tranzit is a contemporary art program supported by the Erste Bank Group
The exhibition Parallel Chronologies and the symposium The Invisible
History of Exhibitions is part of the international project Art Always Has
Its Consequences co-financed by the Culture 2007 program of the European
Union (partners: WHW Zagreb, tranzit. hu, Muzeum Sztuki Łódź, kuda.org
Novi Sad).
In the 1960s, I was in elementary school, and in the 70s I was mainly in high school; I remember exhibitions from 1980 onwards.
Nevertheless, there are two exhibitions I remember from my childhood:
Henry Moore’s 1967 exhibition in the Műcsarnok/Kunsthalle: it was about then that I realised that sculpture exists.
And what has remained with me very powerfully was the national caricature exhibition organised in 1968, filling the entire Műcsarnok/Kunsthalle, and caused enormous interest. It was most probably censored quite differently than the fine arts, and a few works that might even be referred to as Pop Art were included.
Much later, during my high school years, I found a pile of invitations to (Balatonboglár) Chapel shows on a forgotten shelf of a cultural institution, which I carefully studied.
Also important was Tamás Fekete’s 1975 exhibition in the Petőfi Literary Museum, where he showed unbelievably refined, realistic plaster casts of small sculptures, e.g., someone leaning on the door of a car and talking with someone.
I saw the photos of Béla Kondor’s maquettes in an exhibition (1972, Helikon Gallery), which I likewise took note of.
In January of 1980, Jovánovics had an exhibition at the Institute Français, where he presented the exhibition that had opened 15 March 1970 in Fényes Adolf Hall (in collaboration with István Nádler) and even afterwards it made a strong impression on me (this works later was named the best artwork of the artist).
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