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> Today's Topics:
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>   1. meanwhile in hu (János Sugár)
>   2. Fwd: Evasion techniques, Hungarian avant-garde art exhibition
>      catalogue now online (Andreas Broeckmann)
> 
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> Message: 1
> Date: Thu, 14 Jan 2021 22:20:15 +0100
> From: János Sugár <sj at c3.hu>
> To: nettime-l at kein.org
> Subject: [spectre] meanwhile in hu
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> Message: 2
> Date: Fri, 15 Jan 2021 10:25:53 +0100
> From: Andreas Broeckmann <ab at mikro.in-berlin.de>
> To: spectre <spectre at mikrolisten.de>
> Subject: [spectre] Fwd: Evasion techniques, Hungarian avant-garde art
> 	exhibition catalogue now online
> Message-ID: <11bf3758-cfe2-02a4-03d9-380f888e9120 at mikro.in-berlin.de>
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> 
> Betreff: 	Evasion techniques exhibition catalogue now online from 
> Palazzo delle Esposizioni
> Datum: 	Fri, 15 Jan 2021 09:01:42 +0000
> Von: 	e-flux <info at mailer.e-flux.com>
> 		
> Palazzo delle Esposizioni
> 
> Evasion techniques. Strategies for the subversion and derision of power 
> in 1960s and ‘70s Hungarian avant-garde art
> 
> Catalogue online now	
> 
> Curated by Giuseppe Garrera and Sebastiano Triulzi, the "Evasion 
> techniques. Strategies for the subversion and derision of power in 1960s 
> and ‘70s Hungarian avant-garde art" catalogue covers and illustrates the 
> show of the same name which was held at Rome’s Palazzo delle 
> Esposizioni, dedicated to a selection of those extraordinary avant-garde 
> artists who found themselves operating in conditions of danger, 
> inhibiting control and censorship, under a totalitarian communist 
> regime, even at risk of their own safety. Through their brave and 
> desperate attempts to express themselves and to disobey, their adventure 
> enables us to experience a crucial chapter in art history.
> 
> The catalogue, which you can now download
> 
> https://www.palazzoesposizioni.it/pagine/tecniche-d-evasione-catalogue
> 
> is a universal investigation into the condition of art under all systems 
> of power. Each chapter provides us with an instruction book of “evasion 
> techniques,” offering a glimpse at images, actions, traces of 
> performances held clandestinely and under the very nose of the 
> authorities, driven by the sole urgency of actually doing them. In this 
> way we encounter and get to know—in some cases for the first time in 
> Italy—a number of highly important artists, from Endre Tót to Judit 
> Kele, Sándor Pinczehelyi, Bálint Szombathy, András Baranyay, Tibor 
> Csiky, Katalin Ladik, László Lakner, Dóra Maurer, Gyula Gulyás, Ferenc 
> Ficzek, Tamás St. Auby (Szentjóby), Gábor Bódy, Marcel Odembach, Gyula 
> Pauer, Zsigmond Károlyi, Tibor Hajas, László Beke, István B. Gellér, 
> György Kemény, Kálmán Szijártó, Gábor Attalai, Károly Halász, László 
> Haris, Orsolya Drozdik. Their work was saved thanks to the dedication 
> and care of both museums and collectors. A special thanks goes to the 
> endeavours of the Ludwig Museum – Museum of Contemporary Art of Budapest 
> and to the Hungarian Academy in Rome.
> 
> Six different moments are explored in the catalogue, each exemplifying 
> one of these evasion techniques. We begin with the artist’s 
> self-portrait as an idiot, fool or madman (established power is disarmed 
> when confronted by the childish and the clownish). Melancholy also 
> features strongly in this section, with artists representing their own 
> suffering, aware that they must operate outside any recognised state 
> institution (established power considers melancholy a political 
> disease). Female artists are well represented here, those who in a 
> patriarchal and chauvinist society caused scandal merely by presenting 
> themselves in public, and were accused of indecency. The second section 
> deals with various degrees of freedom—the clandestine, fleeting, 
> ephemeral ways of communicating and testifying dissent. This was most 
> frequently achieved by writing on walls or in the snow, actions which 
> were only witnessed by a camera whose reel remained a closely guarded 
> secret. The third chapter covers mail art, a form which enabled these 
> artists to communicate with their friends in the rest of Europe, those 
> living in free countries. This art crossed borders and dodged censorship 
> in the form of seemingly innocent envelopes or postcards.
> 
> The fourth chapter analyses the neurosis of power through photographs 
> and visual accounts, painful testimonies which always allude to a 
> reality perceived as a long succession of interdictions: railway tracks 
> leading nowhere, stone markers, fencing, danger or warning signs. This 
> urban signposting is continuously transformed into something 
> allegorical, allusive in these works. The “invitation to guerrilla” 
> section features piles of cobblestones masquerading as a documentation 
> of works in progress, but which are in fact a fierce allusion to 
> munitions and revolt. The final section explores the unease of art, the 
> anxiety experienced by these artists in the process of simply by making 
> their art. Some of their shows were literally held in their own back 
> gardens, during gatherings among friends, in backstreets far from 
> checkpoints and prying eyes. The Evasion techniques catalogue is 
> ultimately a pretext for grappling with the concept of the pervasiveness 
> of power, its dangerous paternalism, and serves as a political and civic 
> lesson on making art, pointing the younger generations in the direction 
> of still vital examples of libertarian and civic behaviour. As well as 
> towards non-alignment with any system of power, in primis that of art 
> itself.
> 
> Evasion techniques cataolgue—videos: January 19–26
> 
> Six short videos regarding the catalogue posted on Palazzo delle 
> Esposizioni website 
> <https://email.e-flux-systems.com/campaigns/eo253hqw6o2c0/track-url/ow494b2h6be12/38e24602eb98885c2e4c52b4bd5dc379ef8024e4>
> 
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> End of SPECTRE Digest, Vol 215, Issue 7
> ***************************************