Page 24 - Studio International - March 1974

effect is an illusion. The 'work of nature'
shows extreme sensibility to any light
situations (positions of the Sun or Moon),
visually it never stops changing. The man-
made object is static. This means that the two
are already showing different aspects an hour
after the latter had been completed and the
difference grows hour by hour, day by day in
order to reach a point at which the tendency
slowly turns to the reverse.
Note: I do not wish to make the moment of
conjunction public. Visitors can only trust to
their luck to determine for them the degree of
similitude.
Another young sculptor, Gyula Gulyás also
used Villány. He photographed a 15 m deep
crack on a rock wall, then on the photograph he
sewed the crack together. István Haraszty, just
like Pauer, started his adult life as a worker
and became a sculptor by self-education. He is a
technical genius : his technical capabilities led
him to the making of mobiles. He calls his
objects play-art. But this kind of play raises
serious questions about the position and
function of art, and touches on transcendent
problems. He calls one of his mobiles : Fig-pip-
remover — an objet d'art to fill a completely
useless function. His bird-cage works with a
live bird and provides a parable :
`An electric system observes the position and
movement of the bird in its close space of
existence. Numbers mark and control every
step. When the bird sits on the red and black small ads are written in lines of noughts or in Toba Csiky
resting bar, the door of the cage opens. As the printed letters that have been typed over. Elements of my every day walk
bird approaches the open door, the magnetic Tibor Csiky is a sculptor who studied to express its superiority over the
field is cut and the door shuts.' mathematics. These interests enable him to institutions.
These activities materialize in objects but put his concepts into a scientific context. As a 4. If everyone at the very same time makes the
nevertheless they should be grouped with sculptor his primary interest is in the very same gesture, human solidarity will
conceptual art. Objectless concept is however problematics of structure, as a conceptualist he manifest itself over leaders and those who are
one of the main vehicles young Hungarian tries to circumscribe the structures of reality. led, the guards and those who are under guard,
artists prefer. It provides a very large His themes deal mostly with structural in a form which makes the following things
degree of freedom, costs less and still offers the questions ; whether it is the structure of the evident: there is more identity between
best possibilities for the drawing up of cosmos or his everyday personal life. He sends prisoner and prison guard than between the
manifestoes and propositions. Happenings and these texts to his friends on postcards. One such prisoner and imprisonment.
acting (room acting) have similar possibilities. `message' is Heisenberg's world equation simply 5. By the logic of butchery, if every one kills
Apart from Ilona Keserü, all those explained. In this text Csiky declares not one two others on an average, the whole of mankind
mentioned so far are developing the possibilities of the possible basic rules of our reality, but can be done away with in thirty-two steps,
of worded or photographic concepts. Aktuelle conveys the warning that a requirement of considering that no person can be killed twice.
Kunst in Osteuropa (edited by Claus Groh; public accessibility — which is so often used as 6. If every warrior kills two men on average,
Du Mont, 1971) introduces works by Gabor an argument against modern art in Hungary — half of the victims will be men who did not kill
Attalay, Miklos Erdély, György Jovánovics, cannot be the decisive criterion for pictorial anyone, whatever the size the battle may be.
Tibor Gágyor, Gyula Konkoly, László Lakner, reality. (The number of innocent victims is always
János Major, Dóra Maurer, Tamás Szentjóbi Miklós Erdély's 'Solidarity' action is very the same, regardless of whether or not the killer
(St Jauby) and Endre Tót. Schmuk of London different in theme and perception, but that too murders one innocent person and another
introduced conceptual works by twenty-four can be seen as a parable. In the form of photos killer. Consequently revenge is impossible.)
Hungarian artists in its No. 3 volume. and charts it has been exhibited at the Foxart 7. The family tree of butchery is the reverse of a
The three young Hungarian conceptualists : Gallery in Warsaw. The scenario of this normal one, as the last killer alive cannot be the
Endre Tót, Tibor Csiky and Miklós Erdély, conception is : cause of the chain reaction of butchery. The
although their works show dissimilarities, 1. It is common knowledge that war is the whole process was over before he appeared on
typify well the sphere of interest of Hungarian institutionalization of murder, that is : the scene. It would rather seem that the cause
conceptual art : unfolding the relations of reality. institutions become murderers at the time of and origin of the killing is the large group of
Endre Tót, as mentioned earlier, is a painter. wars. innocent victims (at the bottom line of the chart).
With his 'unpainted canvases' he declares the 2. Institutions were created to serve mankind In the case of a family tree of reproduction it is
absurdity of art. The next step : with his but today they are man's masters and often clearly the progenitor who is the original cause
documents (documents make me calm) he ironically murderers too. of all his descendents.
queries all possibilities for verbal or visual 3. While the useful role of organizations is to be Protection: 8. everyone informs two other
communication. Tót's letters, dialogues and saved, mankind must be given the opportunity persons about the danger. According to the

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