Share This Article:

Chained Bodies and Monuments of Hierarchy in Hungarian Performance Art

Full-Text HTML XML Download Download as PDF (Size:2540KB) PP. 73-77
DOI: 10.4236/adr.2014.24009    2,707 Downloads   3,207 Views   Citations
Author(s)    Leave a comment

ABSTRACT

Hungary’s history was as troubled as Eric Hobsbawm stated Europe’s past in Age of Extremes. The Short Twentieth Century, 1914-1991. Dictatorships followed each another right from the end of WWI until the system change in 1989, but among all the authoritarian regimes socialism existed longest. After the thawing atmosphere of the second half in the 1960s, critical tone was articulated in the Neo-Avant-Garde’s “second public sphere”. A form of criticism against any kind of hierar- chical repression arose from performative and intermedial artworks and still didn’t disappear even in postmodern times long after the fall of the wall. The paper will focus on three-dimension of hierarchical bondage: being chained through the other, trough the authorities and through history. All artists’ works (that of El Kazovszkij, Tamás St. Auby and Little Warsaw) are meant to show inner relations between the body, its representation, authoritarian practice of control respectively performance and intermedia art.

Conflicts of Interest

The authors declare no conflicts of interest.

Cite this paper

Cseh, K. (2014) Chained Bodies and Monuments of Hierarchy in Hungarian Performance Art. Art and Design Review, 2, 73-77. doi: 10.4236/adr.2014.24009.

References

[1] Behrends, J. C. (2010). Repr?sentation und Mobilisierung: Eine Skizze zur Geschichte der ?ffentlichkeit in der Sowjetunion und in Osteuropa (1917-1991). In U. Daniel, & A. Schildt (Eds.), Massenmedien im Europa des 20. Jahrhunderts (pp. 229-254). K?ln/Weimar/Wien: B?hlau.
[2] Boros, G. (1992). A Gellért-Hegy Fantomja. éS, July 10.
[3] Cseh, K. (2014). Rebellische (Spiel) R?ume und Underground-Netzwerke. Die “zweite ?ffentlichkeit” der ungarischen Avantgarde. Ph.D. Thesis (Manuscript), Munich: Ludwog-Maximilians-University Munich.
[4] Deleuze, G. (1987). Foucault. Frankfurt a.M.: Suhrkamp.
[5] F?ldényi, F. L. (2003). The Aesthetic of Celebration. In El Kazovszkij. Budapest: M?csarnok.
[6] F?ldényi, F. L. A szerelem mitosza: El Kazovszkij Dzsan-panoptikuma. Manuscript.
[7] Fowkes, M., & Fowkes, R. (Eds.) (2008). Revolution I Love You: 1968 in Art, Politics and Philosophy. Forradalom Szeretlek. 1968 a m?vészeben, a politikában és a filozófiában. Manchester/Thessaloniki/Budapest: MIRIAD/Metropolitan University with CACT Thessaloniki/Trafó—House of Contemporary Arts.
[8] Kazovszkij, E. (1978). Dzsan-panoptikum magyarázó sz?veggel és képekkel. Mozgó Világ, 5, 34-43.
[9] Konrád, Gy. (1980). Az autonómia kísértése: Kelet-nyugati utigondolatok 1977-1979. Paris: Magyar Füzetek K?nyvei 2.
[10] Kristóf, A. (1987). Siker és ifjúság (El Kazovszkij). Az elveszett nyelv. Magyar Nemzet, February 7, 4.
[11] Mestyán, à. (2006). A Nefretiti-Paradigma. Holmi, 8, 1075-1087.
[12] Mouffe, C. (2007). über das Politische. Wider die kosmopolitische Illusion. Frankfurt: Suhrkamp.
[13] Pertu No.7. Peter, B., & St.Auby, T. Galéria Umenia Nové Zámky. M?vészeti Galéria érsekújvár.
[14] Petrányi, Z. The Body of Nefreteti. Exhibition Catalogue.
[15] Piotrowski, P. (2007). From the Politics of Autonomy to the Autonomy of Politics. Art History & Criticism. Art and Politics: Case-Studies from Eastern Europe, 3, 18-24.
[16] Piotrowski, P. (2012). Art and Democracy in Post-Communist Europe. London: Reaction Books.
[17] Sasvári, E. (2003). A balatonboglári kápolnatárlatok kultúrpolitikai háttere. In J. Klaniczay, & E. Sasvári (Eds.), T?rvénytelen avantgárd. Galántai Gy?rgy balatonboglári kápolna m?terme 1970-1973 (pp. 9-38). Budapest: Artpool-Balassi.
[18] St. Auby, T. (2002). A Szabadság Lelkének Szobra 1992. W. A Dunánál, July, 5-6.
[19] ?uvakovi?, M. (2009). Remembering the Art of Communism. Analysis of Contradictions: Approaches and Transgressions. Socialist Eastern Europe, 23, 15-24. http://dx.doi.org/10.1080/09528820902786594
[20] Szentpéteri, M. (2003). Varsó Velencében. Havas Bálint és Gálik András képz?m?vész. Magyar Narancs, May 22, 38-39.
[21] Tumbas, J. (2012). International Hungary! Gy?rgy Galántai’s Networking Strategies. ARTMargins, 1, 87-115. http://dx.doi.org/10.1162/ARTM_a_00020

  
comments powered by Disqus

Copyright © 2018 by authors and Scientific Research Publishing Inc.

Creative Commons License

This work and the related PDF file are licensed under a Creative Commons Attribution 4.0 International License.