György Galántai - Revision history

Diogooutra at 19:08, 8 February 2024

2024-02-08T19:08:31Z

Diogooutra at 19:41, 13 January 2021

2021-01-13T19:41:27Z

Diogooutra at 16:35, 19 February 2020

2020-02-19T16:35:35Z

Diogo at 15:27, 4 June 2019

2019-06-04T15:27:54Z

Diogo at 19:38, 3 June 2019

2019-06-03T19:38:37Z

Diogo: Text replacement - "Figures" to "Profiles"

2019-04-04T17:37:27Z

Text replacement - "Figures" to "Profiles"

Diogo at 13:49, 6 September 2018

2018-09-06T13:49:52Z

Diogo at 09:34, 11 July 2018

2018-07-11T09:34:59Z

Diogo at 09:34, 11 July 2018

2018-07-11T09:34:29Z

Diogo at 09:33, 11 July 2018

2018-07-11T09:33:56Z

@@ Line 5: / Line 5: @@
 In 1985, the Hungarian ‘shaman punk’ outfit, [[Vágtázó Halottkémek]] (Galloping Coroners) played Galántai’s sounding sculptures at the Petőfi concert hall, Budapest. In 1987 members of the [[180 CSOPORT|Group 180]] and [[New Music Studio]] performed with the sculptures at the concert held on Marcel Duchamp's 100th anniversary at the Eötvös Lóránd University, Budapest.
-<embedvideo service="vimeo">https://vimeo.com/279087926</embedvideo>
+<embedvideo service="youtube">https://youtu.be/teKUL1EcaB4</embedvideo>
 In the 1980s, Galántai’s activities combined the fluxus tradition of the multiple with the ‘local’ practice of samizdat (self-publishing) and the punk DIY ethos. [[Artpool Radio]], for instance, was a series of eight cassette tapes that Galántai initiated in 1983 and distributed abroad through his mail art networks. A mix of interviews and conversations as well as music and documentation of concerts, and sound art, Artpool Radio demonstrates the close connections between visual artists and musicians in Budapest at the time. The third Artpool Radio tape documents the telefonkoncert which Artpool co-organised with the Vienna-based BLIX group. Over four hours in April 1983, musicians in Budapest (including [[Európa Kiadó]], [[Trabant]] and [[A. E. Bizottság|Bizottság]]), Vienna and Berlin performed across a network formed by telephones. The fifth cassette is a compilation of excerpts of sound documents from the Hungarian counter culture and was made by Galántai in 1984 for the vernissage of "Hungary can be Yours", the last banned exhibition in Hungary before the transition in 1989.

@@ Line 7: / Line 7: @@
 <embedvideo service="vimeo">https://vimeo.com/279087926</embedvideo>
-In the 1980s, Galántai’s activities combined the fluxus tradition of the multiple with the ‘local’ practice of samizdat (self-publishing) and the punk DIY ethos. [[Artpool Radio]], for instance, was a series of eight cassette tapes that Galántai initiated in 1983 and distributed abroad through his mail art networks. A mix of interviews and conversations as well as music and documentation of concerts, and sound art, Artpool Radio demonstrates the close connections between visual artists and musicians in Budapest at the time. The third Artpool Radio tape documents the telefonkoncert which Artpool co-organised with the Vienna-based BLIX group. Over four hours in April 1983, musicians in Budapest (including [[Europa Kiádo]], [[Trabant]] and [[A. E. Bizottság|Bizottság]]), Vienna and Berlin performed across a network formed by telephones. The fifth cassette is a compilation of excerpts of sound documents from the Hungarian counter culture and was made by Galántai in 1984 for the vernissage of "Hungary can be Yours", the last banned exhibition in Hungary before the transition in 1989.
+In the 1980s, Galántai’s activities combined the fluxus tradition of the multiple with the ‘local’ practice of samizdat (self-publishing) and the punk DIY ethos. [[Artpool Radio]], for instance, was a series of eight cassette tapes that Galántai initiated in 1983 and distributed abroad through his mail art networks. A mix of interviews and conversations as well as music and documentation of concerts, and sound art, Artpool Radio demonstrates the close connections between visual artists and musicians in Budapest at the time. The third Artpool Radio tape documents the telefonkoncert which Artpool co-organised with the Vienna-based BLIX group. Over four hours in April 1983, musicians in Budapest (including [[Európa Kiadó]], [[Trabant]] and [[A. E. Bizottság|Bizottság]]), Vienna and Berlin performed across a network formed by telephones. The fifth cassette is a compilation of excerpts of sound documents from the Hungarian counter culture and was made by Galántai in 1984 for the vernissage of "Hungary can be Yours", the last banned exhibition in Hungary before the transition in 1989.
 == Related Links ==

@@ Line 1: / Line 1: @@
 Still active today, György Galántai was a key figure in [[:Category:Hungary|Hungarian]] non-conformist art in the 1970s and 1980s, and the founder of the [[Artpool Art Research Center]]. As the organiser of thirty-five exhibitions in a disused chapel in Balatonboglár from 1970-73, Galántai created a gallery for the display of neo-avant-garde and conceptual art at a time when such practices were marginalised and even under prohibition in Hungary. Despite being compelled to shut down the gallery and becoming the subject of Secret Police attention, Galántai continued to create networks for intellectual exchange, not least in the form of mail art.
 As an artist, Galántai has explored various practices from painting and sculpture to performance. His works from the 1970s explore the production of meaning in sign systems. Later in the decade, he practiced as a sculptor, working with iron after training as a welder at the Csepel steelworks. Both interests combine in the acoustic sculptures which he made in 1984-85. Galántai viewed them as an invitation for spontaneous and improvised performance.
-In 1985, the Hungarian ‘shaman punk’ outfit, [[Vágtázó Halottkémek]] (Galloping Coroners) played Galántai’s sounding sculptures at the Petőfi concert hall, Budapest. In 1987 members of the Group 180 and New Music Studio performed with the sculptures at the concert held on Marcel Duchamp's 100th anniversary at the Eötvös Lóránd University, Budapest.
+In 1985, the Hungarian ‘shaman punk’ outfit, [[Vágtázó Halottkémek]] (Galloping Coroners) played Galántai’s sounding sculptures at the Petőfi concert hall, Budapest. In 1987 members of the [[180 CSOPORT|Group 180]] and [[New Music Studio]] performed with the sculptures at the concert held on Marcel Duchamp's 100th anniversary at the Eötvös Lóránd University, Budapest.
 <embedvideo service="vimeo">https://vimeo.com/279087926</embedvideo>

← Older revision		Revision as of 15:27, 4 June 2019
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−	Still active today, György Galántai was a key figure in [[:Category:Hungary\|Hungarian]] non-conformist art in the 1970s and 1980s. As the organiser of thirty-five exhibitions in a disused chapel in Balatonboglár from 1970-73, Galántai created a gallery for the display of neo-avant-garde and conceptual art at a time when such practices were marginalised and even under prohibition in Hungary. Despite being compelled to shut down the gallery and becoming the subject of Secret Police attention, Galántai continued to create networks for intellectual exchange, not least in the form of mail art.	+	Still active today, György Galántai was a key figure in [[:Category:Hungary\|Hungarian]] non-conformist art in the 1970s and 1980s, and the founder of the [[Artpool Art Research Center]]. As the organiser of thirty-five exhibitions in a disused chapel in Balatonboglár from 1970-73, Galántai created a gallery for the display of neo-avant-garde and conceptual art at a time when such practices were marginalised and even under prohibition in Hungary. Despite being compelled to shut down the gallery and becoming the subject of Secret Police attention, Galántai continued to create networks for intellectual exchange, not least in the form of mail art.
	As an artist, Galántai has explored various practices from painting and sculpture to performance. His works from the 1970s explore the production of meaning in sign systems. Later in the decade, he practiced as a sculptor, working with iron after training as a welder at the Csepel steelworks. Both interests combine in the acoustic sculptures which he made in 1984-85. Galántai viewed them as an invitation for spontaneous and improvised performance.		As an artist, Galántai has explored various practices from painting and sculpture to performance. His works from the 1970s explore the production of meaning in sign systems. Later in the decade, he practiced as a sculptor, working with iron after training as a welder at the Csepel steelworks. Both interests combine in the acoustic sculptures which he made in 1984-85. Galántai viewed them as an invitation for spontaneous and improvised performance.

@@ Line 6: / Line 6: @@
 <embedvideo service="vimeo">https://vimeo.com/279087926</embedvideo>
-In the 1980s, Galántai’s activities combined the fluxus tradition of the multiple with the ‘local’ practice of samizdat (self-publishing) and the punk DIY ethos. [[Artpool Radio]], for instance, was a series of eight cassette tapes that Galántai initiated in 1983 and distributed abroad through his mail art networks. A mix of interviews and conversations as well as music and documentation of concerts, and sound art, Artpool Radio demonstrates the close connections between visual artists and musicians in Budapest at the time. The third Artpool Radio tape documents the telefonkoncert which Artpool co-organised with the Vienna-based BLIX group. Over four hours in April 1983, musicians in Budapest (including Europa Kiádo,Trabant and Bizottság), Vienna and Berlin performed across a network formed by telephones. The fifth cassette is a compilation of excerpts of sound documents from the Hungarian counter culture and was made by Galántai in 1984 for the vernissage of "Hungary can be Yours", the last banned exhibition in Hungary before the transition in 1989.
+In the 1980s, Galántai’s activities combined the fluxus tradition of the multiple with the ‘local’ practice of samizdat (self-publishing) and the punk DIY ethos. [[Artpool Radio]], for instance, was a series of eight cassette tapes that Galántai initiated in 1983 and distributed abroad through his mail art networks. A mix of interviews and conversations as well as music and documentation of concerts, and sound art, Artpool Radio demonstrates the close connections between visual artists and musicians in Budapest at the time. The third Artpool Radio tape documents the telefonkoncert which Artpool co-organised with the Vienna-based BLIX group. Over four hours in April 1983, musicians in Budapest (including [[Europa Kiádo]], [[Trabant]] and [[A. E. Bizottság|Bizottság]]), Vienna and Berlin performed across a network formed by telephones. The fifth cassette is a compilation of excerpts of sound documents from the Hungarian counter culture and was made by Galántai in 1984 for the vernissage of "Hungary can be Yours", the last banned exhibition in Hungary before the transition in 1989.
 == Related Links ==

← Older revision		Revision as of 17:37, 4 April 2019
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	[http://unearthingthemusic.eu/material/artpool-radio/ Artpool Radio (@UMCSEET MUSIC)]		[http://unearthingthemusic.eu/material/artpool-radio/ Artpool Radio (@UMCSEET MUSIC)]

−	[[Category: Hungarian ~~Figures~~]]	+	[[Category: Hungarian Profiles]]

@@ Line 17: / Line 17: @@
 [[Vágtázó Halottkémek]]
-[http://database.unearthingthemusic.eu/blog/material/artpool-radio/ Artpool Radio (@UMCSEET MUSIC)]
+[http://unearthingthemusic.eu/material/artpool-radio/ Artpool Radio (@UMCSEET MUSIC)]
 [[Category: Hungarian Figures]]

@@ Line 1: / Line 1: @@
-Still active today, György Galántai was a key figure in [[:Category:Hungary|Hungary]] Hungarian non-conformist art in the 1970s and 1980s. As the organiser of thirty-five exhibitions in a disused chapel in Balatonboglár from 1970-73, Galántai created a gallery for the display of neo-avant-garde and conceptual art at a time when such practices were marginalised and even under prohibition in Hungary. Despite being compelled to shut down the gallery and becoming the subject of Secret Police attention, Galántai continued to create networks for intellectual exchange, not least in the form of mail art.
+Still active today, György Galántai was a key figure in [[:Category:Hungary|Hungarian]] non-conformist art in the 1970s and 1980s. As the organiser of thirty-five exhibitions in a disused chapel in Balatonboglár from 1970-73, Galántai created a gallery for the display of neo-avant-garde and conceptual art at a time when such practices were marginalised and even under prohibition in Hungary. Despite being compelled to shut down the gallery and becoming the subject of Secret Police attention, Galántai continued to create networks for intellectual exchange, not least in the form of mail art.
 As an artist, Galántai has explored various practices from painting and sculpture to performance. His works from the 1970s explore the production of meaning in sign systems. Later in the decade, he practiced as a sculptor, working with iron after training as a welder at the Csepel steelworks. Both interests combine in the acoustic sculptures which he made in 1984-85. Galántai viewed them as an invitation for spontaneous and improvised performance.
@@ Line 8: / Line 8: @@
 In the 1980s, Galántai’s activities combined the fluxus tradition of the multiple with the ‘local’ practice of samizdat (self-publishing) and the punk DIY ethos. [[Artpool Radio]], for instance, was a series of eight cassette tapes that Galántai initiated in 1983 and distributed abroad through his mail art networks. A mix of interviews and conversations as well as music and documentation of concerts, and sound art, Artpool Radio demonstrates the close connections between visual artists and musicians in Budapest at the time. The third Artpool Radio tape documents the telefonkoncert which Artpool co-organised with the Vienna-based BLIX group. Over four hours in April 1983, musicians in Budapest (including Europa Kiádo,Trabant and Bizottság), Vienna and Berlin performed across a network formed by telephones. The fifth cassette is a compilation of excerpts of sound documents from the Hungarian counter culture and was made by Galántai in 1984 for the vernissage of "Hungary can be Yours", the last banned exhibition in Hungary before the transition in 1989.
-== References ==
+== Related Links ==
 [[Freedom is Mere Illusion – Experimental Music and Media Arts in Hungary]]

← Older revision		Revision as of 09:34, 11 July 2018
Line 1:		Line 1:
−	Still active today, György Galántai was a key figure in [[:Category:Hungary]]~~cHungarian~~ non-conformist art in the 1970s and 1980s. As the organiser of thirty-five exhibitions in a disused chapel in Balatonboglár from 1970-73, Galántai created a gallery for the display of neo-avant-garde and conceptual art at a time when such practices were marginalised and even under prohibition in Hungary. Despite being compelled to shut down the gallery and becoming the subject of Secret Police attention, Galántai continued to create networks for intellectual exchange, not least in the form of mail art.	+	Still active today, György Galántai was a key figure in [[:Category:Hungary\|Hungary]] Hungarian non-conformist art in the 1970s and 1980s. As the organiser of thirty-five exhibitions in a disused chapel in Balatonboglár from 1970-73, Galántai created a gallery for the display of neo-avant-garde and conceptual art at a time when such practices were marginalised and even under prohibition in Hungary. Despite being compelled to shut down the gallery and becoming the subject of Secret Police attention, Galántai continued to create networks for intellectual exchange, not least in the form of mail art.
	As an artist, Galántai has explored various practices from painting and sculpture to performance. His works from the 1970s explore the production of meaning in sign systems. Later in the decade, he practiced as a sculptor, working with iron after training as a welder at the Csepel steelworks. Both interests combine in the acoustic sculptures which he made in 1984-85. Galántai viewed them as an invitation for spontaneous and improvised performance.		As an artist, Galántai has explored various practices from painting and sculpture to performance. His works from the 1970s explore the production of meaning in sign systems. Later in the decade, he practiced as a sculptor, working with iron after training as a welder at the Csepel steelworks. Both interests combine in the acoustic sculptures which he made in 1984-85. Galántai viewed them as an invitation for spontaneous and improvised performance.

← Older revision		Revision as of 09:33, 11 July 2018
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−	Still active today, György Galántai was a key figure in ~~Hungarian~~ non-conformist art in the 1970s and 1980s. As the organiser of thirty-five exhibitions in a disused chapel in Balatonboglár from 1970-73, Galántai created a gallery for the display of neo-avant-garde and conceptual art at a time when such practices were marginalised and even under prohibition in Hungary. Despite being compelled to shut down the gallery and becoming the subject of Secret Police attention, Galántai continued to create networks for intellectual exchange, not least in the form of mail art.	+	Still active today, György Galántai was a key figure in [[:Category:Hungary]]cHungarian non-conformist art in the 1970s and 1980s. As the organiser of thirty-five exhibitions in a disused chapel in Balatonboglár from 1970-73, Galántai created a gallery for the display of neo-avant-garde and conceptual art at a time when such practices were marginalised and even under prohibition in Hungary. Despite being compelled to shut down the gallery and becoming the subject of Secret Police attention, Galántai continued to create networks for intellectual exchange, not least in the form of mail art.
	As an artist, Galántai has explored various practices from painting and sculpture to performance. His works from the 1970s explore the production of meaning in sign systems. Later in the decade, he practiced as a sculptor, working with iron after training as a welder at the Csepel steelworks. Both interests combine in the acoustic sculptures which he made in 1984-85. Galántai viewed them as an invitation for spontaneous and improvised performance.		As an artist, Galántai has explored various practices from painting and sculpture to performance. His works from the 1970s explore the production of meaning in sign systems. Later in the decade, he practiced as a sculptor, working with iron after training as a welder at the Csepel steelworks. Both interests combine in the acoustic sculptures which he made in 1984-85. Galántai viewed them as an invitation for spontaneous and improvised performance.