‘the 80s’

Institutional system under the radar: with Gábor Andrási, Tamás Török and Tibor Várnagy What was the 1980s in Hungarian art? Was it the democratization of the art system or the beginning of its market transformation? Was it the decade of death or the institutionalization of the avant-garde? Was it the heyday of the underground or painting? The 1980s are both far away and close to us: fewer and fewer key …

Donation of Photographer György TÓTH We are pleased to announce that another outstandingly significant series by a prominent Hungarian photographer has been added to the Photographic Collection of the SZM-KEMKI ADK. The roll film negatives of György Tóth’s Portraits 1985-1991, which the artist gifted to the Collection, will soon be available for research. These photos by the Rudolf Balogh Prize winning photographer – known mainly for his studies of the human …

International Conference Organized by: ICMA – The Institute for Multidisciplinary Research in the Arts, UNAGE, Iasi, Romania. In collaboration with: Academy of Fine Arts, Prague, KEMKI-Central European Research Institute for Art History, Budapest and the University of Lodz. CONFERENCE PROGRAM Thursday, October 12 9.45 – 10.00 – Introduction 10.00 – 12.00 Panel 1: Revisiting socialist art: state-supported …

Webinar How did contemporary art and the postsocialist transition come together? How did artistic trends relate to the political-economic transformations in the Eastern Bloc? This webinar aims to answer these questions by placing Octavian Esanu’s new volume, The postsocialist contemporary, into the focus. By discussing Esanu’s account of the role of the Soros Centers for Contemporary Art, which mushroomed in the ex-socialist …

Lecture of Katja Praznik, Slovenian cultural researcher The recently published volume Art Work: Invisible Labour and the Legacy of Yugoslav Socialism (Toronto: University of Toronto Press, 2021) by Katja Praznik, a Slovenian cultural researcher at the University at Buffalo’s Arts Management Program, opens up a new perspective on the study of Eastern European art in the 1980s. Praznik argues that it is through understanding creative art as labour …