Hungarian Art Confrontation and Revival in the Modern Movement

Hungarian Art Confrontation and Revival Hungarianin the Modern Movement Art Publisher’s Cataloging-in-Publication data

Names: Forgács, Éva, author. Title: Hungarian art : confrontation and revival in the modern movement / Éva Forgács. Description: Includes bibliographical references and index. | Los Angeles, CA: Doppelhouse Press, 2017. Identiﬁers: ISBN 978-0-9970034-1- 3 | LCCN 2016958416 Subjects: LCSH Art, Hungarian—20th century. | Art, Modern—20th century. | BISAC ART / European Classiﬁcation: LCC ND520 .F67 2016 | DDC 759.39/09/04--dc23

All translations, unless otherwise noted, are by the author.

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Cover photo: Iparterv exhibition Book Design: still room / Jessica Fleischmann with Jenny Kim ties to art history in Hungary, we can see that the set designed for that event that for designed set the that see Hungary, can in we history art to ties its and language neo-constructivist a a history. Through as Hungarian movement of chapter class working international the of end the vision: historical to and symbolized,Constructivism instead of the nation’s loss, a much broader surprising. face The of aesthetic this day hearkened back of mourning national era,was an of closure the together bring and loss national of memory shared a in history Hungarian of chapter sad a on focus to expected been had which textile decoration with a speakers’ rostrum on the right side of the building building the reminiscent of El of Lissitzky’s and Ilya side Chashnik’s 1920–1924 design right for a diagonal the on rostrum speakers’ a with decoration textile black-and-white constructivist, a in sheathed was building neo-classicist the tricolor,Hungarian the of presence overwhelming an for hoped had probably the Hall of Arts. Unexpected by the crowd of several hundred thousand strong, who also demonstrated the post-1956 generation’s fraught relationship to the legacy that would, atleastsymbolically, setstraightthehistorical facts. funeral dignified a for unearthed theybe when could moment this until location staff were executed in April 1958, and their remains had been buried at a hidden of the “unknown 1956 revolutionary.” Nagy and members of his government and who died in prison in 1957,Losonczy,Géza Press, and anof empty Minister sixth Nagy’s coffin was was commemorateddedicated Also Budapest.to the memory Miklós Gimes, was marked by a public commemoration and a martyrs’ reburial in József Szilágyi, his government’s Minister of Defense, Pál Maléter, and journalist versaryexecutionthe Ministerof Prime Nagy, then Imre the of Staff,of Chief his honored.anni and thirty-first mourned The publicly were victims revolutionits extraordinaryeventBudapest.1956 an in the tookplace since time first the For Hungary,in 16,Communism June of On collapse 1989,official the before weeks László RajkandtheNa-NeGallery in Post-CommunistHungary Deconstructing Constructivism the occasion,befitted the rostrumbuilding was the made on of rusty imposed iron.they Rough-hewn,simplicity the the and construction mourning, of colors solemn considered are white and black While Tribune.” “Speaker’s metallic of Communism. evoked the working-class people who had fought in the revolution, but it also also revolution, it the but in fought had who people working-class evokedthe h st eind o ti uiu, uh niiae hsoia event, historical anticipated much unique, this for designed set The The commemoration was held in Budapest’s Heroes’ Square,Heroes’ Budapest’s of in front in held was commemoration The

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Deconstructing Constructivism in Post-Communist Hungary Budapest, June16, 1989 reformist part –ofthat politicalsystem.reformist part as commemorated and communist commitment so explicit, because formerly they had been respected martyrs’ the make to decision courageous a was It illusions. dead to referred literally and clearly idealism.decoration The communist with associated had been it than more uprising national a as of thought been had the revolution previously 1956 tradition; against went This leaders. Party Communist their fellow by executed been had who anti-Stalinist, albeit communist, also were who Soviets, the to all, of first belonged, It with. identified had government defeated the revolution. But the memorial foregrounded the fact that the martyrs most Hungarians who mourned the defeat of the 1956 revolution and its what popular not was and tradition, national Hungarian from far very was structivism Con 1956. of image received the with consistent not was commemoration the current coatofarmshadbeenremoved from amidthenationalcolors. to the new were regime brought by the crowd and also displayed a hole, where leaving nothing but an airy emptiness in the middle. Other flags hardly palatable tionary banner, but one from flag which the Stalinist metal coat of A arms piece.had been removed, constructivist attached to it with a hole this in the middle presented a symbol of of the 1956 revolu diagonal dynamic that the in reality resented difficult the for stood replaced Communism’s dreams also of a streamlined modern system, rostrum a system rep weathered the Moreover, movement.working-class the of banner international the flag, the and ness revolution.colors,national class-conscious representedRust,the of instead signified the social origins of those communist leaders who destroyed that same Bringing the formal language of Russian Constructivism to this national to national this Constructivism of Russian language formal the Bringing . Reburialof1956martyrs. Photo AndrásBánkuti. victims f omns rte ta pr – vn f a if even – part than rather Communism of 206 - - - -

Hungarian Art — Éva Forgács epe iey o iety dniy t ih h peSaiit omns ie repre idea communist pre-Stalinist the with it identify directly to likely people wing, left only the politically but and technological vaguely were raised design the because daring more was Constructivism neither widely known nor popular in Hungary. the The associations all was event historic this for Post-Constructivism, or Hungary. Therefore, making use of the formal visual language demonstration of Neo-Constructivism,national celebration of the victims as communists, but was rather an opportunity for the ﬁrst Day every year. The site, including the Hall of Arts, was picked for the commemoration May on there to march to wave mandated workers leaders to the communist other and Kádár János secretary Party Communist post-1956 the for a as served tribunal had statue Stalin the of foundation stone uprising. remaining 1956 The the of acts ﬁrst the of one as destroyed Stalin,violently of statue former the of site the from Heroes’ Constructivism with the resurgence of the original idealism of the communist faith. movements,associated 1968 who the in involved people by Left,particularly New sented by Russian and “international constructivists” in 1989 were members of the Courtesy LászlóRajk. László Rajk(b. 1949)andGáborBachman(b. 1952), Budapest, June16, 1989 ht h sil uig omns Pry ol hv peerd s mr distant, more a as preferred have smaller, would andmorecontrollable location. Party Communist ruling still cemetery the the overthat Square Heroes’ the chose reburial public the organized who earlier. year a Justice, just committee Historical founded The for Committee the by To be clear, the mass event of June 16, 1989 was not exactly meant to be the The location was heavily charged with symbolism. Not only was it the the it was only Not symbolism. with charged heavily was location The Square with statues of the nation’s historical kings; it was only yards away yards it was only nation’skings; of the statues historical with Square against the four decades of communist dictatorship in in dictatorship communist of decades four the . Designforthereburialof1956martyrs. 207 -

Deconstructing Constructivism in Post-Communist Hungary party ofdissidentintellectuals,party formallyfoundedayear earlier.) political Democrats, liberal Free a of Association the of member a already was later he commission, the which Jr. received Rajk movement, time the communist (By them. killed the and betrayed join led to had father, that his idealism original including many, the evoked that effect shocking a achieved had he where and crowd the Studios confront to hesitate designer,not set did as Rajk worked Film often Hungarian the from crew building professional a style.Using neo-constructivist deconstructivist, his for known already was Jr.(b.1952),Rajk Bachmann Gábor architect with 1949.Co-commissioned in who was a of victim the of and ﬁrst in series show was trials Hungary executed Rajk, László Interior the of Minister former system: communist the of martyr designer and architect for the event was also symbolic. He is the son of another as the troubling difference between the idea and its real world incarnation. As an Budapest, June16, 1989 West, and Camilla Gray’s groundbreaking 1962 book 1962 groundbreaking Gray’s Camilla West,and the in were that documents and works art of because Communism, part after in has Constructivism not, and Revolutionduring Russian 1917 the or of face aesthetic the as known become Correctly II. War World and Stalinism, Nazism, to lost been had that interwarperiod the of modernism the re-conquer to the efforts II 1960s, the in scene art unearthing of Russian international Constructivism in the West was the part of the post-World War on world. rediscovered the been sweeping Having was that Postmodernism 1980s’ of anti-constructivism both the renewed cultural awareness of 1920s Constructivism, and the vehement Art . 1 The social utopia attributed to Communism has proved to be as fascinating provedas has be toattributedCommunism utopiato social The h daai stig f h 18 eet n uaet a ebde in embedded was Budapest in event 1989 the of setting dramatic The as Committee the by 1949) (b. Jr. Rajk László of appointment The . Reburialof1956martyrs. Photo AndrásBánkuti. The Russian Experiment in Experiment Russian The 208

Hungarian Art — Éva Forgács also provoked dissent, ﬁrst of all among those who had agreed with the funda and, eminently,modernity by has Constructivism,prescribed discipline formal it Constructivism vision.Perhaps that of power Russian the with it invested with familiar those and imagination modern the on society based on a of utopia became. The Revolution Bolshevik the system dictatorial the bolts and nuts its in revealed having historians of spite world, better in a in faith as were joinedinamannerexemplary andunique.” innovation artistic and inquiry practice,theoretical revolutionary when century launched in America in 1976, chose its title “in celebration of that moment in our West, in the journal the ideals Communist with fascination of the example f icus i piooh ad igitc, hs uprig o vrho the thesis-antithesis-synthesis overthrow to purporting thus linguistics, and philosophy in discourse of analytical, an proposing by philosophy Western in tems tion), afterlife. its of part are distortions Additionally, such an introductory However, section of Constructivist and Suprematist angles.paintings right of guage lan visual the as presented incorrectly and thus deliberately too, was arcs, Constructivism and diagonals favored Constructivists original the course Of press release, Coop “recognized theimperfectibilityofmodernworld,” and by MoMA’s works to according architects,Tschumi. The Bernard showed and Libeskind, Daniel Koolhaas, it Rem Wigley, Hadid, M. Zaha Mark Gehry, Frank Eisenman, and Peter Himmelb(l)au, Johnson Philip by Curated public to came it, the for at awareness nostalgia with combined Constructivism, of critique Budapest for the June 16, 1989 event, it’s important to note that the international found themripeforashake-up. mental tenets of Constructivism, modernism, and the Style,” “International but well, as exhibition from MoMA’s the in drawn was included sculpture and collection potentially all-inclusive.potentially Derrida’sJacques “deconstruction”term ( “Constructivism,”both concepts being imperative, enticing, programmatic, and the late 1980s. between distance of the illusions the 1920s and the of and concepts practices 4 antinomy of “construction,” of antinomy and the presence of such original, utopia driven works highlighted the the highlighted works driven utopia original, such of presence the and This vision of the October Revolution has been interpreted in the West the in interpreted been has Revolution October the of vision This The word “Deconstructivism” had as much of a magic ring to it as had had as it to ring magic a of much as had “Deconstructivism” word The and mystery. disharmony,by fracturing,displaced mony, are unity,clarity and bered,subverted.is har of virtues constructivist traditional The remem were 1920s the as forms rectangular and lines straight through perfection of goal the but Constructivists, Russian the projects the continue with experimentation initiated structure by Their modernism. of angles right and cubes the violate tionally To help explain the neo-constructivist aesthetics of the stage set in in set stage the of aesthetics neo-constructivist the explain help To obsessed with diagonals, arcs, and warped planes, they inten theyplanes, warped and arcs,diagonals, with obsessed liberty, equality, and fraternity Deconstructivist Architecture 3 trinity of Hegelian and classic modernist thinking. In In thinking. modernist classic and Hegelian of trinity 5 intended to address hierarchical binary sys binary hierarchical address to intended has had a strong, stubborn hold 2 exhibition of MoMA in 1988. did deconstructive have that vision. The The vision. that have déconstruc ,system October, - - - 209 - - - -

Deconstructing Constructivism in Post-Communist Hungary has existed. With its reductive functionalism, rationalism, discipline, future ori artist artist and set designer, shared an attitude that rejected functionalist and con faith in the ideas that Constructivism represented and the subsequent disillu debate a few years after World War II. War World after years few a debate as T. W. utter admitted their of dislike “box Bloch in houses” a Ernst and Adorno was marked among even leading progressive intellectuals. Such prominent ﬁgures architecture, the closest cognate to Constructivism among Western directions, in Style” “International termed Johnson Philip what architecture,to resistance pithy andwidely recognizableemblemofapast era. the ideas, deconstructivist gallery, the of front Moskvich, in clunker Soviet-made a toward parked a group rusty a orientation their about to doubt Not any ruins? leave fragmented by, its pleased alone let in, interested been have seriously. work their demise, Indeed,Communism’s of wakewho,would the in cated from that they rejection a that would public anticipated not viewing take they that 1990 in called Budapest in gallery art new a founded (1952–2013) Király Szalai (1958–1998), ceramicist Judit Vida (b. 1951), and fashion designer Tamás new freedom. new also were designs architectural deconstructivist hopes, cultural new sensitivity,and of new ideas, symbol new with generation a new a of was appearance the Sensibility signaling renewal, New the While traumatic. profoundly demonstrated,had trial show a in father his of sionment,were,loss Rajk’s as least for Rajk, than for Western artists. “Scathing” is the appropriate word because was more personal and more direct – I would say, more scathing – for them, not Constructivism of memory the that indicates 1980s, which the during already designs deconstructivist unrealizable architecture.made had They structivist modern was theNewSensibility, orNewSubjectivity, themajornewtrend. all variations of the modernist paradigm in Hungarian art, including Constructivism. and rationalism. functionalism pure as remembered been has Constructivism yet well, as did Konstantin constructivists,the inherited.of traveler Lissitzky,fellow concepts.El a and work has their posterity in which consideration into factors irrational it took Kobro Katarzyna and of Medunetzky notion received the than complicated more course, is,of Constructivism of picture full modernity. The ented vision, and was Constructivism political commitment an extreme case of the endofmodernistparadigm. Architecture in Contradiction n Itrainl osrciim a ol bogt ak rm biin y a post the historians.of iteration art byHungarian and The artists dedicated few oblivion from back brought only was Constructivism International and who professionals and soughtbooks modernism,exhibitionsoutand subject,theon Hungarian historytheand of of historians artists, hundred few a for The legacy of was the constructivists Hungarian by and large unknown except : they manifestly abandoned the rules of the profession and assumed a assumed and profession the of rules the abandoned manifestly they : Rajk Rajk and Bachmann as architects, and, in Rajk’s case, alternative theater By the 1980s in Hungary a local incarnation of postmodernism dethroned modernity as long as for brewing been has modernity to Antagonism Rajk, Bachmann, along with sculptor,Rajk, with Bachmann, Tibor along photographer musician, and Na-Ne maig cm o! i te es o dseif Te ae indi name The disbelief. of sense the in on!” “come meaning , was a major sign of the sea change forecasting forecasting change sea the of sign major a was 6 Robert Venturi’s 1966 8 Complexity and and Complexity 7 210 - - - - -

Hungarian Art — Éva Forgács at the pre-Stalin era of the October Revolution as a possible starting point point starting possible a as Revolution October the of era pre-Stalin the at 1968, looked in peaking force intellectual and political significant Left, a New graphic designs share a similarity to the structures of the 1921 OBMOKhU 90 Cmuim wre wt a ih ely f itrcl experi historical of medley rich a with worked Communism, 1980s 1920s, Rajk’s and Bachmann’s architectural and graphic design works used used works design graphic and architectural Bachmann’s and Rajk’s 1920s, early the of constructivists Soviet young tothe opposition Therefore, direct in at its bitter end, having experienced the destruction of the communist system. era, an of beginning members, but optimistic OBMOKhU the young at not were the they, unlike that difference fundamental the with Moscow in works ists’ construction in Budapest featured playful, colorful, structural elements most most elements structural colorful,playful, featured Budapest in construction but 2009 building his motifs; constructivist quoted that one ordinary an was (1996–1998) Vienna in Hungaricum Collegium Rajk’s elements. formal of economy the of principle original Constructivism’s only,opposing function formal had that elements superfluous deliberately included works artists’ Gallery’s Na-Ne what of basis the was rebellion dual amounted to bitter self-irony andformalparody. This Constructivism. of aesthetics and ethics the rejected that world the time,against same the and,at thetics distance,” same the at culture and era “everykept that stance modern European intellectuals as Vaclav Havel and Adam Michnik, and having processed politics wing left restore to revolution. Hungarian 1956 the after emerged had who communists and Marxists Western of Left New the as Communism, such early of values the resuscitate to made been had that attempts several the to back referring systems, also these dissecting of process the in revealed becomes construc the for tivists ofabetter future. representative been once had that historical ideas national, the of of lens experience the through seen when itself, Constructivism of meanings. satirical Thus these worksand pointed backlocal to what specific appeared to had be star,the absurdity all red five-pointed a of shape the takes that dough rolling figure human a or chessboard a example for details, rative Constructivism questioned their very possibility and relevance. Individual nar were structures constructivist when ments butasredundant, ornamental andprovocatively dysfunctional parts. ele economic,functional as strictly not blocks building formal constructivist the lessons of not only the overturned ideal, but also the reality of reality the also ideal,overturnedbut the only not of lessons the artistic heritage. Even while they were determined to take seriously the post the seriously taketoheritage.determined wereartistic they while Even of the Na-Ne Gallery, some of them personal friends of such leading Central Central leading such of friends personal them of Gallery, some Na-Ne the of 1968.artists in The face” human with “Communism a establish to experiment nostalgia and satire. They rebelled against the constructivist ethics and aes and ethics constructivist the against satire.rebelled and They nostalgia of blend a became committed politically be to used decorative, what became analysis, its critique, produce afterlife,functional parody. be and to used What and Constructivism study to intellectually,determined and were,emotionally Rajk’s and Bachmann’s sculptural works, architectural models, and and models, architectural works, sculptural Bachmann’s and Rajk’s If early Constructivism underwent a underwent phase,” “laboratory that is,If early Constructivism a period For example, in a provocatively anti-constructivist stance, many of the the of stance,many anti-constructivist provocatively a example, in For exactly what investigating were Gallery Na-Ne the of artists The 11 and attached short-lived hopes to the Czech Czech the to hopes short-lived attached and not yet not eod Art Beyond functional, Na-Ne Gallery’s Post- Lehel Square Farmers’ Market Farmers’ Square Lehel building design for the the for design building 10 The activists of the the of activists The “existing” “existing” ence 12 they 9 art and and 211 ------

Deconstructing Constructivism in Post-Communist Hungary dissolution of Constructivism and dismantled it by scattering their formal formal their scattering by it dismantled and Constructivism of dissolution deliberately freeing key elements from pure function, this subversion entailed entailed subversion function, this pure from keyelements freeing deliberately failure ofits historic momentary beautyandidealism. the referencing elements formal of collection ironic an was product marks. The original constructivist concept could not be resuscitated, so the end from idea to object. Ideology was skeptically rejected, or referred to in quotation victims, the 1989 commemoration aesthetically represented the young gener Constructivism, playing misread on the idealist concept of creating a uniform environmen deliberately Rajk Thus technologies. architectural urban developing and design urban with associated more is Constructivism markets, since their Market Farmers’ of exploitation a rich field of associations. of elements Rajk’s The constructivist functional. not were which of 6 5 4 3 2 1 Notes as awell-oiled, sensiblemachine. reinstated forcibly society as well,of a model Soviet Union the in obsolescence the envisioned also Hungary’s collapse to of soon project world victims communist entire 1956 the for the but Communism, for only not stood flag rusted that the with fabrication set memorable His society. collective a and internationalism of project, world mirage a the as Communism of end the ized critique, and an ironic nostalgia. At the same time, it was a parody. Rajk visual ation of Hungarian neo-constructivists, conveying mourning, farewell, respect, interwarperiod. the streamlined and geometry design had already constructivist been frivolously fashionable for their new aesthetics during that viewers reminded also They material. of mastery modernist the celebrating and work motifs engineering machinery, mighty constructivist aesthetic, stylish, of consisting positions com artistic in them enveloped and elements functional strictly the hid ately deliber contrast, by deconstructivists, Gallery’s Na-Ne the but whole, the of be could construction a removeddisplaced,or of addedcouldwithoutbe risking collapsethe part no and part no that demanded Constructivism Russian of constructions.principle economy deconstructive The their within elements prising to vendors andbuyers, theactualusersofmarket. the Van DiemenGalleryBerlin, October 1922. in avant-garde art Russian of showing first the since Westernreception their accompanied has London: JohnsHopkins University Press, 1976. and the playfulness of the design tend to be inviting and all inclusive,all and inviting be sur totend but design the of playfulness the and – in and out the of rural the urban.the rural the urban The colors, the dynamism CamillaGray: “About October” by theeditors, A blurring of the profound difference and conflict between Constructivism and Suprematism and Constructivism between conflict and difference profound the of blurring A aqe Derrida: Jacques See Frederick Schwartz, “The Disappearing Bauhaus” in Jeffrey Saletnik,Schuldenfrei,Jeffrey Robin in Bauhaus” Schwartz,Disappearing Frederick “The See Deconstructivist Architecture The Na-Ne Gallery’s artists were also interested in the process of the the of process the in interested also were artists Gallery’s Na-Ne The Doing justice to the idealism of both Communism’s adherents and its and adherents Communism’s both of idealism the to justice Doing The Russian Experiment in Art 1863–1922The RussianExperimentinArt confirm a style that does not particularly belong to farmers or or farmers to belong particularly not does that style a confirm Of Grammatology Of 14 Dissecting structure they returned from utopia to praxis, , MoMA, 1988, pressrelease, n.p. October 13 tasae b Gyti hkaot Sia, atmr and Baltimore Spivak, Chakravorty Gayatri by translated , Subverting Constructivism’s original rigor and and rigor original Constructivism’s Subverting , Vol. 1, No. 1, 1976, p. 3. , London:ThamesandHudson, 1962. 212 - - - - - t

Hungarian Art — Éva Forgács Courtesy LászlóRajk. László Rajk(b. 1949), Cover designfor Miklós Haraszti:TheAesthetics ofCensorship , Na-NeGallery, 1986–1989.

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Deconstructing Constructivism in Post-Communist Hungary Gruyter, 2014, pp. 61-83. Herta Nagl-Docekal, Cornelia Klinger, Ludwig Nagl, and Alexander Somek, Berlin: Verlag Walter de from Wiener Reihe. Themen der Philosophie (Vienna Series. Topics in Philosophy), Vol. 16, ed. by Gegenwart Klinger, ed.: Cornelia as atank amongcars. was used as cab or the ofﬁcials’ vehicle, and it was seen (along with equally Soviet-made Volga) cars.‘real’ Moskvich,The privatea as owned car.itsheavilywashardly with body built Rather, it of want in it with up put to had that class middle the of afﬂuence moderate the of sense the in Hungary,in communism symbolicof Trabant,also wasmade that car” “Ersatz of more but sort a beszélgetésb 12 11 10 ists, Moscow, 1919–1922. 9 8 7 eds., László Rajk(b. 1949), Situationists 1957–1972 Susmann,Elisabeth ed.: Subjectivism’ intheHungarianPost-Avant-garde ofthe1980s,” pp. 186-202. o dtie dsuso, e “oa I a euiu Dy Te Nw esblt’ r ‘New or Sensibility’ ‘New The Day. Beautiful a Is “Today see discussion, detailed For The Moskvich (meaning Muscovite) was carefully chosen over, for example, an East German over,East example,chosen an for carefully was Muscovite) (meaning Moskvich The

Obiedinenie Molodikh Khudozhnikov For detailed discussion, Évasee Forgács: InventedLeft New the “How East-Europeanin Art,” ans örne: Pstoents Gnoafslno a oáy Atlvl folytatott Attilával Kotányi a Gondolatfoszlányok "Posztmodernitás. Böhringer: Hannes See Peter Wollen: “Bitter Victory: The Art and Politics of the Situationist International,” in International,” Situationist the of Politics and Art The Victory: “Bitter Wollen: Peter See Bauhaus Construct (Blindness and clairvoyance. Artists’ critique of politics and contemporary society),contemporary and politics of clairvoyance.critique and Artists’ (Blindness ő " Ps-oent. rget fo a ilg ih tia Kotányi), Attila with dialog a from Fragments (Post-modernity. l" Letatlajk lnhi ud elihiki. üslrrtk n oii ud eelcat der Gesellschaft und Politik an Künstlerkritik Hellsichtigkeit. und Blindheit , Cambridge, Mass.: TheMIT Press, 1990, p. 30. , 2000. Mixed media, private collection. Courtesy LászlóRajk. , LondonandNew York: Routledge, 2009, pp. 61-82. On the Passage of a Few People Through a Rather Brief Moment in Time: in Moment Brief Rather Fewa a Through of People Passage the On , or Society of Young Artists, a society of young constructiv Hasbeszél 214 ő - .

Hungarian Art — Éva Forgács Magomedov: than RussianConstructivism. 14 13 Bölcsészindex László Rajk(b. 1949), Rajk’s Ermitazh Farmers’Market , No. 13, 1922, p. 3: “Constructivism has become fashionable,” quoted by Selim Khan- Rodchenko. TheCompleteWork (Ventriloquist, PhilologicalIndex), Budapest:ELTE, 1987, n.p. Farmers’ Market was closer to Bernard Tschumi’stoBernard closer was 1982–1998 , Budapest, LehelSquare, 2002. Courtesy LászlóRajk. , Cambridge, Mass.: TheMIT Press, 1986, p. 91. Parc de la Villettela de Parc in Paris in 215

Deconstructing Constructivism in Post-Communist Hungary