PB — 1 13. 4. – 15. 7. 2018 Kunsthalle Bratislava The largest presentation of Ilona Németh’s work to date Archive maps past industrial times and captures the explores transformative events critical to current so- empty shells in their current pitiful state. Simultaneously cio-political debates. The exhibition takes its title from however, it strives to off er an opportunity for the future, one of the many foreign investors to enter the Central challenging us to develop a more sensitive awareness of European sugar industry in the early post-Communist what is at stake. years. The histories of Slovak sugar factories thus reflect the realities of this turbulent period of rapid change, The focus on labour and its global distribution is further characterized by cultural, as well as economic liberali- developed through works by the artists Jeremy Deller, zation and globalization. The factories’ gradual privati- Harun Farocki and Lonnie van Brummelen & Siebren zation and disappearance provides a framework within de Haan, whose work is introduced to a Slovak audi- which Németh can critically reflect on the manifold chal- ence for the first time. The German artist Farocki was lenges posed by the post-industrial condition. deeply invested in sustaining temporal as well as spatial perspectives on labour, whereas Van Brummelen & de The architectural site of Kunsthalle Bratislava serves Haan’s research brings forth the asymmetric aspects of as the first point of entry into the complexities of the production and distribution, inscribed within neo-coloni- Eastern Sugar project. Turning the museum’s Central al divisions of centre and periphery. The works by Deller Hall into a manufacturing site for sugar loaves, Németh relate to the uncanny gestures and alienated nature of reconstructs the lost past as memory through the fun- contemporary labour conditions. damental human activity of manual labour. At the same time, the artist provides a space for par ticipation; the As part of her exhibition project, Ilona Németh has initiat- real collective work of manufacturing. The production ed the pilot presentation of a hitherto non-existent insti- of these cone-shaped sugar pyramids is carried out by tution, the Museum of Sugar. The purpose here is to af- former employees of the sugar factories, together with firm the importance and value of collecting, storing, and unemployed people. Visitors are also free to join in with thinking about the sources of memory for a once-pros- this activity throughout the exhibition, which over time pering branch of industry. results in a collection of “artefacts”. An important part of the exhibition is the Archive – the artist’s research into the Slovak sugar factories, gathered from interviews, along with drone shots and photo- graphs. Németh arranges the materials and documen- tation collected according to a museum-type depot photo: O.T.S. system, in order to enable constellational thinking. The Guests: Jeremy Deller Harun Farocki Lonnie van Brummelen & Siebren de Haan Invited project: Museum of Sugar Curator: Miroslav Eliáš Curator: Nina Vrbanová Assistent Curator: Krisztina Hunya Essay: Maja & Reuben Fowkes Photo-essay: Olja Triaška Stefanović Architects: PLURAL, Marián Ravasz Video: Cukru production Ilona Németh: Eastern Sugar Opening: April 12th 2018 from 6 until 8 p.m. Duration: April 13th – July 15th 2018 Kunsthalle Bratislava Nám. SNP 12, 811 06 Bratislava Slovak Republic www.kunsthallebratislava.sk Editorial activities: Katarína Trnovská Graphic Design: Eva Šimovičová Production and installation: Magdaléna Fábryová, Marcel Mališ, GUTENART, Peter Barényi, Roman Bicek, Branislav Višpel, Andrej Remeník, Viktor Karel Educational programmes: Daniela Čarná, Lucia Kotvanová Accompanying programmes: Krisztina Hunya, Darina Šabová Media and PR: Marek Kuchár Administration: Jana Babušiaková photo: A.Á.C. photo: A.Á.C. 6 — 7 Architecture of the Exhibition Ilona Németh in collaboration with PLURAL The architecture of the gallery space has been sub- stantially adapted. Hence the original disposition of the gallery is reordered, and even then, its new perception is further re-evaluated. This is the first time ever that such a radical adaptation of the space has been undertaken in the interests of a unique, site-specific exhibition project, which thus becomes absolutely non-transferable. The architectural studio PLURAL made a considerable contri- bution to the artistic modification of the space. PLURAL produces architecture, exhibition design and speculations on the city with particular emphasis on its social and cultural relevance. The off ice was established by Martin Jančok (*1978) in 2009, Michal Janák (*1987) joined in 2013. PLURAL’s major projects include the revitalization of the Neologic synagogue in Žilina and its transformation into a contemporary exhibition space – New synagogue. Other awarded built projects involve Alexis bookshop, the Summer Pavilion for the Slovak National Gallery and the recently completed House in a House. PLURAL also maintains a lasting academic involvement in theory and research at the Faculty of Architecture at the Slovak Technical University in Brati- slava and conducts a self-initiated long term research/ design project focusing on the contemporary central- -european city – Projekt Bratislava. Photos © Andras Á. Cséfalvay (A.Á.C.) József Rosta (J.R.) 8 — 9 photo: J.R. Content 3 Foreword 112 Sugarloaf Manufacture Ilona Németh in collaboration with Marián Ravasz 16 Eastern Sugar: Reconstruction of Reality in Time 116 Sugar as a Case Study Nina Vrbanová Interview with Ilona Németh Eva Čobejová, Elena Akácsová 26 Interview with Dušan Janíček 128 Interview with Manufacture Ilona Németh in collaboration with Cukru production Employees Ilona Németh in collaboration with Katarína Karafová 30 Interview with Christian Laur Ilona Németh in collaboration with 140 On Additives and Cukru production Alternations: a Review of Ilona Németh’s Eastern Sugar 38 Archive Emily Verla Bovino Ilona Németh in collaboration with Olja Triaška Stefanović, Cukru production and Marián Ravasz 152 Museum of Sugar Miroslav Eliáš 64 I Told Mama Not To Watch Hungarian Television 166 It’s a Bitter Story about Interview with Ilona Németh Eva Andrejčáková Slovak Sugar Jana Németh 78 Guests Krisztina Hunya 172 Accompanying Events 178 Educational Programmes 104 Assembling Bittersweet Testimonies for Posterity 182 Media Reports Maja and Reuben Fowkes 184 Exhibition Plan 10 — 11 photo: A.Á.C. 12 — 13 photo: J.R. 14 — 15 somehow scarcely visible story of the sugar factories in Eastern Sugar: Slovakia, originally state-owned and prospering, gradu- ally privatised and tunnelled, today irrevocably destroyed. Eastern Sugar was the name assigned to the larg- est Slovak sugar factory Juhocukor (“Southern Sugar”), Reconstruction of situated in Dunajská Streda, following the accession of a foreign majority shareholder in 1993. Redesigned Reality in Time in this fashion (there were promises of investment, re- vitalisation, international connections and an overall flourishing of sugar production in Slovakia), the factory Nina Vrbanová survived only until 2007. Then its definitive closure was announced, production ceased, and the need to com- pensate for lost supply with imports was acknowledged. This borrowing (matter-of-fact, somewhat laconic) of the name of a privatised firm with a revelatory end functions here as pars pro toto: the short-lived fate of the Dunajská Streda sugar factory after privatisation represents only one example of many. The exhibition’s name carries an apt, if partly ironic When we first began thinking about this exhibition and and critical, linguistic metaphor, in that “our – domes- discussing it with the artist, a dilemma arose about how tic – Slovak” was transformed by sale into “alien – exter- her most extensive and probably also most important art nal – foreign” and thus in actual fact expired, ceased to presentation should be constructed. A number of options exist. The reference here is not only to the massive pri- presented themselves. There were models of exhibitions vatisation processes in the 1990s under Mečiar (Vladimír which would evaluate her visual career in the form of Mečiar, Ed.) and again in the early years of the new a retrospective and set her in a broader (Central) Euro- millennium, but also to a certain form of dispossession pean artistic context. Alternatively, her exhibition might of the state vis-à-vis the citizens and society. De facto reflect the phenomena of art as it is currently, with an this resulted in a harsh confiscation of work, life-back- emphasis on its socio-political potential. In La Biennale ground, relationships, and the values associated with di Venezia 2017, then in progress, the award for best na- them, in the name of the financial profit of so-called photo: J.R. tional entry went to the German artist Anne Imhof for her investors. It speaks for itself that the Dunajská Streda radical redefinition of the architecture of the pavilion as sugar factory had been established in the 1960s, and Ilona Németh in collaboration with Cukru a mental-performative space. many of the others in our country had been founded production: Pohronský Ruskov, 2018 Single channel video, silent, 3:15 min., Another factor which determined the nature of the before World War I. courtesy of the artist current exhibition was our awareness that a retrospective Németh’s focus on the history and actuality of sugar would have been premature for this artist. Furthermore, it factories in Slovakia is exceptionally