‘call’

… György Galántai puts it, an active archive “generates the very material to be archived” through calls for participation, cooperation, exchange, and building of non-hierarchical networks, as well as through combining art historical and artistic methodologies of research. An active archive is future-oriented and employs a dynamic approach to history “as an open artwork and as an activist artistic practice”. The main activity of Artpool to this day is conducting non-medium specific research …

… undergone a gradual transformation, while the widespread availability of the internet has also radically increased the range of documentation possibilities. Nonetheless, documenting and researching independent art has constituted a complex problem in Central and Eastern Europe for decades.  Retrospectively seeking and organising sources, along with the maintaining and modernising digital platforms, are also often fraught with basic technical, infrastructural, and funding difficulties. What …

… among the most important works of the Eastern European conceptual art. The third TÓTalJOY call, announced in January 2025, received thirty-seven research-based artistic project proposals. From these, the jury shortlisted the work of four artists whose projects sensitively reflect on contemporary artistic and social issues: Lőrinc Borsos Ferenc Gróf and Zsófia Gyenes Klaudia Januško Dorottya Vékony The 2025 jury members are: René Block (curator, …

… the Artpool Collection From the second half of the 1980s alternative self-published and technically inexpensive publications emerged that (unlike samizdat) were themed around (and for) a particular subculture, scene or fan community. In the 1990s, liberation of social organizing, together with the growing availability of photocopying and Western models, created the ideal conditions for the flourishing of fanzines as a genre. In our display we present publications from 1986 to 2003 …

… on July 2nd at 5 pm. From the second half of the 1980s alternative self-published and technically inexpensive publications emerged that (unlike samizdat) were themed around (and for) a particular subculture, scene or fan community. In the 1990s, liberation of social organizing, together with the growing availability of photocopying and Western models, created the ideal conditions for the flourishing of fanzines as a genre. In our display we present publications from 1986 to 2003 …