COURAGE

Підключення Колекцій

The first private dance house was on 6 May 1972, at Könyvklub at Liszt Ferenc Square in Budapest, where Ferenc Novák and his followers showed the simple form of széki dance (Szék, Sic is a Romanian village). The event was organized by dancers of the Bihari Dance Ensemble, Jolán Foltin, Lajos Lelkes, Antal Stoller. The dancers of the Bartók, the Vadrózsák, the Vasas Dance Ensembles also took part in it; the music was provided by Béla Halmos, Ferenc Sebő, Péter Éri. The main supporter of the event was György Martin who helped to Béla Halmos and Ferenc Sebő too. Martin showed them the Collection of Szék by László Lajtha and other records what later became the music collection of dance house movement. Halmos and Sebő learnt by Sándor Tímár in 1971 how to play music for dancers.

"Music and dance like in Szék” was read on the invitation for the first private dance house in 1972. Opposite the entrance, there was a photo by Péter Korniss who also spent a lot of time in Szék and documented the traditional Transylvanian peasant culture. At the door, Lajos Lelkes and Antal Stoller welcomed the guest like in Szék. Originally the organizers wanted to organize the traditional dance house of Szék, but later there were ethnographical, sociological lectures at the dance houses.

During the year 1972, there were three more private dance houses at the Könyvklub.

The end of the 1972 Béla Halmos, Ferenc Sebő, Mihály Sipos travelled to Szék because they wanted to learn about the dance house of Szék. Here Béla Halmos heard the band of István Ádám "Icsán” and started to learn folk songs by them. At Budapest when Béla Halmos organized the dance houses, the idol for him was the dance house of Szék where that was a natural event every time.

During the years the dance houses at Budapest became more and more popular where the youth had possibilities to learn and hear about that information and interest which were not allowed at school or universities. The HVDSZ, VDSZ, VASAS, ÉPÍTŐK were the main Ensembles at the dance houses. From 1973 the members of the Bartók Dance Ensembles taught folk dances at Fővárosi Művelődési Ház. New folk music bands were founded like the Muzsikás and the dance house movement became popular at all around Hungary. 

In 1972 Przemysław Kwiek and Zofia Kulik moved in together to an apartment in Warsaw Praga, near popular sites of the district, i.e. Targowa street, Wileński Station, and the Różycki Bazaar. The apartment had belonged to Kwiek’s family for generations. In its separate part, albeit with a common kitchen and bathroom, still lived Kwiek’s mother and four of his siblings. Nonetheless, Kwiek and Kulik used one of their two rooms to found the Studio of Activities, Documentation and Propagation (PDDiU). It served as their studio, archive, and space for holding exhibitions: 
usually slideshows with commentary for invited guests from Poland and abroad. The book summarising the artistic career of KwieKulik interprets the name of the Laboratory in the following manner:

“The three parts of the PDDiU name characterise the working method of the KwieKulik duo. Activities: transformations of material and space and dissenting behaviours were inseparably linked with recording them, i.e. the Documentation. KwieKulik documented methodically their own activities and the ephemeral art of other authors. The next stage, that is, the Propagation, included original presentations, which involved managing the selection of gathered documentation; each time the artists would create a scenario for their presentation.”

Many years later PDDiU will change its name to KwieKulik Archive.

The program of Direct Week was originally planned to be held in Budapest, but after being banned by the cultural authorities, Galántai offered his Chapel Studio for the event. Organized by Gyula Pauer and Tamás Szentjóby, Direct Week started with a manifesto summarizing the concept and thereby inviting artists for participation. The title reflected on the aim of the direct connection between the artwork and the audience, as proof of the iconoclastic attitude followed by the avantgarde artists. The aim was to prompt visitors to react and therefore to involve them not only as observers but also as participants. As part of the “avantgarde festival,” several actions, events, and artworks were created: Tamás Szentjóby: Punishment-preventive Autotherapy; Gyula Pauer: Recording of the Pseudo ad; Gyula Gulyás: Body Marks; Miklós Erdély: Brushwood is the Proletarian of Fuel; Béla Adamis: Action with the film roll; etc. Participants during the week: László Beke, Gábor Bódy, Miklós Erdély, Gyula Gulyás, Miklós Haraszti, Péter Legéndy, Gyula Pauer, Tamás Szentjóby, Endre Tót, etc.

Exhibition Szövegek / Texts, August 19–25, 1973, organized by Dóra Maurer and Gábor Tóth. Conception: Dóra Maurer

Szövegek / Texts was the first international exhibition of visual experimental poetry in Hungary including concrete texts, visual poetry, text-based conceptual artworks, and other poetry related experiments. The conception of the exhibition came from Dóra Maurer who, with the help of Gábor Tóth, has worked on an international collection of text based works for years. The exhibition at Balatonboglár was accompanied by concrete poetry actions, such as Hommage à Tristan Tzara by Dóra Maurer, or Fire/Ice by Tibor Gáyor.

Participants: Gábor Attalai, Imre Bak, Ugo Carrega, Robin Crozier, Miklós Erdély, Tibor Gáyor, Jochen Gerz, Michael Gibbs, Tibor Hajas, H. W. Kalkmann, J. H. Kocman, László Lakner, János Major, Slavko Matkovic´, Dóra Maurer, David Mayor, János Nádasdy, Maurizio Nannucci, Clemente Padin, Géza Perneczky, G. J. De Rook, Tamás Szentjóby, Bálint Szombathy, Miroljub Todorovic´, Endre Tót, Gábor Tóth, Timm Ulrichs, Janos Urban, Jirí Valoch, Ben Vautier, Franci Zagoricnik and others.

Exhibition Tükör / Mirror / Spiegel / Miroir, August 5-11, 1973, organized by László Beke

The exhibition was organized by art historian László Beke in 1973. It addressed the theme of the mirror, which had been in the focus of artists for decades and had also been used by avantgarde artists. The exhibition had a double focus in its approach. On the part of the organizer László Beke, it focused on the symbolic meanings of the mirror. On the part of the participating artists, the mirror was regarded as a tool for self-reflection. On a higher level, the mirror as a symbolic object also implied political criticism: mirroring art in a politically compulsory way. The exhibition was the first international mail art exhibition organized in Hungary. Participants: Francis Picabia, Angelo de Aquino, Gábor Attalai, Balázsovics Mihály, András Baranyay, Ben Vautier, Canada Art Writers, Gustave Cerutti, Dalibor Chatrny, Gáyor Tibor, Dóra Maurer, Tom J. Gramse, Klaus Groh, Jerzy Kiernicki, Jiří H. Kocman, Romuald Kutera, Péter Legéndy, János Major, David Mayor, Christian Megert, Anette Messager, Steffen Missmahl, Géza Perneczky, Sándor Pinczehelyi, Martin Schwarz, Jörg Schwarzenberger, Mieko Shiomi, Zdzisław Sosnowski, Petr Stembera, Tamás Szentjóby, Ádám Tábor, Endre Tót, János Tölgyesi, Janos Urban, Jiří Valoch