: September 19, 2018. http://www.3szek.ro/load/cikk/89029/itt_mindig_fujt_a_szel

"Baász Imre-emlékszimpózium. Aki máig hat a művészeti életre” Háromszék, July 18, 2016. Accessed: September 19, 2018. http://www.3szek.ro/load/cikk/93481/aki_maig_hat_a_muveszeti_eletre_baasz_imre-emlekszimpozium

Lőrincz, Lili: "Erre megy az út ezután, nyomomban az újabb ösvény” – Baász Imre Kalevala-illusztrációi”. Sepsiszentgyörgy: ARTprinter Könyvkiadó, 2016.

Gábor, Dénes. "Az erdélyi-magyar könyvillusztráció (1944-től napjainkig)”." In Az Elsüllyedt Jelek, 97-102. Budapest: Magyar Képzőművészek és Iparművészek Társasága, 2003.

Kántor, Lajos. "A „két” Korunk és a Világszéles Művészet (1926-1986)." In Sors és Jelkép. Erdélyi Magyar Képzőművészet 1920-1990. Budapest: Magyar Nemzeti Galéria, 2015.

Murádin, Jenő: "Erdélyi köz-és magánygyűjtemények a XX. században” In Sors és Jelkép. Erdélyi Magyar Képzőművészet 1920-1990. Budapest: Magyar Nemzeti Galéria, 2015.

Banner, Zoltán: "Éjszakai vetítés. A magyar művészet fórumai 1950 után”, In. Sors és Jelkép. Erdélyi Magyar Képzőművészet 1920-1990. Budapest: Magyar Nemzeti Galéria, 2015.

Ileana, Pintilie: "Akcionista irányzatok Erdélyben (1970-1990)”, In. Sors és Jelkép. Erdélyi Magyar Képzőművészet 1920-1990. Budapest: Magyar Nemzeti Galéria, 2015.

Székely, Sebestyén György: "A modernitás rétegei a kolozsvári művészetben” In. Sors és Jelkép. Erdélyi Magyar Képzőművészet 1920-1990. Budapest: Magyar Nemzeti Galéria, 2015.

"Baász Imre” In Fitz Péter. Kortárs Magyar Művészeti Lexikon. Vol. II. Budapest: Enciklopédia Kiadó, 2001.

Ütő, Gusztáv. Akcióművészet Székelyföldön. Sepsiszentgyörgy: Sepsiszentgyörgy Könyvkiadó, 2014.

A. C.N.S.A.S., fond Informativ, dosar nr. 235147.

Brașoveanu, Mădălina. "Gondolatok egy dokumentum kiállításhoz. Nagyvárad – Marosvásárhely – Sepsiszentgyörgy művészeti hálózatának nyomai a Szekuritáté irattárában." Magyar Kisebbség, 1-2, 22, no. 83-84 (2017): 56-146.

2020-02-18 22:25:40

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