Historical past of an archive for generating, networking, curating, and getting to know paintings considering that 1970.
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Additional info for Artpool: The Experimental Art Archive of East-Central Europe
A Journal of Arts + Culture, Vol. 1, No. 11, 2004, pp. 12–17. Tornai Szabolcs: Szabadságtechnikák. Huszonöt éves az Artpool Művészetkutató Központ, Heti Válasz, March 18, 2004, pp. 40–42. Bodor Kata: “…I would like to be connected to the time I’m in…” Interview with György Galántai, the curator of the Parastamp exhibition, in: Parastamp. Four Decades of Artistamps, from Fluxus to the Internet, exh. catalog, Szépművészeti Múzeum, Budapest, 2007, pp. 84–100. [pp. ] Forgács Éva: Does Democracy Grow Under Pressure?
Networking Strategies, ARTMargins, June–October 2012, Vol. 1, No. 2–3, pp. 87–115. ): Artists-Run Spaces. Nonprofit collective organizations in the 1960s and 1970s, JRP/ Ringier, 2012, pp. 11–49. ): Artists-Run Spaces. Nonprofit collective organizations in the 1960s and 1970s, JRP / Ringier, 2012, pp. 84–109. Stiles, Kristine – Peter Selz: Theories and Documents of Contem porary Art. A Sourcebook of Artists’ Writings (Second Edition, Revised and Expanded by Kristine Stiles), University of California Press, Berkley – Los Angeles – London, 2012, pp.
The article commissioned by the party headquarters and György Aczél was written by the editor-in-chief of the criminal column, namely László Szabó, the country’s “chief police officer” at the time. (Excerpt) Th e p r e - s t o r y o f A r t p o o l – C H A P E L ST U D I O 31 by virtue of my “Marxist” answers. My success boosted my confidence and later I held crash courses for the police. These confounding conversations were later only referred to as “a mere deepening of doubt,” an expression I read in December in the article published in the party paper about the Boglár project, where references were mainly made to police documents.
Artpool: The Experimental Art Archive of East-Central Europe