The Poïpoïdrome in Budapest : A Case Study in Curating Changeability in Contemporary Art
- Submitting institution
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The University of Huddersfield
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 65
- Type
- D - Journal article
- DOI
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10.17892/app.2020.0000.199
- Title of journal
- Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe
- Article number
- 15
- First page
- -
- Volume
- 1
- Issue
- -
- ISSN
- 2365-7758
- Open access status
- Compliant
- Month of publication
- October
- Year of publication
- 2020
- URL
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- Supplementary information
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- Request cross-referral to
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- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This article presents the first critical treatment, in English, of the relationship between two exhibitions of artist Robert Filliou and architect Joachim Pfeufer's The Poïpoïdrome in Budapest in 1976 and 1998 as a case study for curating historic but inherently 'changeable' artworks. Hanna B Hölling has identified 'changeability' as both a critical concept and a material challenge in the conservation of post 1960s multimedia art, which this article then discusses concerning The Poïpoïdrome in particular.
The research draws together Bodor’s expertise on curating historical performance in museum environments with Hunter’s interest in spatial practice, networks and art after the internet, and is one example of an ongoing collaboration between the scholars. Based on primary archival research and interviews with its curators László Beke (1976) and György Galántai (1998), the article analyses the history of The Poïpoïdrome to evaluate the work’s ‘afterlives' in collections and exhibitions. In doing, it discusses Galántai’s idea of the ‘active archive’ as a curatorial approach capable of preserving a work’s inherent 'changeability' to resist simple medium-specific and art historical classification.
Initially presented during the 'Doing Performance Art History' conference at University of Zurich (3-5 November 2016), the article provides new international scholarship on Filliou’s practice as an example for East-West connections between artists during the Cold War. The published article in Apparatus. Film, Media and Digital Cultures of Central and Eastern Europe broadens the dissemination of the research beyond art historical circles to connect with new media art theories and practice. Bodor and Hunter have since been commissioned by Artpool Art Research Centre, Budapest to conduct further research on the 'active archive' as hybridised archival-curatorial networked art practice and research. Initial outcomes of this have been presented at the Artpool 40: Active Archives and Artist's Networks conference at the Museum of Fine Arts, Budapest (February 2020).
- Author contribution statement
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- Non-English
- No
- English abstract
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