{"id":3873,"date":"2017-07-16T21:10:59","date_gmt":"2017-07-16T19:10:59","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=3873\/"},"modified":"2019-06-07T09:20:16","modified_gmt":"2019-06-07T07:20:16","slug":"with-the-eyes-of-others-hungarian-artists-of-the-sixties-and-seventies","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/en\/with-the-eyes-of-others-hungarian-artists-of-the-sixties-and-seventies\/","title":{"rendered":"With the Eyes of Others: Hungarian Artists of the Sixties and Seventies"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

With the Eyes of Others: Hungarian Artists of the Sixties and Seventies<\/em>*<\/span><\/h3>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”25″][vc_column_text]\n

Curated by Andr\u00e1s Sz\u00e1nt\u00f3<\/h4>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”25″][vc_column_text]\n

Elizabeth Dee Gallery, New York
\n2 May \u2013 11 August 2017<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” top_padding=”0″ bottom_padding=”0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Harlem is not what it used to be. From a dangerous part of the old New York of the 1970s and 1980s, this quarter chock-full of gorgeous late 19th and early 20th century architecture has morphed, during the past decade or so, into a rapidly gentrifying hotspot of New York Cool. From restaurants serving haute-cuisine inspired by traditional African-American cooking in clubs known for their long-standing commitment to Jazz, to patisseries run by Senegalese immigrants serving the best of French baking, Harlem has become a magnet for middle- and upper-middle-class New Yorkers, mostly \u2013 though not exclusively \u2013 African American in heritage. Cultural institutions such as galleries and concert venues are relocating to the area, evoking the \u201cHarlem Renaissance,\u201d the period during the early-to-middle decades of the 20th century, when Harlem was the locus of an unprecedented explosion of African-American cultural production, from theory to literature, from Jazz to painting, and from modern dance to popular entertainment. [\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

*<\/p>\n

Participating Artists:<\/p>\n

*<\/p>\n

G\u00e1bor Attalai, Imre Bak, L\u00e1szl\u00f3 Beke, Mikl\u00f3s Erd\u00e9ly, Ferenc Ficzek, Tibor G\u00e1yor, Gyula Guly\u00e1s, Tibor Hajas, K\u00e1roly Hal\u00e1sz, Istv\u00e1n Haraszty, Tam\u00e1s Hencze, Gy\u00f6rgy Jov\u00e1novics, Ilona Keser\u00fc Ilona, K\u00e1roly Kism\u00e1nyoky, Katalin Ladik, L\u00e1szl\u00f3 Lakner, D\u00f3ra Maurer, J\u00e1nos Megyik, L\u00e1szl\u00f3 M\u00e9hes, Istv\u00e1n N\u00e1dler, Gyula Pauer, P\u00e9cs Workshop, G\u00e9za Perneczky, S\u00e1ndor Pinczehelyi, Tam\u00e1s Szentj\u00f3by, K\u00e1lm\u00e1n Szij\u00e1rt\u00f3, B\u00e1lint Szombathy, Endre T\u00f3t, J\u00e1nos Vet\u0151<\/span><\/p>\n[\/vc_column_text][vc_column_text]\n

*<\/p>\n

Catalogue with essays by Andr\u00e1s Sz\u00e1nt\u00f3, Emese K\u00fcrti<\/span> and D\u00e1vid Feh\u00e9r<\/span>.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”30″][image_with_animation image_url=”3883″ alignment=”” animation=”Fade In” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

With the Eyes of Others: Hungarian Artists of the Sixties and Seventies,<\/em> installation view, (left: Ilona Keser\u00fc Ilona, Wall-Hanging with Tombstone Forms<\/em> (Tapestry), 1969 | right: Imre Bak, SUN\u2013OX\u2013FACE,<\/em> 1976), Elizabeth Dee, New York, May 2 \u2013 August 12, 2017. Courtesy Elizabeth Dee, New York. Photo by Etienne Frossard.<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”60″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Thus, it is perhaps not so surprising that a gallery of contemporary art recently opened in Harlem should host what is surely the first comprehensive North American showing of the Hungarian Neo-Avant-garde, both in its conceptual and Neo-Constructivist varieties. The exhibition is outstanding in quality as well as being ground breaking in its content. Elegantly and spaciously arranged on two levels of this large commercial gallery space (almost, though not quite the entirely of the Gallery \u2013 there is a fine exhibition of work by an African-American woman artist in an upstairs gallery), it takes the visitor on a journey of discovery of Hungarian unofficial artistic production of the mid 1960s through the early 1980s. The selection of works is superb. The geometric-abstract and systems-based formalist work of artists such as Imre Bak, Istv\u00e1n N\u00e1dler, Andr\u00e1s Mengy\u00e1n<\/span> and D\u00f3ra Maurer<\/span> is of the highest possible aesthetic quality, of a quality that matches or even exceeds that of the equivalent works currently on display at the National Gallery in Budapest.<\/p>\n

This is no trivial matter, for when one introduces any public to a previously barely known or unknown body of work, it is crucial that the quality be as good as possible. First impressions are important! By rights, this should not have been the first important showing of such work, as the exhibition of the Latin American and East-European Neo-Avant-gardes at the Museum of Modern Art a couple of years back should have introduced the New York public to this body of work. The sad truth is, however, that it did not, or rather it barely did so. Hungarian content in this major museum show was so thin as to be barely perceptible. This is regrettable, but offered curator Andr\u00e1s Sz\u00e1nt\u00f3<\/span> all the more opportunity to fill the gap created by the MOMA exhibition. And fill it he does![\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”30″][image_with_animation image_url=”3884″ alignment=”” animation=”Fade In” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Istv\u00e1n N\u00e1dler, Untitled,<\/em> 1968, oil on canvas, 47 1\/4 \u00d7 47 1\/4 inches (120 \u00d7 120 cm). Courtesy the artist; Elizabeth Dee, New York; and Kisterem, Budapest. Photo by Mikl\u00f3s Sulyok.<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”30″][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]The show is beautifully curated, which short but pithy and perceptive wall texts that don\u2019t burden the reader with unnecessary details. In a few carefully wrought sentences the visitor ignorant of the Hungarian context is able to garner an informed glimpse into an aesthetic realm defined by a set of political constraints and opportunities barely comprehensible to the American public. From the unspoken cultural taxonomy of the \u201cthree T-s\u201d (t\u00e1mogatott, t\u0171rt, tiltott), to the specifics of a paternalistic \u201cgoulash Communism,\u201d Sz\u00e1nt\u00f3 deftly places these works into an aesthetico-political context using broad, highly articulate strokes. While the Neo-Constructivist work is impressive both in size and in quality, perhaps the most exciting aspect of the exhibition is its presentation and treatment of the conceptual and performance-based production.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”30″][image_with_animation image_url=”3888″ alignment=”” animation=”Fade In” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

With the Eyes of Others: Hungarian Artists of the Sixties and Seventies,<\/em> installation view, Elizabeth Dee, New York, May 2 \u2013 August 12, 2017. Courtesy Elizabeth Dee, New York. Photo by Etienne Frossard.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”50″][image_with_animation image_url=”3890″ alignment=”” animation=”Fade In” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

K\u00e1roly Kism\u00e1nyoky, With the Eyes of Others<\/em> [detail], 1973, four gelatin silver prints, 11 3\/4 \u00d7 16 1\/2 inches (30 \u00d7 42 cm) each. Courtesy the artist; Elizabeth Dee, New York; and acb Gallery, Budapest.<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”30″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Hungarian conceptualism and performance was second to none in East-Central Europe,<\/span> a fact that seems to have been lost on the curators of the above-mentioned MOMA exhibition, and this show makes a for a strong argument to support my (and, I surmise, Sz\u00e1nt\u00f3\u2019s) claim. Deftly arranged according to principles that were both thematic and aesthetic, this material takes the visitor on a journey through the minds of a vigorous, brave and determined generation of artists working both within and just outside of the borders of both Hungary and legality (work by B\u00e1lint Szombathy<\/span> and Katalin Ladik<\/span>, then based in \u00dajvid\u00e9k\/Novi Sad, in the former Yugoslavia, is also included.)[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”30″][image_with_animation image_url=”3885″ alignment=”” animation=”Fade In” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Katalin Ladik, Poemin,<\/em> 1978\/2016, six gelatin silver prints, 11 1\/4 \u00d7 15 3\/4 inches (28.5 \u00d7 40 cm) each. Photos by Imre Poth Gelatin. Courtesy the artist; Elizabeth Dee, New York; and acb Gallery, Budapest. Installation photo by Etienne Frossard.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”30″][image_with_animation image_url=”3886″ alignment=”” animation=”Fade In” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

B\u00e1lint Szombathy, Lenin in Budapest<\/em> [detail], 1972\/2016, thirteen gelatin silver prints, 21 5\/8 \u00d7 16 7\/8 inches (55 \u00d7 43 cm) each (framed dimensions). Courtesy the artist; Elizabeth Dee, New York; and acb Gallery, Budapest.<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”30″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]To see the work of outstanding artists such as Endre T\u00f3t, L\u00e1szl\u00f3 Lakner, Mikl\u00f3s Erd\u00e9ly, P\u00e9ter Hal\u00e1sz, Tibor Hajas<\/span> and Katalin Ladik<\/span> presented so well is deeply satisfying. Ladik in particular is given emphasis front and center in this installation, deftly including not just visual work (photography, photographic documentation of performance, etc.), but also of her barely known but brilliant sound work. This is important because Ladik has unjustly languished in the shadow of fellow (at the time) Yugoslavian artist Marina Abramovi\u0107, and it is high time that she be given her due, not just in East-Central Europe,<\/span> but in the West as well. If one considers that some of the best Neo-Constructivist and conceptual work in the show is by D\u00f3ra Maurer (who divided her time between Austria and Hungary), and some of the most thoughtful and exciting conceptual and performance-based production is by Ladik, then one realizes that Sz\u00e1nt\u00f3 has broken the mold of the still-dominant male-centric view of Hungarian art history.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”30″][image_with_animation image_url=”3889″ alignment=”” animation=”Fade In” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

D\u00f3ra Maurer, 5 out of 4 I-III,<\/em> 1979, acrylic on wood, 74 3\/4 \u00d7 94 1\/2 inches, 190 \u00d7 240 cm overall. Courtesy the artist; Peter Kulloi; and Elizabeth Dee, New York.<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”30″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]The presentation of conceptual work in a gallery setting is always a difficult proposition due to the often diminutive nature of the objects to be presented: a gallery visitor could easily feel lost in a sea or small-scale photographs, video monitors and cases showing various forms of documentation, mail art, exhibition catalogues and the like. Sz\u00e1nt\u00f3 has mitigated this pratfall by eliminating tombstone information labels from the installation entirely, relying on information cards that the visitor can carry along with them, instead. This, combined with a sure eye for curatorial arrangement, results in an installation that is both navigable and aesthetically pleasing. This makes it far easier to absorb the avalanche of information. He also provides a shelf full of documentation in the form of exhibition catalogues, monographs and the like in a reading corner under the stairs, allowing any interested visitor to plunge even more deeply into this now-lost world. Sz\u00e1nt\u00f3\u2019s exhibition is a worthy companion to \u00c9va Forg\u00e1cs<\/span>\u2019s recently published monograph\/essay collection on 20th century Hungarian avant-garde art, much of which is dedicated to the Neo-Avant-garde. In combination, these two documents afford \u2013 at long last \u2013 the opportunity to those unfamiliar with this rich body of work, to begin to appreciate what these artists achieved in often difficult circumstances. The exhibition is highly recommended.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”40″][image_with_animation image_url=”3892″ alignment=”” animation=”Fade In” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

With the Eyes of Others: Hungarian Artists of the Sixties and Seventies,<\/em> installation view, Elizabeth Dee, New York, May 2 \u2013 August 12, 2017. Courtesy Elizabeth Dee, New York. Photo by Etienne Frossard.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”60″][image_with_animation image_url=”3893″ alignment=”” animation=”Fade In” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

With the Eyes of Others: Hungarian Artists of the Sixties and Seventies,<\/em> installation view, Elizabeth Dee, New York, May 2 \u2013 August 12, 2017. Courtesy Elizabeth Dee, New York. Photo by Etienne Frossard.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”60″][image_with_animation image_url=”3894″ alignment=”” animation=”Fade In” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

With the Eyes of Others: Hungarian Artists of the Sixties and Seventies,<\/em> installation view, Elizabeth Dee, New York, May 2 \u2013 August 12, 2017. Courtesy Elizabeth Dee, New York. Photo by Etienne Frossard.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” vertically_center_columns=”true” scene_position=”center” text_color=”dark” text_align=”center” color_overlay=”rgba(255,255,255,0.92)” overlay_strength=”0.95″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-2-1″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”]

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