Hungary.
in the current Hungarian cultural-policy environment, becoming an artistic director/general manager of an institution no longer depends on professional excellence or one’s achievements. Political connections and being politically acceptable and “on the right side”—the ruling one, that is—are almost the exclusive requirements and are decisive for being appointed to such a position.[7]
As this type of control cannot be applied in the case of independent theatres, the unpredictable invitations to tender are a means of financial censorship. In this way, the government does not need to close down the institutions or create an index of authors whose activities might involve criticism towards the establishment, or that it considers just simply unimportant; rather, it keeps a tight hold over them financially, making their survival difficult. For independent artists and companies, this state policy makes long term planning very problematic. A fact which is compounded by the continuous game of snakes and ladders in which independent companies are moved up and down in the financing priorities of the state funding system. (New Trends in Hungarian Performing Arts)
Artist and Performance Art Groups
Artists
Groups
Artists and Groups not yet researched
- Gábor Altorjay
- Ferenc Cakó
- Krisztina Fazekas-Kielbassa (works Hungary and US)
- György Galántai
- Tibor Hajas
- Istvan Kantor
- Attila Kováts
- Katalin Ladik
- András Mengyán
- Hajnal Németh
- László László Révész
- Árpád Schilling
- Tamás St. Auby
- Tamás Szentjóby
- Endre Tót
- Gábor Tóth
- Gusztav Uto
More Information:
- Off the Record: Performative Practices in the Hungarian Neo-avant-garde and their Resonances in Contemporary Art – pdf
- Hungary L!ve Festival
- The Lunch (in memoriam Batu Khan) (1966), at the cellar of István Szenes, Budapest. The first happening in Hungary.
- Júlia Klaniczay, Edit Sasvári (eds.), Törvénytelen avantgárd: Galántai György balatonboglári kápolnaműterme 1970-1973, Budapest: Artpool–Balassi, 2003, 459 pp. The first comprehensive publication on performance and conceptual art events between 1970 and 1973 at the Balatonboglár Chapel in Hungary, founded by the artist György Galántai, the sort of activities that would be banned from 1974 until 1990 in Hungary.
- Pécsi Műhely: Místo činu: maďarské akční umění ze sbírek Balázse Szluky a Muzea umění Olomouc / Scene of the Action: Hungarian Performing Art from Collections of Balázs Szluka and Olomouc Museum of Art / Helyszínelés: Magyar akcióművészet Szluka Balázs és az Olomouc Művészeti Múzeum gyűjteményeiből, eds. Štěpánka Bieleszová and Ladislav Daněk, Olomouc: Muzeum moderního umění, 2019, 111 pp. Publisher. (Czech)/(English)/(Hungarian)
- Bea Hock, “What was Aided, Rejected, Tolerated in Hungary in the 1970s and 1980s”, 2001. (English)
- Maja Fowkes, “Off the Record: Performative Practices in the Hungarian Neo Avant-Garde and Their Resonance in Contemporary Art”, Centropa 14:1, Jan 2014, pp 57-71. (English)
- Katalin Cseh, “Chained Bodies and Monuments of Hierarchy in Hungarian Performance Art”, Art and Design Review 2 (2014), pp 73-77. (English)
- Katalin Cseh-Varga, Rebellische (Spiel)Räume und Underground Netzwerke. Die zweite Öffentlichkeit der ungarischen Avantgarde, Munich: Ludwig-Maximilians-Universität München, 2016, 285 pp. PhD dissertation. (German)
