Zeitschrift Umělec 2001/4 >> Hungary for more Übersicht aller Ausgaben
Hungary for more
Zeitschrift Umělec
Jahrgang 2001, 4
6,50 EUR
8 USD
Die Printausgabe schicken an:
Abo bestellen

Hungary for more

Zeitschrift Umělec 2001/4

01.04.2001

Emese Süvecz | q&a | en cs

"Budapest saw the opening of a new museum on September 22 that effectively broke the mold of the local status quo. The Hungarian art scene had been anxiously anticipating MEO for some time, as this project represents the first initiative of its kind to emerge from the private sector. MEO—Contemporary Art Collection belongs to businessman Lajos Kováts who has been gathering experience in the auction business as well as running Blitz Gallery for the past ten years. The collection is located in a large building of a former leather factory, and consists of ca. 3000 m2 of exhibition space, a coffee bar and a bookshop.

When did you start collecting art?

I’m not really a collector; I have never really been one. I would occasionally build up collections for one reason or another. Once because I thought that my gallery could only work if I kept certain things and collected them. For example I once collected Frank Figyes [Hungarian painter 1890–1976] just because I wanted to put on an exhibition for him, by which I hoped to place him both in the auction business and in the history of art. I put on an exhibition, made the catalogue, and then I sold the works.

So why then did you start collecting contemporary art?

There are many reasons. One of them concerns the exhaustion of the auction business in Hungary. Its quality has deteriorated compared to what it was like ten years ago. This can be explained by the acquisition of all the first-rate paintings by the Hungarian plutocracy, and it is unlikely that they will ever appear in trade again, or if they do, only very rarely and priced way above market value. The other reason is that I have always been interested in contemporary art, ever since my childhood, and not only that — I used to take painting lessons, which was more interesting to me than classical art. Eight years ago I invited tenders at the Academy of Fine Arts in Budapest, but it was not successful. I tried to introduce contemporary works into the auctions four years ago, but no interest was shown.

Why is now a favorable time to introduce contemporary art, and what kind of art do you support?

Hungarian art, from the point of view of art history and the public auction markets, came to an end after World War II. Three or four years ago I started dealing with the 1960s, then I focused exclusively on the artists from the Iparterv exhibition. I put together a serious collection, but it was not one I ever intended to hold onto until my dying day. I tried to draw attention to neglected works, basically those that were in the artists’ possession because nobody else was interested in them. Or those works that had been neglected because, by the time some artists had become established, only their most recent works were in demand, but not their older works, except for a few pieces which were given to museums or to friends.

Does that mean that you consider collecting to be nothing more than an investment?

I don’t really see it as an investment; I see it as a duty.

Then what kind of duty is it? Why is it so important to collect contemporary art?

I don’t think of this activity in the same manner as a collector might, someone who has been collecting all his life; I’m not interested in that so much. What interests me is the assembly of works, their subsequent exhibition and the publication of catalogues. The fact that this activity brings in an income is just an added bonus. Actually while I was collecting work from the 1960s I became acquainted with many contemporary artists, and I started buying their current works. And with this old factory, an opportunity to found an institute presented itself, and I started to buy contemporary works once again. This is a very difficult thing and it will give rise to criticism. Within such a limited time it’s not possible to put together a collection that has distinguishing features and at the same time encompasses works of an exclusive standard. Time was short. In the beginning you are forced to buy many things. My primary motivation was to present a cross-section of the current situation.

This means of collecting art is the strategy used by dealers. In MEO there will be several shows besides the permanent exhibition of the collection. What is your plan for the future of this institute?

Yes, besides the collection, we will run a gallery as well, and without a doubt it will function as a reference for the collection. I own them both along with my partner. But they do not intertwine financially; only their location is the same. Whoever comes here with the intention of trading can visit the museum as well, and those who come to see the collection can maybe buy contemporary art. This is how it works in Paris, where the galleries are situated around a museum.

It’s clear that you started collecting contemporary art because you saw new possibilities in it, but it doesn’t necessarily follow that the institution is being founded for this collection.

I made this decision because there isn’t anything like it in Hungary. I think this is the right time to make it happen because we have the chance to do it. Furthermore more and more people are interested in contemporary art in Hungary. On the other hand, I like doing interesting things and this is a very exciting and difficult task, which I want to take to the highest level.

In your collection there is only Hungarian art. Do you have other plans for the future?

We would like to broaden the collection in different ways from what we’d started to do three years ago. We would like to collect international art as well. Collecting international art has not been effectively dealt with by the big Hungarian institutions — the Museum of Fine Art or the Museum of Contemporary Art, Ludwig Museum Budapest, to name a few — for financial and bureaucratic reasons. We are going to be more flexible. We plan on inviting big international shows and then we can decide to negotiate on keeping a piece for our collection. So in the long run it will be possible to establish a serious collection from which we are able to lend works to other museums for other shows. Beyond that, material is also going to be collected for curators to select works from, so that they can curate new shows based on different concepts.

What kind of exhibitions do you intend to invite?

We will strive not only to take in exhibitions that are travelling around the world representing national cultural values, those that are supported by the state or by foundations, but we would also like to select specific shows ourselves and invite them to come to Hungary. Our basic aim is to have exhibitions in about half a year that people will queue to get into.

What exhibitions do you have in mind?

First and foremost, contemporary art shows.

Will people really queue for contemporary shows? This has never been achieved in Hungary.

There are shows people will stand in line to visit if we bring them here.

Which shows do you have in mind?

The Herman Nitsch exhibition was crowded.

The shows currently in MEO’s gallery are the Imre Bak solo exhibition and three video pieces by Chris Cunningham. Both were exhibited in the Arsenale at the Venice Biennale this year. Is there a kind of strategy here to arouse people’s interest?

We would like to work out an exhibition policy that would give us the kind of attendance numbers we need. Based on our experience, MEO is already intriguing to a lot of people. Business people and companies want to cooperate with us to support our activity through bartering. We will therefore be able to finance big international shows.

You want to establish a board of supporting members, which is unprecedented in the contemporary art scene in Hungary. What kinds of services do you offer and to whom?

Even though this is a very new initiative, plenty of people have already surfaced. We expect this board to evolve into a community around the institute, whose private, disposable income will go towards the support of our activities. We can only offer reasonable services such as reductions in ticket prices, in the coffee bar or in the bookshop. Besides that we will organize exclusive events, fundraising parties where the community can make new contacts.

What about your staff?

Our staff only consists of a few people. Barnabás Bencsik is the artistic director; he has two assistants; I am the managing director and I am working with one assistant at the moment, but I get help from my other gallery, Blitz. We don’t want to work with more people; except in the case of a new project, and for that we will employ new people for a certain period of time.
"




Kommentar

Der Artikel ist bisher nicht kommentiert worden

Neuen Kommentar einfügen

Empfohlene Artikel

Tunelling Culture II Tunelling Culture II
Contents 2016/1 Contents 2016/1
Contents of the new issue.
Magda Tóthová Magda Tóthová
Mit Anleihen aus Märchen, Fabeln und Science-Fiction drehen sich die Arbeiten von Magda Tóthová um moderne Utopien, Gesellschaftsentwürfe und deren Scheitern. Persönliche und gesellschaftliche Fragen, Privates und Politisches werden behandelt. Die Personifizierung ist das zentrale Stilmittel für die in den Arbeiten stets mitschwingende Gesellschaftskritik und das Verhandeln von Begriffen, auf…
Le Dernier Cri und das Schwarze Glied von Marseille Le Dernier Cri und das Schwarze Glied von Marseille
Alle Tage hört man, dass jemand mit einem etwas zusammen machen möchte, etwas organisieren und auf die Beine stellen will, aber dass … tja, was denn eigentlich ...? Uns gefällt wirklich gut, was ihr macht, aber hier könnte es einige Leute aufregen. Zwar stimmt es, dass ab und zu jemand aus einer Institution oder einem Institut entlassen wurde, weil er mit uns von Divus etwas veranstaltet hat –…
04.02.2020 10:17
Wohin weiter?
offside - vielseitig
S.d.Ch, Einzelgängertum und Randkultur  (Die Generation der 1970 Geborenen)
S.d.Ch, Einzelgängertum und Randkultur (Die Generation der 1970 Geborenen)
Josef Jindrák
Wer ist S.d.Ch? Eine Person mit vielen Interessen, aktiv in diversen Gebieten: In der Literatur, auf der Bühne, in der Musik und mit seinen Comics und Kollagen auch in der bildenden Kunst. In erster Linie aber Dichter und Dramatiker. Sein Charakter und seine Entschlossenheit machen ihn zum Einzelgänger. Sein Werk überschneidet sich nicht mit aktuellen Trends. Immer stellt er seine persönliche…
Weiterlesen …
offside - hanfverse
Die THC-Revue – Verschmähte Vergangenheit
Die THC-Revue – Verschmähte Vergangenheit
Ivan Mečl
Wir sind der fünfte Erdteil! Pítr Dragota und Viki Shock, Genialitätsfragmente (Fragmenty geniality), Mai/Juni 1997 Viki kam eigentlich vorbei, um mir Zeichnungen und Collagen zu zeigen. Nur so zur Ergänzung ließ er mich die im Samizdat (Selbstverlag) entstandene THC-Revue von Ende der Neunzigerjahre durchblättern. Als die mich begeisterte, erschrak er und sagte, dieses Schaffen sei ein…
Weiterlesen …
prize
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
Weiterlesen …
mütter
Wer hat Angst vorm Muttersein?
Wer hat Angst vorm Muttersein?
Zuzana Štefková
Die Vermehrung von Definitionen des Begriffes „Mutter“ stellt zugleich einen Ort wachsender Unterdrückung wie auch der potenziellen Befreiung dar.1 Carol Stabile Man schrieb das Jahr 2003, im dichten Gesträuch des Waldes bei Kladno (Mittelböhmen) stand am Wegesrand eine Frau im fortgeschrittenen Stadium der Schwangerschaft. Passanten konnten ein Aufblitzen ihres sich wölbenden Bauchs erblicken,…
Weiterlesen …
Bücher und Medien, die Sie interessieren könnten Zum e-shop
29.5 x 45.5 cm, Pen & Ink Drawing
Mehr Informationen ...
446,40 EUR
529 USD
Limited edition of 10. Size 100 x 70 cm. Black print on durable white foil.
Mehr Informationen ...
75 EUR
89 USD
First English Edition / 128 pages in color on fine art paper / Translated and introduced by Marek Tomin / Afterword by Martin...
Mehr Informationen ...
14,50 EUR
17 USD

Studio

Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...
 

Zitat des Tages Der Herausgeber haftet nicht für psychische und physische Zustände, die nach Lesen des Zitats auftreten können.

Die Begierde hält niemals ihre Versprechen.
KONTAKTE UND INFORMATIONEN FÜR DIE BESUCHER Kontakte Redaktion

DIVUS
NOVÁ PERLA
Kyjov 36-37, 407 47 Krásná Lípa
Čzech Republic


 

GALLERY
perla@divus.cz, +420 222 264 830, +420 606 606 425
open from Wednesday to Sunday between 10am to 6pm
and on appointment.

 

CAFÉ & BOOKSHOP
shop@divus.cz, +420 222 264 830, +420 606 606 425
open from Wednesday to Sunday between 10am to 10pm
and on appointment.

 

STUDO & PRINTING
studio@divus.cz, +420 222 264 830, +420 602 269 888
open from Monday to Friday between 10am to 6pm

 

DIVUS PUBLISHING
Ivan Mečl, ivan@divus.cz, +420 602 269 888

 

UMĚLEC MAGAZINE
Palo Fabuš, umelec@divus.cz

DIVUS LONDON
Arch 8, Resolution Way, Deptford
London SE8 4NT, United Kingdom

news@divus.org.uk, +44 (0) 7526 902 082

 

Open Wednesday to Saturday 12 – 6 pm.

 

DIVUS BERLIN
Potsdamer Str. 161, 10783 Berlin, Deutschland
berlin@divus.cz, +49 (0)151 2908 8150

 

Open Wednesday to Sunday between 1 pm and 7 pm

 

DIVUS WIEN
wien@divus.cz

DIVUS MEXICO CITY
mexico@divus.cz

DIVUS BARCELONA
barcelona@divus.cz
DIVUS MOSCOW & MINSK
alena@divus.cz

 

DIVUS NEWSPAPER IN DIE E-MAIL
Divus We Are Rising National Gallery For You! Go to Kyjov by Krásná Lípa no.37.