Mészáros Júlia, N.: 35 éves a Győri Művésztelep. Történeti áttekintés, művek, életrajzi adatok, beszámoló a jubileumi találkozóról - Győri művészettörténet 4. (Győr, 2003)
N. Mészáros Júlia: A Győri Művésztelep működésének és alkotótevékenységének 35 éve
1 circumstances of the new programme of the symposion on superior orders: - „The mobiles and objects made during their three-year operation - as stated by the official jury - fell short of the professional standard, they remained in the phase of experimentation with material and form. That is why the resolution of the Executing Committee of the Hungarian Socialist Workers’ Party of the City of Győr passed in October of 1978 was justified, which was worded in such a way that it is necessary to unambiguously delimit the profile of the artists’ symposion ...In the interest of the successful execution, the artists’ symposium, is to collect the the young Hungarian representatives of applied art, sculpture, open air sculpture in connecting with the industrial character of Győr and to provide good conditions for their creative work” (6). After the frustration of continuation of creative activity of the RÁBA Symposium based on free experiments with forms of expression, keeping pace with the development of modern Hungarian art, in accordance with the resolution above, the city’s political and cultural leadership considerably supported the new ideas according to the changeover, in the development and realization of which an important part was assigned to Csaba Illés as an industrial designer as well, since the artists’ symposium was expected to fulfil designer’s tasks for environment-aesthetical purpose. Harmonizing these expectations with the industrial conditions and his special interest having in sight the development of his own domain, Csaba Illés made an attempt to give tasks of industrial design during the symposium to the artists, who chose, however, free creation, copyright problems being unsolved. As companies continued receiving participants of the artists’ symposium and provided for them materials, machines, technology and specialists, nothing seemed to prevent them from becoming absorbed in creative work indispensable to unfold their personality. What began in 1976 was of great importance not only in Győr but also possessed an exemplary value in artistic life of the country (7). It was the dignified represenatives of Hungarian neo-avantgarde and mainly neogeometric art, in the first place sculptors who came to Győr and managed to experiment undisturbed for some years in the field of adoption of industrial technology in fine art, materials being abundantly available at the local factories. The initial abundance of metal here also motivated numerous painters to create plastic works (e.g. János Fajó’s first large-size sculptures, István Nádler’s plate sculptures). Thus the wide range of possibilities of metal sculpture and the inspiring atmosphere of free experimentation with industrial technology meant the main attraction for the artists. After the János Xantus Museum was charged with accommodation of the works and planned to establish a permanent collection, they were motivated for a short time by the hope of including their creations in the museum’s collection, i.e. showing their art to the public regularly. 78
