HMC’s Library Thoughts 2

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Detail, Traveler’s cup 2

This diverse collection of artwork, often related to book arts or Budapest, come from artists all over the world. The Hungarian Multicultural Center’s “Library Thoughts 2” is up at MAGYAR ÍRÓSZÖVETSÉG at Bajza utca 18 in Budapest through September 28. Relating to foreigners’ interactions and reactions to a city that is new to me as well, I enjoyed seeing how others interpreted their experiences. The photograph above shows a statue of St. Stephen (Istvan) on Fisherman’s Bastion, which is on the Buda hills overlooking the Danube and Pest, in the background.

Joo Yean Woo, Traveler’s cup (1, 2, and 3)

Joo Yean Woo’s photographs are meant to examine how the act of collecting can be a more creative process, documenting and archiving experience in a more personal way. Perhaps a good thing for me to be thinking about during my time here.

Xu Yun, Homage to Franz Liszt

Detail, Homage to Franz Liszt

Two other works I liked, Xu Yun’s installation and Marlene Alt’s series of Baroque medallions, responded to Budapest’s Baroque heritage. Homage to Franz Liszt hangs from an ornate chandelier. The transparent sheets feature Liszt’s music as well as the decorative emblem of Hungary, what might be thought of as quintessentially Hungarian symbols, while Alt’s blank clay tiles in different colors have their gilt rubbed off much the way buildings here show their age. They deal with a long artistic heritage, as the title Portraits, Nudes, Heaven, Earth suggests, and refer to the opulent frames that usually hold traditional works of art.

 

Marlene Alt, Portraits, Nudes, Heaven, Earth

 

 

ARC Poster Exhibition, Budapest

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ARC‘s exhibition of billboards at Ötvenhatosok square below the park asked artists to address the theme “…with good cheer and prosperity” from the line “God bless the Hungarians with good cheer and prosperity” from the national anthem.

Given the economy, it’s not surprising that many responses are not very happy (although I still have a lot I want to try to decipher through Google Translate). They do offer very interesting insight into the Hungarian mind and situation. The explanatory text also mentions how the free expression exemplified here would have been unimaginable 20 years ago.  (And if you, as an American like myself, might be tempted to dismiss this with an offhand ‘so what’, check out this article about current Czech politics and libel from The Economist.)

Message to God, Németh Adreinn, Farkas Júlia, Koncz Gabriella, Szabolc András, Sebestyén, Eszter

In memoriam TV Teddy, Peter Szabina

Dare to Dream, Megszűnt könyvtár

Mentality, Szabo Julcsi

Statue erection game, Kovács István Haykovats

Viktor Orbán Petting Zoo, Kovács Ambrus

Ki a magyar?

Welcome to the Hungary 8-bit version

 

Kusama at the Whitney (a belated post from Hungary)

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Note: I meant to send this before I left for Hungary, and then have a fresh start about Hungarian art…but here this draft is, sitting and waiting to be published. So…

Self-Portrait, 1972. Collage with pastel, ballpoint pen, and ink on paper.

Yayoi Kusama courted and received a lot of attention in New York in the 1960s for her truly groundbreaking and unique work. It’s how the Whitney Museum of American Art can justify having the Japanese artist’s retrospective on view, despite her having lived most of her life in Japan, as she still does today. Kusama has her trademark polka dot works up, supported by some works from the beginning of her career, documentation about her activities in the 60s in New York, and a final roomful of her most recent paintings, all atop each other like the inside of a Kusamaesque Rubik’s cube.

The exhibition allows you to see how themes develop in her career–her initial white dot paintings become dots she paints on people to “obliterate” them, which becomes the undulating patterns of her paintings in the 2000s. She also returns to soft, abstract sculptural forms reminiscent of the body and of Louise Bourgeois, at multiple points.

Man Catching the Insect, 1972. Collage with oil on paper.

Her collage works, two examples of which are shown here, don’t fit as neatly into these patterns. They aren’t as clean and graphic design-y as her current works, but I found them as strong as anything else in the show. The more literally evoke Surrealism and the exploration of consciousness, but they do it in a very Kusama (note the polka dots) and very accomplished way. They are one of the rare times her obsessive attention to detail combines with recognizable imagery. Kusama is notoriously and publicly of a “fragile mental state,” to quote the artist herself, and these works show again how that mental instability plays into and feeds her artistic production.