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Artpool

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Location

  • 1061 Budapest Liszt Ferenc tér 10 , Magyarország
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Languages

  • English
  • Hungarian

Name of collection

  • Artpool Art Research Center

Provenance and cultural activities

Description of content

Content

  • artifacts: 100-499
  • graphics: 500-999
  • memorabilia (posters, flyers, stamps, etc.): 1000-
  • music recordings: 1000-
  • music recordings: 1000-
  • other artworks (that cannot be classified by other filter categories such as paintings, sculptures, graphics, etc.): 1000-
  • photos: 1000-
  • publications (books, newspapers, articles, press clippings): 1000-
  • publications (books, newspapers, articles, press clippings): 1000-
  • video recordings (including oral history recordings): 1000-
  • voice recordings (including oral history recordings): 100-499

Geographical scope of recent operation

  • international

Date of founding

  • 1979

Place of founding

Access type

  • visits by appointments

Publications

Author(s) of this page

  • Beöthy, Balázs
  • Klaniczay, Júlia

References

Maurer, Dóra: Versuch einer Chronologie der Avantgarde-Bewegung in Ungarn 1966–1980, in: Künstler aus Ungarn (catalog), Kunsthalle Wilhelmshaven, 26 August – 21 September, 1980, pp. 72., 74–76., 79–81.

Perneczky, Géza: The Art Pool Archives. The Story of a Hungarian Art Collection, The New Hungarian Quarterly, Vol. 30, No. 8., 1989, pp. 192–196.

Galántai, György – Klaniczay Júlia (eds.): Galántai. Lifeworks 1968–1993, Artpool – Enciklopédia Kiadó, Budapest, 1996, 320 p.

György, Péter: Föld alatt, föld felett. Avantgárd az Aczél-korszakban, [Underground, Above Ground. Avant-garde in the Aczél Era], Magyar Napló, February 22, 1990, p. 13.

Boros, Géza: Múzeum a margón [A Museum on the Edge], Világ [World], March 22, 1990, pp. 4–5.

Beke, László – Sasvári, Edit: “Ungarn kann dir gehören”. Die Künstler des Underground, in: Eichwede, Wolfgang (ed.): Samizdat. Alternative Kultur in Zentral- und Osteuropa: Die 60er bis 80er Jahre, Bremen, 2000, pp. 168–171.

Galántai, György: Artpool from the Beginnings: A Personal Account, in: Bismarck, Beatrice von – Hans-Peter Feldmann – Hans Ulrich Obrist et al. (eds.): Interarchive. Archivarische Praktiken und Handlungsräume im zeitgenössischen Kunstfeld / Archival Practices and Sites in the Contemporary Art Field, Verlag der Buchhandlung Walther König, Köln, 2002, pp. 393–395.

Klaniczay, Júlia: Afterword to the Publications by Artpool. in: Phillpot, Clive –Sune Nordgren (eds.): Outside of a Dog, Paperbacks and Other Books by Artists, BALTIC, The Centre for Contemporary Art, Gateshead (Newcastle), 2003, p. 9.

Mourik Broekman, Pauline van: Relational History, MUTE. Culture and Politics after the Net, No. 27., 2004 Winter / Spring, pp. 24–25.

Badovinac, Zdenka – Tamara Soban (eds.): Interrupted Histories. Arteast Exhibition (catalog, ca. 68 p.) and Piskur, Bojana (ed.): Arhivi Samizdatov / Samizdat Archives (supplement, 16 p.), Moderna galerija / Museum of Modern Art, Ljubljana, 2006

Sugár, János: Schrödinger’s Cat in the Art World, in: IRWIN (ed.): East Art Map. Contemporary Art and Eastern Europe, Afterall Books, London, 2006, pp. 208–221.

Devic, Ana / WHW: Artists’s Books in (what was formerly known as) Eastern Europe, Printed Matter, New York, 2006, http://printedmatter.org/researchroom/essays/whw.cfm

György Galántai responds to questions. Fluxus + Conceptual = Contextual, in: Fluxus East. Fluxus-Netzwerke in Mitteleuropa / Fluxus Network in Central Eastern Europe, Künstlerhaus Bethanien GmbH, Berlin, 2007, pp. 141–156.

Parastamp. Four Decades of Artistamps, from Fluxus to the Internet (exhibition catalog with essays by Peter Frank, Kata Bodor, interview with György Galántai), Museum of Fine Arts, Budapest, 2007, 108 p.

Forgács, Éva: Does Democracy Grow Under Pressure? Strategies of the Hungarian neo-avantgarde throughout the late 1960s and the 1970s, Centropa [Nationalism and Democracy], Vol. 8, No. 1, January 2008, pp. 36–48.

Schwarz, Isabelle: Archive für Kunstlerpublikationen der 1960er bis 1980er Jahre, Schriftenreihe für Künstlerpublikationen, Band 4, Salon Verlag, Köln, 2008, pp. 298–339.

Röder, Kornelia: Topologie und Funktionsweise des Netzwerks der Mail Art. Seine spezifische Bedeutung für Osteuropa von 1960 bis 1989, Schriftenreihe für Künstlerpublikationen, Band 5, Salon Verlag, Köln, 2008, pp. 159–163.

Dózsai, Mónika: “Fußspuren in der Luft”. Kunst im öffentlichen Raum in den 1980er Jahren in Budapest, in: Boden, Doris – Uta Schorlemmer (eds.): Kunst am Ende des Realsozialismus, Verlag Otto Sagner, München, 2008, pp. 283–299.

Creating Context: Zdenka Badovinac on Eastern Europe’s Missing Histories (Interview), ARTMargins online, August 2009

Badovinac, Zdenka: Contemporaneity as Points of Connection, e-flux journal, No. 11., December 2009

Kálmán, Rita – Katarina Šević (eds.): We are not Ducks on a Pond but Ships at Sea. Independent Art Initiatives, Budapest 1989–2009, Impex, Budapest, 2010, pp. 11, 114.

Art always has its consequences, What, How & for Whom / WHW, Zagreb, 2010, pp. 38–39, 48–50, 54–59.

Hegyi, Dóra et al. (eds.): Parallel Chronologies. How art becomes public – “Other” revolutionary traditions. An exhibition in newspaper format, tranzit.hu, Budapest, 2011, 56 p.

Interview with Artpool Cofounder Júlia Klaniczay by Juliane Debeusscher, ARTMargins online, June 2011

Sasvári, Edit: A Moment of Experimental Democracy in the Kádár Era. György Galántai’s Chapel Studio in Balatonboglár and the Social Milieu of Counter-Culture in Hungary in the 1960s and 1970s, in: Removed from the Crowd: Unexpected Encounters I, [BLOK] – DeLVe, Zagreb, 2011, pp. 82–101.

Tumbas, Jasmina: International Hungary. György Galántai’s networking strategies, ARTMargins, Vol. 1., Issue 2–3., 2012 (June–October), pp. 87–115.

Detterer, Gabriele – Maurizio Nannucci (eds.): Artists-Run Spaces. Nonprofit collective organizations in the 1960s and 1970s, JRP / Ringier, 2012, pp. 17, 30–31, 44, 84–109.

Last edited on: 2019-01-14 14:25:03