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| − | ==Summary==
| + | #REDIRECT [[Hungary]] |
| − | In the twenties and thirties, Laszlo Moholy Nagy and several other Hungarians affiliated with the Bauhaus contributed greatly with cutting edge innovations to the art/technology discourse. The hiatus of the war years were followed in the fifties by a rediscovery of the "Bauhaus" concepts. On the surface, the themes between the sixties and the thirties seem distant from each other, however, through the work of certain individuals (beneath the turbulent public events) a continuum is observable. For example, Miklos Erdely, a leading avant garde multidisciplinary artist - and by his own admission an "aesthetic catalyst"- whose work extended to experimental films and videos, revived particular trends initiated by Lajos Kassak a seminal figure of the thirties.
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| − | In the seventies, the slowly slackening political structure and the expanding borders contributed to an opening towards new artistic expressions. Several artist became interested beyond photography in new technologies, primarily in film. The [[Balázs Béla Studio]] (BBS) for film has been established as early as 1961. While this experimental Studio was supposed to serve the purpose of a well supervised playground for young aspiring film directors, BBS became more and more open for those who have not been involved officially in film production, such as [[Gábor Bódy]] who graduated first from philosophy and later became an internationally known film and video maker. Body, producing his first video in 1976 was the first person in Hungary to work in this medium in an artistic context. [[Infermental]], Body's annually edited international video series was widely hailed as "the art magazine" of the eighties. Collecting and collating the work of people working in remote global locations, uniquely bridged the information gap till the new communication forms appeared.
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| − | Art video production started in the early eighties in the BBS Studio. At this time here has been no foreshadowing of the communication revolution or networking practices. "What the web means today - said Peternak - seemed like a futuristic sci-fi story".
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| − | Towards the end of the eighties the wind of political change was clearly felt, bringing some academic reforms. At the Academy of Fine Art changes came about by pressure from the students in the summer of 1990. As a result of the student's initiatives, the Academy invited 15 new teachers and simultaneously established two new faculties, one of them the [[Intermedia MKE Budapest|Intermedia department]] survived and is flourishing to this day. Several fine arts students became involved and worked enthusiastically in Intermedia The first graduating class was very strong and the hyperactivity of those early years sustained the department over the last decade. [http://www.ciac.ca/magazine/archives/no_12/en/site.html]
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| − | == Predecessors ==
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| − | == Experimental film, avantgarde film ==
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| − | * Lenke Szilagyi, '''Cim nelkul''' (Without Title, 1986), oneiric, metaphysical poem. filmed to solo cello music
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| − | * [[András Szirtes]], '''Japan meniszkusz''' (Japanese Meniscus, 1996) oneiric, metaphysical poem. filmed to a Japanese soundtrack.
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| − | * [[István Antal]], '''A hattyu''' (The Swan, 1986) is a film about Saint-Saens without music.
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| − | * Andras Baranyai in Kozos portre Jane Morrisszal (Jane Morris, 1984) enacts the feelings of the pre-Raphaelite muse to the music of Eric Satie.
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| − | * Jozsef Gujdar contemplates death in his chilling '''Studium''' (Study, 1970) - a hugely magnified candle burning out accompanied by Penderecki's "Threnody to the Victims of Hiroshima."
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| − | * Miklos Erdely uses the music of Schumann in the final part of his '''Alommasolatok''' (Dream Reconstructions, 1977), "Herakleitosz toredek" (Herakleit's Fragment). Examining the relationship between life, dreams and cinema, Alommasolatok bends our perception like few films can. The central character describes his dreams and his experience of electroshock therapy to a young interviewer who, only being projected onto a cinema screen, regrets she can not meet him in real life. Eventually their desire to meet is fulfilled as she bursts through the screen. Erdely's seductive visual style amuses while his faithful capturing of the texture of dreams keeps you involved in the film.
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| − | * [[Miklós Erdély]], one-minute zen performance '''Pihenes''' (Relax, 1983), video.
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| − | * Putyi Horvath's '''Hannah und Tarzan''' (Hannah and Tarzan, 1983), overweight Hungarians ice-skating while wearing nothing other than the skates and a telephone.
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| − | * Laszlo Vidoszky, whose '''Aldrin''' (1976) describes a meeting with the American space hero at a party.
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| − | * Sebestyen Kodolanyi's '''Anatomia''' (Anatomy, 1997), 13 minutes, Kodolanyi was once a photographer (until he got bored with it), and this is reflected in this essay on the qualities of light, first in street scenes and then in portraits. The work is infused with dynamism and demonstrates the importance of a good soundtrack - in this case by Suzanne Brokesch - in achieving a total effect. The film has a strict purity to it, with only the slightly weaker second half depriving it of absolute perfection.
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| − | * Istvan Antal '''Varnai vagottkak''' (Varnai Clips, 1998), based on filming situations acted out from cartoons by the late blackly humorous animator, Varnai. Antal lacks the careful balance of humour and despair that the original animations had and strips the ideas of much of their value.
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| − | * Andras Szirtes '''A kisbaba reggelije''' (The Baby's Breakfast, 1996), based on reinterpreting the invention of cinema though a series of home film clips which one of the Lumiere brothers shows his daughter. stemming from a rather whimsical and pointless idea (albeit an original one) which is stretched out to forty minutes. Only the quotation of L'Arrivee d'un Train en Gare de la Ciotat, using an intercity train, has any real inventiveness.
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| − | == Interactive environments and installations ==
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| − | * [[Zoltán Szegedy-Maszák]] and [[Márton Fernezelyi]], '''Cryptogram''' (1996) is an encryption system using Virtual Reality Modeling Language, the medium of networked virtual reality at the dawn of this technology. [http://www.c3.hu/cryptogram/]
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| − | * Zoltán Szegedy-Maszák and Márton Fernezelyi, '''DeMedusator''' (1997-98) is a shared virtual world developed by its visitors. The project was an early attempt to create a multi-user virtual world, in which any visitor - potential participant - can be "creative": the system enables the users to add their - either pre-designed or draft - creatures to the world, let it be a complete virtual world or simply a sound/movie or picture file. For the observer all the contents are appearing in form of a “virtual sculpture”, which is created by the Cryptogram system, containing the encrypted version of the first few hundred bytes of the file. To explore the “original” content the visitor has to touch the Cryptogram: the original content is immediately decoded and shown instead of the encrypted sculpture. DeMedusator is based on the software environment of the late 90s(JAVA runtime and Cosmoplayer VRML plugin), the project was discontinued in 1998. [http://demedusator.c3.hu/]
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| − | * Zoltán Szegedy-Maszák, '''Promenade''' (1998-2002) is a Virtual Reality installation. Besides its original version first exhibited in 1999, a new, stereoscopic version has been developed in 2002. [http://szmz.hu/promenade/promenade.html]
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| − | * more: http://www.c3.hu/~szmz/projects.htm
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| − | == Computer and computer-aided art ==
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| − | * [[Gábor Bódy]]: '''Pszichokozmoszok''', 1976. This is an experimental film, a computer-generated movie about different algorhytms struggling against each other in an evolutionary framework. It presents four possibly scenarios as far as i remember. It was made in the BBS (totally famous Hungarian alternative studio where they kept their radicals), Balazs Bela Studio. at the moment it's not possible to get it officially, only to go to the BBS and see it.
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| − | * Around 1987, [[Tamás Waliczky]] used an ATARI 520 ST to make his first-ever animations, which he called '''Computer Mobiles'''. The programmers at the Caesar Software Studio helped him to design the software; since then, most of his excercises in animation have been based on programs written wholly or partly for the specific work concerned. In his first works, Waliczky explored the possibility offered by the ATARI computer of storing and endlessly repeating a one to four seconds long animated sequence. [http://www.waliczky.com/pages/waliczky_mobiles1.htm]
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| − | * In 1988, after completing the "Mobiles" series, Waliczky made a five minute computer animation which he called '''PICTURES'''. Based on a set of digitally manipulated snapshots from a family photo album, the work is like a slide show in virtual form: details from the first photograph are enlarged by an imaginary camera, and each enlargement generates a new "picture". Thus the viewer sees an ever-receding sequence of moments from the story of a person's life. The first and last image in the animation are identical; the circle is complete and the story comes to an end. Won the first Prize of P.L.E.I.A.S. Festival, Paris; and Honorary Mention in Animation Category of Prix Ars Electronica, Linz. [http://www.waliczky.com/pages/waliczky_pictures1.htm]
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| − | * Tamás Waliczky, '''Is there any room for me here?''' (1988). This black-and-white video is based around the image of a sparsely furnished apartment at nighttime, using light and shade effects - of a subtlety and delicacy that recalls the brushstrokes in a Chinese ink drawing - to pick out the objects from the dark background. The austere beauty of the forms and movements is accentuated by the strains of a Bach cello cuite. Won the second Prize of P.L.E.I.A.S. Festival, Paris. [http://www.waliczky.com/pages/waliczky_isthere1.htm]
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| − | * Tamás Waliczky wrote '''The Manifesto of Computer Art''' in 1989 [http://web.archive.org/web/20030104160800/http://www.waliczky.com/pages/waliczky_manifest_chooser.htm]
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| − | * Tamás Waliczky, '''Machines''' 1989. Computer graphic series, originally A3 prints. "Gramophone" (from the series) won first Prize (Golden Nica) in Computer Graphic Category of Prix Ars Electronica, Linz. [http://www.waliczky.com/pages/waliczky_machines1.htm]
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| − | * Tamás Waliczky and [[Tibor Szemző]], '''Conversation''' 1990. Interactive live performance, about 30 minutes long. Won Honorary Mention in Interactive Category of Prix Ars Electronica, Linz. In 1991 performed in Étampes. In 1992 live performance at SZKÉNÉ Theatre, Budapest. [http://www.waliczky.com/pages/waliczky_conversation1.htm]
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| − | * Tamás Waliczky, '''Memory of Moholy-Nagy''', 1990, computer animation. An animated journey through the abstract colors, compositions, and constructions of the Hungarian artist László Moholy-Nagy. In 1991 selected for the SIGGRAPH Electronic Theatre and won the World Graph Prize of Locarno Videoart Festival and the Festival Prize of Berlin International Animation Festival. [http://www.waliczky.com/pages/waliczky_moholy1.htm]
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| − | * For the first time, [[Zoltán Szegedy-Maszák]] used a computer in the installation exhibited on the show "Ostmodern" (Munich, 1991): he created a fractal-like image assembled of rectangular polaroids. He "recaptured" dots of a random graph with polaroid images picturing the wall on which the previously taken were mounted on: this way he created a "double closed circuit". All the polaroids show the previously taken ones, recalling the iterations of random-number generation of a Sinclair ZX 80 game-computer. In the piece '''Oscillation''' he used the effect of a "bug" in the operating system of a Commodore plus4 game-computer. The program used a similar "closed-circuit" algorithm like the "Ostmodern"-project: the "hidden rememberance" of the computer's graphic memory drives the drawing program, while the content of the "hidden" graphic memory-segment is flashing periodically on the screen. The capabilities of the cheap computers are limited, the only way to show the graphics or animation produced with them is to videotape them, so Szegedy-Maszák wrote short programs and scripts that he recorded on video and showed short loops on TV sets. The material of the videotape acts a significant rule in the installations: the colors of the spectacle and the looped sequences are pushing these pieces at the very border of video installations and computer graphics. [http://www.c3.hu/~szmz/zszm_early_works.pdf]
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| − | * Tamás Waliczky, in 1992 invited by Zentrum für Kunst und Medientechnologie, Karlsruhe to complete '''The Garden''' computer animation, during a year long artist-in-residency. In 1991 Waliczky wrote the script for THE GARDEN, an animation based on an idea which came from an old piece of Super-8 film, made over ten years before, showing a little girl playing in a country garden. The artist's aim was to portray the alertness and curiosity of a small child investigating its surroundings, and to evoke the particular sense of affection that children often inspire in us. To illustrate these lines of force, Waliczky devised a new type of perspective, the "waterdrop-perspective-system". The conventional notion of perspective, dating from the Renaissance, privileges the viewer as the person for whose benefit the depiction of the world unfolds and whose gaze completes the image; the stability of his or her position is mirrored by the fixed vanishing point. "Waterdrop-perspective" is a quite different principle which structures every object from the vantage point of the child within the space of the image: the objects grow or shrink as the approaches them or moves away. Thus everything in the space becomes visually distorted; the world is seen as a sphere and the child as its centre. In other words, the depicted world is the child's own private universe; shaped entirely by the child's movements, it is independent of the viewer who stands outside it and sees the dream of another. [http://www.waliczky.com/pages/waliczky_garden1.htm]
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| − | * more: http://www.waliczky.com/pages/waliczky-biography2.htm
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| − | == Video art ==
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| − | ; Equipment, industry
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| − | * in 1976/77 equipment becomes relatively more accessible, as several cultural houses, universities, and later the Béla Balázs Studio acquire such equipment as: B/W open-reel tape and 1/2-inch Sony or Akai recorders.
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| − | * scene since mid-1980s
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| − | * 1977/79, a "video team" commences operation within the [[Balázs Béla Studio]].
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| − | * 1980/81, Artists receive access to video equipment for individual projects (only a small number of these works remain). Newspaper articles and reports are published describing the emergence and recognition in the early eighties of the Hungarian video-cassette 'black market'. Thus, the broader public becomes 'familiar' with video.
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| − | * 1982 In addition to several non-professional film clubs, the Társulás Stúdió handles video.
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| − | * 1984 At the end of the year, MAFILM and the Béla Balázs Studio acquire professional video equipment, which essentially allows the initiation of professional Hungarian video work.
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| − | * 1989, With the introduction of the satellite in Hungary and with the spread of satellite dishes, the video-clip culture virtually booms in Hungary. The mass-production of video-clips in Hungary begins.
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| − | ; Artists, works, projects
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| − | * [[Gábor Bódy]]. The lecture by Gábor Bódy entitled ''Infinite Mirror-Tube'' is presented at the Tihany Semiotics Congress. This lecture is connected to the last part of his 35mm film entitled ''Four Bagatelles'', which can also be considered as the first Hungarian video piece. (Bódy presents a more detailed version of this lecture, ''Infinite Image and Reflection Total Expanded Cinema'', in Edinburgh in 1978.) In 1976 the first Hungarian computer film ''Psychocosmoses'' (also on 35mm film). Television play ''Soldiers'' (1978), television play ''Chalk Circle'' (1978). 1985 Bódy finishes several works (abroad) and commences a number of works in Hungary which, owing to his sudden death, have not been completed.
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| − | * [[Károly Halász]], ''Modulated TV'', photo-action, 1972, serial work
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| − | * [[Tibor Hajas]], ''The Guest'', ''The Jewels of Darkness''
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| − | * [[László Najmányi]] and [[Gergely Molnár]], ''Ezra Pound'', ''Flammarion Kamill'', ''David Bowie in Budapest''
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| − | * The Mozgókép Innovációs Társulás (Innovational Moving Picture Association) is established under the direction of [[István Dárday]].
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| − | * [[István Dárday]] and [[Györgyi Szalay]], ''Video on Video'', 1988.
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| − | * 1990, ''Private Hungary'' a video by [[Péter Forgács]], is awarded the Grand Prize of the Worldwide Video Festival, The Hague, and a significant prize is also awarded to [[András Wahorn]]'s work, ''Eastern European Living Animals'', at the Sydney Video Festival.
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| − | * Monory Mész András: '''Meteo''', 1989. One year after Blade Runner (1988) this is the Hungarian cyberpunk classic (termed part of the 'new impressiveness' movement by film historians). A feature fiction film, a sci-fi (/cyberpunk) movie about three characters in a postapocalyptic world. The 'hacker' character is a meteorologist and he uses a computer to calculate the winning alogrithm for horse races. He does this is Turbo Pascal. :) This one is available from the Odeon, the commonplace video distribution company, maybe only for renting. Starring famous now-nationalist actor Eperjes Károly, the visual is all there, what is missing is the existential borderline problematic that is a key element of cyberpunk works, and what was exemplified by the human vs. machine dichotomy in BR which is deconstructed by the concept of the cyborg. Similarly to BR the location is a factory sector which is about to be blown up. [http://www.imdb.com/title/tt0097875/]
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| − | ; Video magazines, video/books
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| − | * [[Infermental]] (the first international video magazine), draft in 1980/81, the first issue realised by Gábor Bódy in 1982. To date there are 10 issues of INFERMENTAL, excluding the special issues. III edited by László Beke and Péter Forgács, 1984.
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| − | * ''Axis'', a video/book by Gábor Bódy and [[Veruschka Bódy]], published by Dumont, 1986
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| − | * 1987, Several attempts are made at establishing video magazines in printed or cassette form, such as the ''Alternative Video Anthology'' edited by Tibor Miltényi in Budapest (only four editions), whose analogue, ''p'Art'', is edited in Paris, and which has released eight issues up until January, 1990.
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| − | * Spring 1987, the first independent video journal, Fekete Doboz (Black Box) magazine, is instituted. 1989, the activity of Black Box is unequivocally the most significant video venture, due to its political approach which fosters popularity, in the same way as does the most important media event of the year, the televised Romanian Revolution - linked to the political changes.
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| − | ; Events
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| − | * In 1977 the first international video art program is presented by Peter Weibel in Budapest at the Ganz Cultural House. A publication is produced for this occasion, which includes texts by László Beke, Tibor Hajas, László Najmányi and Dóra Maurer. (The texts are republished in 1988 by the Kossuth Cinema entitled, Video Art.)
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| − | * 1980/81 Gábor Bódy institutes the MAFILM K* (experimental) Section, which organises a large-scale [[hair and make-up]] festival the following year.
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| − | * 1983, The First Hungarian Video Festival and Symposium is organised in Nyíregyháza, this national convention subsequently held several times since then
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| − | * 1985 23 May, Kossuth Klub,Presentation of the special North-Rhein-Westphalia (Germany) edition of the INFERMENTAL international video magazine.
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| − | * 26-27 September 1985, Kossuth Klub, [[Parallel Screenings]], The European Media Art Network is presented simultaneously in eight European cities; the program includes an anthology-like compilation, with a one-hour episode devoted to each city. Gábor Bódy compiles the Budapest component within the framework of the Társulás Stúdió.
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| − | * In Autumn 1985, Hungarian material, realised within the Béla Balázs Studio framework, is presented at the Stockholm Video Festival. László Beke presents a lecture encompassing Hungarian developments in video. This is the first survey, published in Hungarian in 1987 in the volume, ''Video Alfa''.
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| − | * 25-27 October 1985, Nyíregyháza, Second Hungarian National Video Festival and Symposium.
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| − | * 4-5 June 1986, Hungarian National Gallery, screenings of the videos of EMAN (European Median Art Network), 4 June: Montevideo, Amsterdam; Videografia, Barcelona; Infermental, Berlin; LVA, London; 5 June: FRIGO, Lyon; Softvideo, Rome; K-videó (K-Section, the experimental department of MAFILM: the Hungarian Film Factory) group Budapest
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| − | * 29 August 1986, Mûcsarnok/Kunsthalle - Chamber, The TIT Artistic Section of Budapest and the Mûcsarnok/Kunsthalle present the 5th (Rotterdam) Edition of the INFERMENTAL international video magazine.
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| − | * 19 January -18 February 1987, Ernst Museum, The nine video works made by Bódy abroad between 1982 and 1985 are presented in a retrospective exhibition, within an installation realised by Gábor Bachman, and are shown for the first time in Hungary.
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| − | * 26-27 January 1987, Kossuth Klub, Presentation of the 4th Edition (1985, Lyon) INFERMENTAL international video magazine, edited by FRIGO.
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| − | * 27 January 1987, Kassák Klub, Hejettes Szomjazók (Substitute Thirsters): Cave Survey; Gábor Tóth: Performances on video; Presentation of the new video magazine, VIDEA (András Réz, Gábor Tóth)
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| − | * 26 March 1987, Mûcsarnok/Kunsthalle, Presentation of Cassette I. of the Alternativ video-anthology.
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| − | * 10 April 1987, Kossuth Klub, Presentation of INFERMENTAL VI. (Vancouver, Canada). Editors: Vera Bódy and Hank Bull. Chapters: Satellite Control, Poetical Oeconomy, Telepathic Music, Fractal Grammar, Myxology
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| − | * 27 May 1987, Mûcsarnok/Kunsthalle, Genre Experiments, Media Research. Editors: Vera Bódy and Hank Bull. Presentation of Cassette II. of the Alternatív video-anthology.
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| − | * 22 October 1987, Mûcsarnok/Kunsthalle, Miklós Peternák - János Sugár: "Actual Closed-Circuit": Film Utopias III.
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| − | * 19-22 November 1987, Nyíregyháza, Third Hungarian National Video Festival and Symposium.
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| − | * 1988, The Hungarian Television premieres the program, ''Video World'', which at the beginning includes thematic programs dealing with video, and gradually covers the developments of Hungarian and international video art.
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| − | * 1988, Numerous cinemas present videos, and video screening rooms within cinemas are established.
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| − | * 1988, 18 February, Szkéné Theater, Presentation of the video opera by Gábor Litván - János Sugár: The Immortal Culprits.
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| − | * 28 November 1988, Almássy tér Culture House, Hungarian presentation of INFERMENTAL VIII.
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| − | * 29 November - 2 December 1988, Kossuth Cinema, ''Video Art, International Panorama''. 29 November: Selection from the video works of Gábor Bódy. 30 November: Selection of video works from West Germany. Zeittransgraphie (Compilation of works by the students of Martin Potthoff at the Berlin Film Academy, based on an idea of Gábor Bódy.); E.M.A.N. (European Media Art Network), K-videó group, Budapest, 1985, Társulás Studio, compiled by Gábor Bódy. 1 December: Selection of video work from Japan. 2 December: FRIGO (Lyon), French video work.
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| − | * 1989, Hungarian video works, complied by the Béla Balázs Studio, are presented at several Western and Eastern European festivals. Additionally, international video works are now more regularly screened in Hungary.
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| − | * 6-10 September 1989, Szigetvár, RETINA '89, First International Film and Video Festival. (Thereafter, a biennial festival.)
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| − | * 22-23 May 1989, ELTE (Lóránd Eötvös University of Sciences) Faculty Club, Videocommunication, professional presentation and symposium. The theme of the discussion was the Hungarian situation of higher educational training in video. Participants: Hungarian Academy of Drama and Film, Hungarian Academy of Applied Arts, MTESZ-OPAKFI, Lóránd Eötvös University of Sciences.
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| − | * 16 July 1989, Balázs Béla Studio, Péter Forgács' ''Mr. N.'s Diary''
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| − | * 1990, The installation exhibition Distance is held at the Hungarian Academy of Fine Arts, presenting works by Tamás Komoróczky, Csaba Nemes, Attila Szûcs and Zsolt Veress.
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| − | * 11-15 April 1990, Nyíregyháza, Fourth Hungarian National Video Festival. From the invitation: "Aims of the events: - assuring the possibility for the new communications equipment of our age, popularizing video; - presentation of the current state of domestic video, changes ensuing since the previous Festival, appraisal of development; - transmission and exchange of new information in video theory and practice, creation of the possibility for acquaintance and consultation for professionals. // We announced the following categories for competition of works produced 1987-90 in the proposed programme of the IV. Hungarian Video Festival: I. Programmes assisting Production, Education and Culture. II. Community and Public Life video programmes (cable TV, etc.). III. Video Art programmes (video art, experimental video). IV. Information and advertising programmes. V. Entertainment programmes. VI. Private videóprogrammes."
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| − | * 1991, [[SVB Voce]], exhibition dedicated to video installations.
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| − | ; Education
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| − | * 1976/77 ''independent art course'' is conducted by [[Miklós Erdély]] and [[Dóra Maurer]], at the Ganz Cultural House Budapest, in which the participants have access to video.
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| − | * 1986 In addition to the experimental establishment of a [[Media Design MOME Budapest|video course]] at the Hungarian Academy of Applied Arts, a postgraduate video department is established at the Loránd Eötvös University of Art and Sciences (ELTE). The earlier video courses are supplemented by university level video education.
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| − | * 1989, The Academy of Applied Arts graduates its first class in video.
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| − | * 1990, [[Intermedia MKE Budapest|The Intermedia Department]] is established at the Hungarian Academy of Fine Arts, in which video training plays a role.
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| − | ; Resources
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| − | * [[C3]]: History and archive of video art in Hungary 1972-2000, project dir Seres and Peternák [http://www.c3.hu/collection/videomuveszet/indexen.html]
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| − | * dictionary entries (in Hungarian): [http://www.artportal.hu/index.php?mc=2&sc=3&szocikk=66] [http://www.artportal.hu/index.php?mc=2&sc=3&szocikk=67]
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| − | ; Bibliography
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| − | * Bálint Szombathy, Video Art in the Mid-Seventies (Új Symposion, No.128, 1975)
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| − | * György Somogyi, Video-Visions (Mûvészet, 1977 Yearbook)
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| − | * Gábor Bódy, Creative Thinking Device, film journal Filmvilág, 1982
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| − | * The World of Video, first comprehensive collection of translated articles covering the field of video, providing information about the international developments of almost twenty years of video art and video theory, 1983
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| − | * Miklós Peternák: Data Toward the Study of the History of Hungarian Video Art. SVB VOCE, Budapest, Soros Foundation/Soros Center for Contemporary Arts (SCCA) - Mûcsarnok/Kunsthalle, 1991 [http://www.c3.hu/collection/videomuveszet/chronology.html]
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| − | == Electroacoustic and experimental music, sound art ==
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| − | == Media theory ==
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| − | == 1990s - 2000s==
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| − | * [[Budapest]], [[Szeged]], [[Győr]], [[Pécs]], [[Miskolc]]
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| − | * It was only in 1991 that a Hungarian exhibition, [[SVB Voce]] was dedicated to video installations. The three [[MetaForum]] symposiums in the nineties and the publications of the [[Media Research Foundation|Media Research]] group contributed greatly to theoretical and conceptual developments. At the crucial point, when the [[Intermedia MKE Budapest|Intermedia department]] became more established - the now famous [[Butterfly Effect]] project, an international media art exhibition and symposium was organized, bringing wide recognition to Hungarian media initiatives and eventually leading to the foundation of [[C3|C3 Center for Culture and Communication]].
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| − | * video art 1991-2000, http://www.c3.hu/collection/videomuveszet/chronology.html
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| − | == Others ==
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| − | * Lajos Kassák, main figure of the Hungarian Avante-Garde movement as a poet, writer, editor, periodical founder, movement coordinator and ideologist. Not very active after World War II but still extremely influential. [http://www.artportal.hu/international/english/kassak_lajos]
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| − | * Dezső Korniss, constructivist painter [http://www.hung-art.hu/frames-e.html?/english/k/korniss/index.html]
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| − | * István Nádler, neo-avant-garde painter, the early seventies saw him work in a geometric hard edge style, and in the next decade he developed a completely new creative strategy: this more relaxed, heterogeneous formal idiom relied on musical influences. [http://www.btmfk.iif.hu/nadrigaa.html]
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| − | * Imre Bak
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| − | * Tamás Hencze, painter [http://www.artportal.hu/international/english/hencze_tamas/]
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| − | | |
| − | == Other bibliography ==
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| − | *[[Nina Czegledy]] "Media Art: The Hungarian Model" ''CIAC's Electronic Art Magazine'' 12 (2001) [http://www.ciac.ca/magazine/archives/no_12/en/site.html]
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| − | * Andrew J Horton, "Avant-garde Film and Video in Hungary" ''Central European Review'' (October 1998) [http://www.ce-review.org/kinoeye/kinoeye4old.html] (English)
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| − | * Art Portal - database of artists [http://www.artportal.hu/international/english/list/]
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| − | * Miklós Peternák, The Influence of Conceptual Art within Hungary, 1997 [http://www.c3.hu/collection/concept/index0.html]
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