Ars: časopis Ústavu Dejín Umenia Slovenskej Akadémie Vied (43.2010)

Já*. BVřnwYrA Bř ^ TiwAV HrdActí DeY/,
D^TMpWTW. P^<9^.' CEL7 YAA 2602.

cathédral, having been re-erected after the political
turnover. The project they hnally realized was tak-
ing the o/ /h/Mr TyTwA made by józsef
Somogyi from its home town, Hódmezóvásárhely,
into AmsterdamA Their intention was to investi-
gate the displacement, but now from the other side.
They wished to test the compatibility of different
contexts, námely of the socialist art making practice
in the public space and the arcane art-world-context
of a trend-setting Western museum. Their project
stirred up still water and brought into play, a whole
range of obliterated issues, among them the issue of
the buried, but not properly worked through past.
As for the local réception of the project, a peculiar
post-socialist constellation was taking shape as the
left and right wings of the ex-counter culture stood
shoulder to shoulder in this crusade. What is even
more bizarre is that the représentatives of the ex-
dissident culture formed an alliance with the ex-of-
hcial culture in their herce attack on the project. So,
the conceptual gesture of scratching the surface of
obscured socialist memories reunited the otherwise
deeply divided fractions of the current sceneA
Tittle Warsaw, the name of the collaboration of
two artists, which they háve kept for themselves even

24 HLAVAJOYA,M.-WINDERJ. (eds.): lEYp^MHdAwA
DáV Try of Y TAt? Amsterdam 2004;
Tbw episode 2.


76 YE/yg Peprc/At "B<? ^ Tfy/EV /A HrdAr/'I
D&ip/". P7c^r G^/A^yy o/ Př ďAb/.

un til today, was actually the title of their exhibition
held in the Polish Institute in Budapest in 1996, cen-
tred around the infamous Palace of Culture, a Soviet
gift given to Warsaw, the symbol of oppression for
their teachers and a product of a failed utopia for
themselves. Arthur Zmijewski takés up the voice of
Oscar Hansen regarding this tension over the hérit-
age of the past from the Soviet era proposing a sort
of poetic polemization with the building in the video
H yPr IThrvz^, declaring that "Ah A twr pw/
At the same time, from David Maljkovic, a
Croatian artist, cornes a strong warning that the most
effective iconoclast is Time. He stands up against
the erasure of the past by excavating and preserving
the artefacts of a sinking culture. In his video séries,
(2004 — 2006), aliens from the
future, from 2045, visit Petrova Gora monument of
the Tito-era in ex-Yugoslavia, and a mere thirty years
from now háve no dues at ail about the meaning and
function of the emptied out "Godless Temple".
A more participatory approach to the same set of
controversial problems is facilitated by the project
<2 TowA/ o;? /A ArrAArA D&iA/ [Fig. 5a], a guided tour
program proposed by the collaboration of two artists
(Tamás Kaszás, Csaba Farkas) based in Dunaújváros,
^ See the case mote detailed in ANDRÁS, E.: Ttansgtessing
Boundaties (E^^ Those Marked Out by the Predecessots)
in New Cente Conceptual Att. In: HA Gw^/^AHA.
Eds. A. ALBERRO - S. BUCHMANN. London - Vienna
2006, pp. 163-178.

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