Öriné Nagy Cecília (szerk.): A gödöllői szőnyeg 100 éve - Tanulmányok a 20. századi magyar textilművészet történetéhez (Gödöllő, 2009)

Summaries

134 sent in for the exhibition were made from the basic materials typical of the minitextiles. By establishing a new branch within the genre and within the textile biennial, the textile profession demonstrated again that they keep abreast of the times, for they organised the Hungarian Ribbon Exhibition as part of the biennial in 2000. The form belongs very much to the field of textiles and it meant a great challenge to the artists. After the biennial of 2000, the exhibitions of Szombathely got reorganised pursuant to the joint resolution of the textile profession and of the organisers. The biennials were converted into textile triennials. As a consequence, in 2003, the first Textile Triennial came to be organised in the Picture-gallery of Szobathely in the five categories settled in the course of years. The first is the Mural and Spherical Textile Exhibition existing since 1970. The second is the Exhibition of Applied Textiles (not mentioned in this paper), which has had this name since the 90s, as formerly (back from 1972) it was known as the Industrial Biennial. The third one is the Triennial of Miniature Textiles nicknamed ad "invention of Szombathely" by Mária Husz. Finally come the Flag Exhibition founded in the year of mille-centenary as fourth, and the Ribbon Exhibition founded in the year of the millennium as fifth, to complete this series of events. While the panel of experts has selected from the creations of only Hungarian artists in the Mural and Spherical Textile Triennial and in the Triennial of Applied Textiles, in the minitextile, flag and ribbon categories international works of art have been presented, which were created by nearly 2500 artists from more than 30 countries. Tibor Wehner Hie present-day textile of Gödöllő The definition "present-day textile of Gödöllő" is a complex, complicated notion only very widely interpretable in space, time and thematically, which embraces the artistic deeds and events connected with the town and traditions of Gödöllő, carrying on the traditional branch of textile art and renewing it, moving more than once far away from it. In the exhibition organised in the GIM-hdz ('house of the workshop of applied arts of Gödöllő) on the occasion of the hundred year anniversary in 2007 of the Gödöllő carpet, the creations of nine even presently active creators: Erzsébet Bódis, Éva Farkas, Erzsébet Katona Szabó, Gabriella Kovács, Veronika Kunszt, Irén Pirók, Flóra Remsey, Erzsébet Szekeres and Irén Szuppán have been given presentation space and have set the course of the most important present-day endeavours and trends. In line with the tradition created in the beginning of the last century by the artists' colony of Gödöllő, beside the traditional carpets and mural tapestry pictures, a number of new phenomena are observed in our days, presenting themselves in the use of new materials, in the application of individual techniques and in the appearance of new work forms representing a new approach of creation. It is the innovative mentality alloyed with thoughtfulness, moderation and discipline, which can be grasped as the characteristic feature of the art of Gödöllő, too: respect of classical values, application of conventional limits altered with delicacy, avoiding of extremities. The handicraft character of the artwork, its "done"-ness authenticated by the creating hand, its high level, several times brilliant craftsmanship in execution, thereby its uniqueness and irreproducibility, as well as its elegant, generous and excellent manner of presentation are important. In addition to striving for autonomity, the presence of the ambition to serve functionality is very strong, which means the designing and non-series execution of applied textile works, home textiles, furnishings, garments, and also the creation of works executed, from time to time, to order. The "present-day textile of Gödöllő" is an art maintaining concrete emphases, going back, time and again, to the motifs of folk art of old times; it is an art, which cherishes and carries on art nouveau traditions, one that is nature-minded and gives full scope to abstraction, therefore has a wide range of orientation and vistas in style, language and form. It has the property of creating an attractive influence, it has a receptive nature - and there have been a lot of collective, thematic exhibitions and appearances organised in place, outside the town border with support front Gödöllő and abroad to testify of this. It has also a life giving and radiating force capable of creating relations: this is why the textile art of Gödöllő rich in special virtues, having singular traits and peculiarities, may appear as the organic part of present-day art. It should be further noticed, that beyond the order of forms and outward properties, a fragile equilibrium of sensuality and conceptuality appears or is in hiding in the underlying domains in the works of the textile artists of Gödöllő. Some kind of contemplating spirit, awe of nature and a lyrical character permeates the compositions. The receiving audience and the contemplators are being guided by these creations into the spheres of intimacy, into worlds of tenderness, delicacy and sensitivity: as if their creators would be incited by some kind of half-hearted yet surfacing cult of beauty, desire and striving for harmony. So, the dreaminess of the art of Gödöllő did not abate even after the passing of a hundred years.