Critical Examination of 1990s Hungarian Contemporary Art's Institutional and Conceptual Frameworks
In her 2003 essay, Ágnes Berecz explores "contemporary Hungarian art of the 90s," challenging established notions regarding periodization, national identity, and the legitimacy of institutions. She probes whether the decade's onset should be linked to the political shifts of 1989 or the cultural events of 1990, such as the Ludwig Museum's inauguration. The conclusion of the decade is signified by significant exhibitions in 2000 and 2001 following 9/11. Berecz critiques the preference for 'progressive' artists within 'contemporary art,' sanctioned by institutions like the Ludwig Museum and Trafó. She also discusses national framing in the 1999 publication 'Hungarian Art in the 20th Century,' tracing artistic trends, including new media and gender-oriented pieces, alongside a burgeoning art market backed by MOL and OTP Bank, while noting the scarcity of critical dialogue and institutional changes from the Újlak Group to the Studio of the Young Artists Association, raising questions about the expectation of 'Hungarianness' in art.
Key facts
- Ágnes Berecz published the essay on ARTMargins Online on June 11, 2003.
- The essay critically examines the periodization of 1990s Hungarian contemporary art, considering 1989 or 1990 as potential starting points.
- Key institutions discussed include the Ludwig Museum of Contemporary Art in Budapest and the Hungarian Academy of Fine Arts.
- The text analyzes the 1999 publication 'Hungarian Art in the 20th Century' and its national framing.
- Artistic developments noted include the rise of new media, gender representations, and interactive installations.
- Critical publications highlighted are Új M?vészet, Balkon, Exindex, and M?ért?.
- Corporate patronage from entities like MOL and OTP Bank supported some artists but excluded non-saleable media like video installations.
- Early artist-led initiatives included the Újlak Group and later projects like Index and Manamana.
Entities
Artists
- Ágnes Berecz
- Imre Nagy
- Péter Sinkovits
- Ilona Németh
- Shirin Neshat
- Arsen Savadov
- Georgij Senchenko
- Mariko Mori
- Antal Lakner
- Hajnal Németh
- Douglas Gordon
- Janet Cardiff
- Pierrick Sorin
- Zbignew Libera
- Katarzyna Kozyra
- Tibor Gerevich
- Boris Groys
- István Hajdú
- József Mélyi
- Gábor Andrási
- Edit András
- Anna Bálványos
- Barnabás Bencsik
- Suzanne Mészöly
- Lívia Páldi
- János Szoboszlai
- Attila Ménesi
- Christoph Rauch
- Endre Koronczi
- András Gálik
- Bálint Havas
- Róza El-Hassan
- János Sugár
- Dóra Hegyi
- Emese Süvecz
- Tibor Várnagy
- Miklós Erhardt
- Edit Molnár
- Tamás Kopasz
- Lajos Németh
- Gábor Pataki
- György Sz?cs
- András Zwickl
Institutions
- ARTMargins Online
- Ludwig Museum of Contemporary Art
- Hungarian Academy of Fine Arts
- M?vészet
- Új M?vészet
- Moderna Museet
- Jeu de Paume
- Museum Moderner Kunst
- Balkon
- Exindex
- C3
- Soros Center of Contemporary Art
- M?ért?
- HVG
- Beszél?
- Oktogon
- Magyar Narancs
- Playboy
- Cosmopolitan
- Index
- Korridor
- Magyar M?vészet
- Duna TV
- National Cultural Fund
- Soros Foundation
- Center for Culture and Communication
- ICA-D
- Institute of Contemporary Art of Dunaújváros
- MEO Museum of Contemporary Art
- Pro Helvetia Foundation
- League of Non-Profit Art Spaces
- Újlak Group
- Törökfürd?
- M?terem
- Ikon
- Kis Varsó
- kmkk collective
- Manamana
- Studio of the Young Artists Association
- Studio Gallery
- Hungarian Art Foundation
- National Association of Hungarian Artists
- Academy of Applied Arts of Budapest
- University of Fine Arts of Pécs
- A.P.A.
- Atelier Pro Arts
- Magyar Aszfalt
- MOL
- OTP
- Raiffeisen
- Dresdner
- Hungarian academic journal in art history
Locations
- New York
- Hungary
- Budapest
- Székesfehérvár
- Pécs
- Dunaújváros
- Szombathely
- Stockholm
- Sweden
- Paris
- France
- Vienna
- Austria
- Transylvania
- Vojvodina
- Slovakia
- Dunájska Streda
- Poland
- Brazil
- Great Britain
- Iran
- Ukraine
- London
- Berlin
- Zagrab
Sources
- ARTMargins —
- ARTMargins —