‘cult’

… raised and educated in Hungary, chooses to live in France, Germany, or the US, to which country’s culture does s/he belong? Does artistic formation weigh as much as the new context that allowed him/her to develop as an artist? Can his/her achievements be seen originating from their country, are they reflecting the values of the new one? Museums designate artists to the country the citizen of which they died. Thus, Kandinsky was French, born in Moscow. Moholy-Nagy was American, born at …

… always been made possible by actors who have permanently or temporarily crossed geographical and cultural borders. The conference explores the motivations behind the relocation of Central and Eastern European visual artists to urban centres specifically in the interwar period. These often followed patterns: artists with formal art training included travel as part of their curriculum, financed by various funds or grants; changes in political regimes forced others to leave their home countries …

… Prize. Rita Süveges artist, winner of the 2023 TÓTalJOY Prize, has long been investigating the cultural, technological, and ethical aspects of the ecological crisis.  In her exhibition she explores the lessons of previous endeavours to modify the weather and climate. Throughout history, humans have sought, by various means, to influence the weather in a favourable way. In the past, they turned to magic, witchcraft, or folk practices to ward off hail or drought. In the new worldview of …

… individual artists as well as entire stylistic tendencies. Thanks to the quality of his work and a cultural and diplomatic campaign by the British Council, Moore‘s art was also widely known in Czechoslovakia and the rest of the former Eastern Bloc. Working with a detailed chronology, the exhibition explores the diplomatic framework and other mechanisms involved in the presentation and reception of Moore’s art during the Cold War. Mainly, however, it looks at his work’s influence on …

… This talk series aims to bring us one step closer to understanding the dynamics of the decade's cultural changes. The series is curated by Júliusz Huth and Kristóf Nagy in the framework of KEMKI's research project about the 1980s.  The first discussion will focus on the exhibition system for the visual arts. With our guests, we are looking for answers to the following questions: How did decentralization and marketization of cultural institutions affect art? What could and could not be …