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W E St K U N St O St K U N St Válogatás a gyűjteményből KUNST The Collection OST on Display KUNST Ludwig Múzeum – Kortárs Művészeti Múzeum WEST Ludwig Museum – Museum of Contemporary Art WESTKUNST – OSTKUNST Válogatás a gyűjteményből The Collection on Display Válogatás a gyűjteményből The Collection OSTKUNST on Display Ludwig Múzeum – Kortárs Művészeti Múzeum Ludwig Museum – Museum of Contemporary Art 2018 WESTKUNST Tartalomjegyzék | Contents FABÉNYI Julia előszava | Foreword by Julia FABÉNYI 9 Idővonal | Timeline 14 1 A gyűjtő portréja | A Portrait of the Art Collector 22 2 Az ellenállás művészete | The Art of Opposition 34 2a Koncept és fluxus | Concept Art and Fluxus 38 2b Pop art – Fotórealizmus | Pop Art – Photorealism 64 3 A neoavantgárd művészei | The Artists of the Neo-Avant-Garde 106 3a Az Iparterv-generáció | The Iparterv Generation 112 3b Konceptuális és akció-fotográfia | Conceptual and Action Photography 134 4 Picasso For Ever 1 5 4 5 Rituálék | Rituals 172 6 Idő-kép | The Image of Time 190 7 Hétköznapi rögeszmék – Új szerzemények | Everyday Obsessions – New Acquisitions 208 Műtárgyindex | Artwork Index 236 Rövidítések feloldása | Abbreviation Key 240 ELŐSZŐ FOREWORD Westkunst – Ostkunst Westkunst – Ostkunst Az 1989-ben Budapesten alapított Ludwig The Ludwig Museum, founded in Budapest in Múzeum az első olyan intézmény volt az egy- 1989, was the first institution in the former Social- kori szocialista táborban, amely a kortárs nem- ist bloc to present universal Western art beside zeti művészet mellett az egyetemes, nyugati contemporary national art. The founders, Peter művészetet is bemutatta. Az alapítók, Peter és and Irene Ludwig – after whom the institution is Irene Ludwig – kiknek nevét az intézmény viseli – named – have laid the foundations of the Buda- kiemelkedő, ma már emblematikusnak számító pest Museum with outstanding, emblematic művekkel tették le a budapesti múzeum alapjait. works. With their donations and the establish- Adományukkal és múzeumalapításukkal több ment of the museum, their decades-long mission évtizedes missziójukat teljesítették be, amely a was fulfilled, which was aimed at the rapproche- kulturális hidegháború korszakában kelet és nyu- ment of the East and the West, the alleviation of gat közeledését, az ideológiai ellentétek enyhülé- ideological opposition in the era of the Cultural sét tűzte ki céljának, a művészettel mintegy túl- Cold War, transcending the boundaries of the Iron lépve a vasfüggöny szabta határokon. A nyugati, Curtain by means of art. In addition to Western, egyetemes művészet mellett az 1980-as évek universal art, the official art of the former Social- kezdetétől a volt szocialista országok hivatalos ist countries was also included in their collection művészetét is felvették gyűjtési programjukba. program from the beginning of the 1980s. It was Jelentős részben általuk, gyűjtői és művészet- mostly through their collection and art mediating közvetítő tevékenységük révén került a keleti activities that the art of these countries has been országhatárokon túlra ezen országok művészete. brought beyond the eastern borders. The collec- A budapesti Ludwig Múzeum gyűjteménye a tion of the Ludwig Museum Budapest carries the művészetkedvelő alapító házaspár évtizedes imprint of the founding couple’s decades-long gyűjteményezési tevékenységének lenyomatát collecting activity. viseli. Our collection can virtually be divided into two Gyűjteményünk virtuálisan két nagy egységre large groups: one consisting of American and osztható: az alapítók által adományozott ame- Western European artworks (Pop art, Photore- rikai és nyugat-európai pop art, fotórealizmus és alism, and works by Die Neue Wilden) donated ún. új vad művészet alkotásaira, továbbá az 1990- by the founders; the other incorporating works es években elindított gyűjteményezési anyagra, that ended up in the collection as a result of col- amely a volt szocialista országok művészetére, lecting activity starting in the 1990’s focusing on illetve a vasfüggöny leomlása után létrejött the art of the former Socialist countries, and the alkotásokra fókuszált. Elsődleges szempont volt artworks created after the fall of the Iron Curtain. a gyűjteményezés tekintetében a progresszív The primary consideration in collecting was the szellemiségű alkotások gyűjtése, amelyekre a collection of progressive works which are char- művész identitáskeresése, a múlttal való kapcsolat, acterized by the artists’ search for identity, rela- 9 a társadalmi összefüggések és az örökölt hagyo- tionships with the past, the reflection on social elismeri azok úttörő mivoltát. Jelen kiállításunk rians, artists, curators, and exhibition-makers mányokra történő reflektálás jellemző. context and the inherited traditions. In the light of egyben kisebb tiszteletadás a vállalkozó szel- (Ausstellungsmachers as they called themselves). A globális történelmi és politikai változások global historical and political changes, both large lemű művészettörténészek, művészek, kurátorok tükrében napjainkban művészettörténeti jelen- collection units, both Western and Eastern Euro- és kiállításcsinálók (ahogy magukat nevezték: Westkunst – Ostkunst tőségűnek számít mindkét nagy gyűjteményi pean, are of art-historical significance today. The Ausstellungsmacherek) előtt. egység, a nyugati és a kelet-európai művészet artists of the middle and the younger generation The title of the exhibition was partly borrowed egyaránt. A gyűjteményben képviselt közép- és represented in the collection are internationally Westkunst – Ostkunst from a legendary 1981 Cologne exhibition entitled fiatal generáció művészei nemzetközileg elis- recognized, their works are displayed at numer- Westkunst. The title, on the one hand, emblemati- mertek, munkáikkal számos rendezvényen, nagy ous events and major exhibitions. The Ludwig A kiállítás címét részben egy legendássá vált cally describes the position of art in the two cultur- kiállításokon találkozhatunk. A budapesti Ludwig Museum in Budapest has often been the first to 1981-es kölni kiállításból kölcsönöztük, amely a al-political systems before 1989, the perception of Múzeum gyakran élen járt a fiatal művészek discover young artists and collect their works, and Westkunst címet viselte. A cím egyrészt emble- the art of the eastern bloc from a universal point felfedezésében, elsőként vállalta fel munkáik by recommending them for further exhibitions matikusan jellemzi a két kulturális-politikai rend of view, and the development of the paradigm of gyűjtését, illetve javasolta őket további kiállí- helped them gain international recognition. 1989 előtti művészeti helyzetét, a keleti blokk art evolution originating from modernism, which tásokra, ami meghozta számukra a nemzetközi The newly organized permanent exhibition művészetének egyetemes szemszögből történő provided the center-periphery dichotomy as a elismerést. makes attempts to present emphatic points not megítélését, a modernizmusból eredő művészeti matrix of examination. Az új állandó kiállítás kísérletet tesz arra, hogy only in well-organized chronological order or along fejlődés paradigmájának kialakulását, mely a On the other hand, the reorganization – that is, a művészeti jelentőségű súlypontokat ne csak stylistic features, but to examine the artistic-cul- centrum–periféria vizsgálati mátrixot adja felté- presenting the material of the permanent collec- stiláris vagy kronológiai rendezésben mutassa be, tural parallels that can be found between West- telül. Másrészt az újrarendezés – azaz más össze- tion in another context – also revives the great hanem elemezze az eltérő társadalmi berendez- ern and Eastern art despite the different social függésben bemutatni az állandó gyűjtemény exhibitions that resulted in artistic turning points kedés ellenére létező művészeti kulturális párhu- structures. The collection makes it possible to anyagát – egyben a művészeti fordulópontokat such as documenta, the Venice Biennale, or Harald zamokat is. A gyűjtemény művei lehetővé teszik, show substantive parallelism within the lifeworks eredményező nagy kiállításokat is feleleveníti. Szeemann’s legendary exhibition on conceptual hogy érdemi párhuzamokat mutasson fel a keleti of artists from Western as well as Eastern coun- Ilyenek mindenekelőtt a documenta, a Velencei art entitled When Attitudes Become Form (1969, és nyugati országok alkotóinak munkásságában, tries who sought to explore new areas of art and Biennále vagy Harald Szeemann legendássá vált Bern). In the history of Hungarian art, there are olyanoknál, akik keresték a művészet új területeit, searched for the concept of artistic (and social) kiállítása, a When attitudes became form (1969, also iconic, landmark exhibitions (e.g. the Iparterv akik kritikus szemléletükkel, esetenként a politi- utopia inherent in art, with a critical approach Bern) a gondolatművészetről. Exhibitions from 1968–69), which that transformed kai, társadalmi rendszerrel szembehelyezkedve and sometimes opposing the political and social A magyarországi művészet történetében artistic approach so that it became irreversibly vizsgálták a művészetben rejlő művészeti (és system. The guiding principle of the present reor- szintén léteznek olyan ikonikus, mérföldkőnek progressive, markedly art-centered, and less ide- társadalmi) utópia koncepcióját. A mostani újra- ganization is an important aspect of art institu- számító kiállítások (pl. az Iparterv-kiállítások ologically oriented. rendezés a művészeti intézményrendszer egyik tion system, namely, the remarkable, significant 1968–69-es kezdettel), amelyektől
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