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The show is part of a two part collaboration with Vintage Galéria, Budapest and coincides with this year’s Venice Biennale, "},{"_key":"7a45fb822ecf5","_type":"span","marks":["em"],"text":"Viva Arte Viva"},{"_key":"7a45fb822ecf6","_type":"span","marks":[],"text":" curated by Christine Macel, where Hajas has been selected to exhibit. The exhibition at Vintage Galéria will concentrate on conceptual texts and contact sheets, whilst the exhibition at Austin/Desmond Fine Art, London will show a selection of his vintage action photographic works from the late 1970s.\n\nFilm maker, performance artist and poet, Tibor Hajas produced the majority of his work in the 1970s during Hungary’s ‘closed’ years under the Soviet authoritarian regime. Inspired by the Fluxus movement, Hajas started to make street actions and conceptual works. In 1978 he began to undertake ritualistic performances, using his body as the medium. Inspired by the Viennese Actionists as well as Eastern and Tibetan philosophy, he would test his own physical and psychological limits, walking the fine line between life and death in a search for total freedom. “The less you are able to live out reality, even though you are forced to go through it, the more you can experience it in the form of a genre or symbols, that is to say, in art.” [Tibor Hajas]\n\nAlthough Hajas performed daring actions in front of an audience, the photograph was still a hugely important element in his work: “the lack of photograph is like a lack of water…Communication with the outside world ceases. The story without proof becomes not only private, but a secret story, a hallucination with which one must cope alone.” [Tibor Hajas]. Hajas would plan and arrange the scene, but the majority of photographs were taken by artist and musician János Veto, whom he met in 1974 and continued to collaborate with for the rest of his life. Hajas tragically died in a car accident in 1980 at the age of 34.\n\nDuring his life Hajas took part in several international exhibitions which included the 3rd Biennale of Sydney in 1979. Posthumously his works were shown in 1999 in an important exhibition held at the Queens Museum, New York entitled "},{"_key":"7a45fb822ecf7","_type":"span","marks":["em"],"text":"Global Conceptualism: Points of Origin, 1950s – 1980s"},{"_key":"7a45fb822ecf8","_type":"span","marks":[],"text":" and in 2009/10 at Centre Pompidou, Paris, in the group show "},{"_key":"7a45fb822ecf9","_type":"span","marks":["em"],"text":"The Promises of the Past: A Discontinuous History of Art in Former Eastern Europe. "},{"_key":"7a45fb822ecf10","_type":"span","marks":[],"text":"The Art Institute of Chicago and the Kontakt Collection of the Erste Bank, Vienna recently acquired the artist’s works for its collection.\n\nThe exhibition will feature works from several important series including "},{"_key":"7a45fb822ecf11","_type":"span","marks":["em"],"text":"Image Whipping"},{"_key":"7a45fb822ecf12","_type":"span","marks":[],"text":" and "},{"_key":"7a45fb822ecf13","_type":"span","marks":["em"],"text":"Surface Torture"},{"_key":"7a45fb822ecf14","_type":"span","marks":[],"text":". The exhibition follows on from our 2015 exhibition "},{"_key":"7a45fb822ecf15","_type":"span","marks":["em","5422e1745efc"],"text":"Last Year’s Snow: The Hungarian Neo-Avant Garde in the 1970s & 80s"},{"_key":"7a45fb822ecf16","_type":"span","marks":[],"text":", and "},{"_key":"7a45fb822ecf17","_type":"span","marks":["em","9ba21d41b111"],"text":"Viennese Season: Actionism"},{"_key":"7a45fb822ecf18","_type":"span","marks":[],"text":" in 2014.\n\nAlso on display is a selection of Modern British and International works from artists including: Valie Export, Hermann Nitsch, Julije Knifer, Ben Nicholson, Victor Pasmore, Stephen Buckley and Alan Davie.\n\nYou can view the video on Tibor Hajas from the Biennale "},{"_key":"7a45fb822ecf19","_type":"span","marks":["2d6f1bc4f996"],"text":"HERE"}],"markDefs":[{"_key":"2d6f1bc4f996","_type":"link","blank":true,"href":"https://www.youtube.com/watch?v=QTATSxvc6hc"},{"_key":"2f0dfd007773","_type":"internalLink","reference":{"_id":"artist_391","_type":"artist","_rev":"yQrQyfNVaVtAu8s31g73l6","_createdAt":"2021-05-11T20:27:32Z","_updatedAt":"2021-09-17T14:08:50Z","artworks":[{"_id":"artwork_1761","_type":"artwork","_rev":"YcHyOK3pq0j8WfWRUJy4M0","_createdAt":"2021-05-11T20:27:39Z","_updatedAt":"2021-10-22T14:37:54Z","artist":{"_id":"artist_391","_type":"artist","_rev":"yQrQyfNVaVtAu8s31g73l6","_createdAt":"2021-05-11T20:27:32Z","_updatedAt":"2021-09-17T14:08:50Z","artworks":[{"_key":"7PCVBLaK","_ref":"artwork_1761","_type":"reference"}],"biography":[{"_key":"f85c0d2e87fb","_type":"block","children":[{"_key":"f85c0d2e87fb0","_type":"span","marks":[],"text":"Viennese Actionist painter and performer, Nitsch began his career as a student at the Pedagogical and Experimental Institute for Graphics in Vienna. 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/ Desmond Fine Art is delighted to announce an exhibition of works by the Hungarian Neo-Avant-Garde in the first show of its kind to be held in London. Artists exhibited will include Gábor Attalai, Miklós Erdély, Tibor Hajas, György Jovánovics, Katalin Ladik, Dóra Maurer, Géza Perneczky, Endre Tót, Bálint Szombathy and Tamás Szentjóby.\n\nIn the post-war period Hungary suffered under the dictatorship of the Soviet Union whose ideology at the time was hostile to modern art. The authorities established the official art form of ‘Socialist Realism’, as representation of the achievements of the great socialist era. Parallel to this, Hungary’s artists were establishing what became known as the un-official art scene, working outside of the highly censored institutional system. This un-official scene often operated underground, using private apartments as show spaces and holding clandestine semi-illegal exhibitions. Their ‘isolation’ led to a flourishing alternative cultural milieu in which artists worked in intense interaction with each other regardless of the use of medium or artistic references.\n\nIncluded in the exhibition at Austin / Desmond Fine Art will be works by ten of the leading protagonists of this movement. Miklós Erdély, one of the most important catalysts of the Hungarian un-official art scene and whose work"},{"_key":"5ae99334eb631","_type":"span","marks":["em"],"text":" Last Year’s Snow "},{"_key":"5ae99334eb632","_type":"span","marks":[],"text":"(1970)the exhibition title is taken from, will be exhibited alongside his renowned contemporary Tamás Szentjóby. Both artists reflect on the political and social issues of the time in a critical yet ironic way. St.Auby’s Fluxus objects include the "},{"_key":"5ae99334eb633","_type":"span","marks":["em"],"text":"Czechoslovak Radio (1968)"},{"_key":"5ae99334eb634","_type":"span","marks":[],"text":", an example of which was exhibited at Documenta in 2011: a simple painted brick alludes to the 1968 suppression of Czechoslovakia’s new reforms (Prague Spring) when citizens were banned from using radios and took to the streets with paper covered bricks in protest.\n\nAlso featured are the conceptual works of Gábor Attalai and Géza Perneczky alongside the photo-performance series by Bálint Szombathy, Katalin Ladik and Tibor Hajas. Using their bodies as the medium, these artists performed intimate events without audiences, often with a subversive or political overtone. Exhibited will be Szombathy’s iconic and rebellious work "},{"_key":"5ae99334eb635","_type":"span","marks":["em"],"text":"Bauhaus"},{"_key":"5ae99334eb636","_type":"span","marks":[],"text":" (1972/2013) performed in the attic he was renting in Novi Sad. The work portrays the humerous juxtaposition between his grim living conditions and his caustic political placards depicting the word BAUHAUS."}],"markDefs":[],"style":"normal"},{"_key":"a123fcd555c2","_type":"block","children":[{"_key":"a123fcd555c20","_type":"span","marks":[],"text":"The unusual combination of neo-constructivism and conceptual art is best embodied in the works of Dóra Maurer and György Jovánovics. Included in the exhibition will be the work Sluices No. 9 (1980) by Maurer, an example of her experimental print making which also demonstrates her interest in the rigour of geometric abstraction. Maurer, whose work has finally received the deserved attention of the international art world was included in the recent exhibition Adventures of the Black Square at the Whitechapel Gallery, London and her 2014/2015 retrospective at Museum Ritter has highlighted the diversity of her highly regarded oeuvre.\n\nEndre Tót, a key practitioner of Mail art, camouflaged his art in letterform in order to avoid the postal censorship of the time. Mail art was used as a common practice amongst the Eastern Bloc artists to disseminate their works and communicate with each other and their Western counterparts. In his series Zeropost, (1976) Tót mailed his letters with his Zero stamps as reflections of the absurdity of communication in a dictatorship. Ironically, despite the non-official postage, the letters still arrived at their destinations.\n\n“"},{"_key":"a123fcd555c21","_type":"span","marks":["em"],"text":"Sending out a stamp, a letter or a card, something that in the west carried no risk and involved no emotional investment, was connected in the East with a defence of the basic human right to free expression and was often understood as a form of public service or protes"},{"_key":"a123fcd555c22","_type":"span","marks":[],"text":"t.”"},{"_key":"a123fcd555c23","_type":"span","marks":["340bd1edba24"],"text":"[1]"}],"markDefs":[{"_key":"340bd1edba24","_type":"link","href":"/cms/child-table/26/96#_ftn1"}],"style":"normal"},{"_key":"498f4e99c0f4","_type":"block","children":[{"_key":"498f4e99c0f40","_type":"span","marks":[],"text":"As the art historian Piotr Piotrowski notes above, the context in which these works were made is crucial to their understanding. Hence whilst the artists behind the iron curtain were following current debates on contemporary art, they were not mimicking their achievements but only using Western practices as a point of reference. The members of the Hungarian unofficial art scene were keen to break the conventions of concrete art, fluxus, conceptual art and even pop art, as established in the West, by combining them in their unique visual language. What evolved was a radical new approach to conceptualism, underpinned by a highly political reaction to the denial of freedom in the practice of art.\n\nOver the past three decades many exhibitions have explored and contextualised the neglected art movements of Eastern Europe. Among these shows, the following musems gave special attention to the Hungarian Neo-Avant-Garde: "},{"_key":"498f4e99c0f41","_type":"span","marks":["em"],"text":"Global Conceptualism: Points of Origin, 1950s-1980s"},{"_key":"498f4e99c0f42","_type":"span","marks":[],"text":" (1999, Queens Museum, New York), "},{"_key":"498f4e99c0f43","_type":"span","marks":["em"],"text":"Aspekte/Positionen. 50 Jahre Kunst aus Mitteleuropa, 1949-1999"},{"_key":"498f4e99c0f44","_type":"span","marks":[],"text":" (1999, MUMOK, Vienna), and the "},{"_key":"498f4e99c0f45","_type":"span","marks":["em"],"text":"Subversive Practices. Art under Conditions of Political Repression 60s–80s / South America / Europe "},{"_key":"498f4e99c0f46","_type":"span","marks":[],"text":"(2009, Kunstverein, Stuttgart). Concurrently, both private and public collections began to acquire the works of these artists, including the Art Institute of Chicago, Centre Georges Pompidou in Paris and Tate, London. In Vienna the Kontakt collection of the Erste Bank is dedicated solely to the post-war conceptual art scene of Eastern Europe\n\nSpecial thanks to László Beke, Orsolya Hegedus, Gábor Pados, Attila Pocze, Margit Valkó & Artpool Art Research Center."}],"markDefs":[],"style":"normal"},{"_key":"83b03c9da603","_type":"block","children":[{"_key":"83b03c9da6030","_type":"span","marks":["bb2603581876"],"text":"[1]"},{"_key":"83b03c9da6031","_type":"span","marks":[],"text":" Piotr Piotrowsky, "},{"_key":"83b03c9da6032","_type":"span","marks":["em"],"text":"In the Shadow of Yalta. Art and the Avant Garde in Eastern Europe 1945-1989"},{"_key":"83b03c9da6033","_type":"span","marks":[],"text":" (London: Reaktion Books Ltd., 2009)"}],"markDefs":[{"_key":"bb2603581876","_type":"link","href":"#_ftnref1"}],"style":"normal"},{"_key":"c8a3f0cb1be0","_type":"block","children":[{"_key":"c8a3f0cb1be00","_type":"span","marks":[],"text":"Austin / Desmond Fine Art is delighted to announce an exhibition of works by the Hungarian Neo-Avant-Garde in the first show of its kind to be held in London. Artists exhibited willinclude Gábor Attalai, Miklós Erdély, Tibor Hajas, György Jovánovics, Katalin Ladik, DóraMaurer, Géza Perneczky, Endre Tót, Bálint Szombathy and Tamás Szentjóby."}],"markDefs":[],"style":"normal"},{"_key":"c49b48abeb8e","_type":"block","children":[{"_key":"c49b48abeb8e0","_type":"span","marks":[],"text":""}],"markDefs":[],"style":"normal"},{"_key":"dd0f99add1d0","_type":"block","children":[{"_key":"dd0f99add1d00","_type":"span","marks":[],"text":""}],"markDefs":[],"style":"normal"},{"_key":"11a4e44ec215","_type":"block","children":[{"_key":"11a4e44ec2150","_type":"span","marks":[],"text":""}],"markDefs":[],"style":"normal"},{"_key":"fb7051f6e289","_type":"block","children":[{"_key":"fb7051f6e2890","_type":"span","marks":[],"text":"In the post-war period Hungary suffered under the dictatorship of the Soviet Union whose ideology at the time was hostile to modern art. The authorities established the official art form of ‘Socialist Realism’, as representation of the achievements of the great socialist era. Parallel to this, Hungary’s artists were establishing what became known as the un-official art scene, working outside of the highly censored institutional system. This un-official scene often operated underground, using private apartments as show spaces and holding clandestine semi-illegal exhibitions. 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are pleased to present our exhibition Viennese Season: Actionism, in collaboration with Richard Saltoun Gallery. The exhibition will examine this sensational movement borne out of expressive action painting in Vienna in the late 1950s."}],"markDefs":[],"style":"normal"},{"_key":"e7b4454413e1","_type":"block","children":[{"_key":"e7b4454413e10","_type":"span","marks":[],"text":"This is the first major survey of Viennese Actionism in the UK. The exhibition will present the work of Günter Brus, Otto Mühl, Hermann Nitsch, and Rudolf Schwarzkogler. Virtually over by 1970, the radical movement was short-lived but rich and dense in each artist’s output. Performance works, "},{"_key":"e7b4454413e11","_type":"span","marks":["em"],"text":"aktions"},{"_key":"e7b4454413e12","_type":"span","marks":[],"text":", were at the heart of their work, extending the use and meaning of painting. Blood, animal carcasses, razor blades, and ropes were all used as implements to create these "},{"_key":"e7b4454413e13","_type":"span","marks":["em"],"text":"aktions"},{"_key":"e7b4454413e14","_type":"span","marks":[],"text":"."}],"markDefs":[],"style":"normal"},{"_key":"3be91e7baf5e","_type":"block","children":[{"_key":"3be91e7baf5e0","_type":"span","marks":[],"text":"The exhibition will include vintage photographs of performances by all four artists as well as one of the original surviving stretchers used by Nitsch, rare in that he only ever performed six "},{"_key":"3be91e7baf5e1","_type":"span","marks":["em"],"text":"aktions"},{"_key":"3be91e7baf5e2","_type":"span","marks":[],"text":"."}],"markDefs":[],"style":"normal"},{"_key":"f0f0a09d7f34","_type":"block","children":[{"_key":"f0f0a09d7f340","_type":"span","marks":[],"text":"This exhibition follows a recent major survey exhibition, "},{"_key":"f0f0a09d7f341","_type":"span","marks":["em"],"text":"Viennese Actionism: Art and Upheaval in 1960s Vienna"},{"_key":"f0f0a09d7f342","_type":"span","marks":[],"text":" at Museum Moderner Kunst Siftung Ludwig, Wien."}],"markDefs":[],"style":"normal"},{"_key":"bc8d4ae450d0","_type":"block","children":[{"_key":"bc8d4ae450d00","_type":"span","marks":["strong"],"text":"Günter BRUS"},{"_key":"bc8d4ae450d01","_type":"span","marks":[],"text":" (b. 1938, Ardning, Austria) Inspired by German and Austrian Expressionism at the turn of the century, Brus began his career as a commercial graphic artist. Experiments with the traditional notion of “painting” are best embodied in 6th"},{"_key":"bc8d4ae450d02","_type":"span","marks":["em"],"text":" Action: Vienna Walk"},{"_key":"bc8d4ae450d03","_type":"span","marks":[],"text":" (1965), in which he walked through the city of Vienna as a ‘living picture’, fully painted in white, with a black line dividing his body in two halves. A collection of his works can be found in the Bruneum, Graz’ Neue Galerie; Tate, London; and the Sammlung Friedrichshof, Austria."}],"markDefs":[],"style":"normal"},{"_key":"be6a6513f72a","_type":"block","children":[{"_key":"be6a6513f72a0","_type":"span","marks":["strong"],"text":"Otto MÜHL"},{"_key":"be6a6513f72a1","_type":"span","marks":[],"text":" (b. 1925. Grodnau, Austria – d. 2013, Moncarapacho, Portugal) Painter, performer and filmmaker infamous for founding both Actionism and the Friedrichshof commune outside of Vienna. Controversial for his Material Aktions, in which the naked body served as the canvas. These performances involved the use of blood, feces, and were of a sexual, often violent, nature. His work is included in collections of The Walker Art Center, Minneapolis; Pomeranz Collection, Vienna; and Centre Pompidou, Paris."}],"markDefs":[],"style":"normal"},{"_key":"9387bd057c28","_type":"block","children":[{"_key":"9387bd057c280","_type":"span","marks":["strong"],"text":"Hermann NITSCH"},{"_key":"9387bd057c281","_type":"span","marks":[],"text":" (b. 1938, Vienna, Austria) Viennese Actionist painter and performer, Nitsch began his career as a student at the Pedagogical and Experimental Institute for Graphics in Vienna. His performances involve crucifixions, dance, music and other visually violent actions, together with the use of animal carcasses and entrails, in the attempt to create a tragic and sacred-like "},{"_key":"9387bd057c282","_type":"span","marks":["em"],"text":"Gesamtkunstwerk"},{"_key":"9387bd057c283","_type":"span","marks":[],"text":" ‘total artwork’: the "},{"_key":"9387bd057c284","_type":"span","marks":["em"],"text":"Orgien Mysterien Theater "},{"_key":"9387bd057c285","_type":"span","marks":[],"text":"(or "},{"_key":"9387bd057c286","_type":"span","marks":["em"],"text":"Aktion"},{"_key":"9387bd057c287","_type":"span","marks":[],"text":"). First conceived in 1957 but not first realized until 1963 he has performed more than 100 of these. 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