The exhibition Blind Spot (Slepá skrvna, curated by Milan Mikulaštík, June 7 - July 16, 2013, NTK Gallery, Prague) explored utopian "non-places" in urban spaces as well as within mental and social environments. Peroutka's project for this show, Strike?, alludes to the student and peasant protests in Japan during the 1960s and '70s, whose radicalness exceeded that of similar movements in the West. Peroutka contrasts the urgency of these and related protests at the time with our current situation where it seems harder and harder to mobilize people to take their futures into their own hands. In Strike?, a siren is activated every twenty minutes. In between these calls, the installation is filled with sounds recorded on the streets of Prague.
Written by Adele Eisenstein, Márton Pacsika, Hajnalka Somogyi, Eszter Szakács
Friday, 20 September 2013 05:57
In this interview, Eszter Szakács, a young Hungarian curator, interviews three curators, of different generations, working in Hungary: Hajnalka Somogyi, Adele Eisenstein, and Márton Pacsika. These discussions explore recent changes within the cultural policy of the Hungarian government and, more specifically, how they affect curatorial work.
Adele Eisenstein is a freelance curator based in Budapest, Hungary. She emigrated to Budapest in 1990, where she worked for the Balázs Béla Studio and Toldi Cinema. She was also a curator of the alternative art spaces “Turkish” Bath and Folyamat Galéria in Budapest. She is a former editor of the art journal Praesens (2002-05), and has written, translated, and edited numerous books and catalogues, and hundreds of articles. She is former chair and current board member of Amnesty International Hungary. She is curator of the group show Out of the Museum and into the Street (Pavelhaus, Steirische Herbst, 2013, http://www.steirischerherbst.at/2013/english/index.php).
Márton Pacsika is an emerging curator based in Budapest. He was a co-founder and curator of the Demo Gallery, Budapest (2010-2012), and is currently a board member of the Studio of Young Artist’s Association and of the Labor Gallery committee. His main fields of research include twentieth-century Hungarian Progressivism, cultural policy, and socially engaged art.
Hajnalka Somogyi is a freelance curator based in Budapest. She holds a Diploma in Art History from ELTE Budapest, and an MA from the Center for Curatorial Studies, Bard College, NY. She was a curator at the Ludwig Museum - Museum of Contemporary Art, Budapest (2009-2012) and at Trafo - House of Contemporary Arts, Budapest (2001-2006). She co-founded the independent initiatives Dinamo and Impex, both in Budapest.
Eszter Szakács is a curator and researcher based in Budapest. She currently works at the contemporary art organization tranzit. hu in Budapest, where she curated the project of The Pseudo Race Group Liberagility (2012). She is the editor and working group member of the ongoing collaborative research project Curatorial Dictionary. In June 2013, she was a resident at the Hordaland Art Centre in Bergen, Norway. Previously she worked at the Műcsarnok/ Kunsthalle, Budapest, as an assistant curator (2008–2010). Her main fields of interest include the histories and discourses of curating, cultural translation, and the political in art.
I spoke with Dan Perjovschi, one of the most internationally respected artists living in Romania, about his political activities against the Rosia Montana cyanide gold mining project (headed by Gabriel Resources, a Canadian corporation). On August 27, 2013, a law was passed in a closed-door session of parliament to go forward with the project despite fifteen years of debate and opposition. In response and starting on September 1, protests against this law, the project, and the corruption linked to this project have erupted around the country and internationally, with tens of thousands of people from different political backgrounds (including progressive and nationalist) galvanized into action. The demands of the protesters are that the law be rescinded and that the ministers responsible for pushing it forward and accepting payment from Gabriel Resources be fired. Perjovshi made several drawings with short but powerful statements that communicate and represent the sentiments of the protest-movement.
ARTMargins Print has released its new issue, 2:3 (October 2013): Daniel R. Quiles (Chicago) examines Argentine artist David Lamelas' Publication (1970) ("My Reference is Prejudiced: David Lamelas’s Publication"). Stephanie Schwartz (London) considers Paul Strand's work in film as a reflection on the artist's photography, and vice versa. Magda Radu (Bucharest) examines Romanian artist Horia Bernea before the background of conceptual tendencies in Romanian postwar art. In the Document section, Osvaldo de la Torre presents his translation of an excerpt from Ronald Kay’s influential book On Photography: Time Split in Two, which was first published in Chile in 1980. Andrew Stefan Weiner (Oakland/CA) reviews Immanence and Infidelity: Fifteen Ways to Leave Badiou. Artist project: in an exclusive artist project and fold-out section, Melbourne-based Tom Nicholson reflects on conceptual monuments to Palestine.