P谩l Nagy and his disciples
This exhibition provides an insight into the experimental art of Transylvania in the 1980s and 1990s through the works and pedagogical methods of 27 artists and their master, the T芒rgu Mure葯 artist and educator P谩l Nagy.
The radical artistic turn in Transylvania in the 1980s and 1990s, the importance of MAM虐 (Workshop of T芒rgu Mure葯), the achievements of Atelier 35 in Oradea. These presentations regularly commemorate an artist whose educational impact had a profound influence on the epoch-changing young artists of Transylvania: P谩l Nagy, a teacher at the Fine Arts Lyceum in T芒rgu Mure葯. This is the first time that the art of P谩l Nagy has been presented in Hungary, also exploring his significance as an art educator. Both the experimental character of his autonomous artworks and such visual practices of his feature here, which he used as supplementary tools in education, while (devoid of declared subversive intentions) he taught the dry-point technique printing on the back of Comrade Ceau葯escu鈥檚 portrait as 鈥渢he best quality paper.鈥�
In the 1980s and 1990s, in opposition to Ceau艧escu鈥檚 totalitarian regime and official ideology, a group of young Hungarian artists from Transylvania emerged, a generation of artistic endeavours in an experimental vein already recognized in Western art at the time, heralding the change of regime from an artistic point of view. This process fed on a very different attitude than its Western counterparts (Hungarian and Western strivings being unknown in Romania at the time) and was primarily driven by the alternetives motives of escaping censorship and confrontation, and of forging and promoting a communal minority existence and Hungarian identity; yet, it endeavoured to create novel and autonomous works in terms of both content and technique. The artists embarked on their own paths and sought answers to their questions in their own, genre-merging approaches: objects, installations, spatial textiles, experimental photography, drawing as an autonomous, full-fledged medium, mail art, process art, action art, and other ephemeral genres were born, while in painting, the characteristics of visualism and re-figurality dominated, with an arte povera impact in the use of materials, partly due to economic and social circumstances.
P谩l Nagy and his wife died on June 19, 1979, in a car accident whose circumstances have not been established ever since. His work reveals an activity in which his autonomous artistic practice is inextricably intertwined with his responsibility as an art educator 鈥� his person and values are the focus of this exhibition, together with the works of his former disciples.
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This exhibition provides an insight into the experimental art of Transylvania in the 1980s and 1990s through the works and pedagogical methods of 27 artists and their master, the T芒rgu Mure葯 artist and educator P谩l Nagy.
The radical artistic turn in Transylvania in the 1980s and 1990s, the importance of MAM虐 (Workshop of T芒rgu Mure葯), the achievements of Atelier 35 in Oradea. These presentations regularly commemorate an artist whose educational impact had a profound influence on the epoch-changing young artists of Transylvania: P谩l Nagy, a teacher at the Fine Arts Lyceum in T芒rgu Mure葯. This is the first time that the art of P谩l Nagy has been presented in Hungary, also exploring his significance as an art educator. Both the experimental character of his autonomous artworks and such visual practices of his feature here, which he used as supplementary tools in education, while (devoid of declared subversive intentions) he taught the dry-point technique printing on the back of Comrade Ceau葯escu鈥檚 portrait as 鈥渢he best quality paper.鈥�
In the 1980s and 1990s, in opposition to Ceau艧escu鈥檚 totalitarian regime and official ideology, a group of young Hungarian artists from Transylvania emerged, a generation of artistic endeavours in an experimental vein already recognized in Western art at the time, heralding the change of regime from an artistic point of view. This process fed on a very different attitude than its Western counterparts (Hungarian and Western strivings being unknown in Romania at the time) and was primarily driven by the alternetives motives of escaping censorship and confrontation, and of forging and promoting a communal minority existence and Hungarian identity; yet, it endeavoured to create novel and autonomous works in terms of both content and technique. The artists embarked on their own paths and sought answers to their questions in their own, genre-merging approaches: objects, installations, spatial textiles, experimental photography, drawing as an autonomous, full-fledged medium, mail art, process art, action art, and other ephemeral genres were born, while in painting, the characteristics of visualism and re-figurality dominated, with an arte povera impact in the use of materials, partly due to economic and social circumstances.
P谩l Nagy and his wife died on June 19, 1979, in a car accident whose circumstances have not been established ever since. His work reveals an activity in which his autonomous artistic practice is inextricably intertwined with his responsibility as an art educator 鈥� his person and values are the focus of this exhibition, together with the works of his former disciples.
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