1987. január (1-6. szám) / HU_BFL_XIV_47_2

- 2 sovereign indiviöual and the national identity cease existing in this

médium and only a politically induced xaceless mass culture remains,

’vl O/

/.../ The art is^/oeli eves in the principle of living dangerously /.../

ránts to have nothing to do with this. He does nőt ránt to

piacé a limit on his capacity to judge and to make decisions. Ke

knows and accepts that if he is nőt connected directly to the

centrally controlled culture his person may become a dangerous example

\aV

of independent political and artistic action./.../ It is) ^this point . vvhere the artistic deed which the force of creating a model fór future actions lies.

3. In the déctatorial societies of the XXth ■. century /.../ the

nausea from politics and the impotence stemming from it have

resulted in turning away from public life. The avantgárde /.../ has

lost its political contenti Politics is a negative térin fór the

decisive máj őrity of artists. /.../ It appears that unlike politicians

the artists know ’.vhat needs be done and in what way, In the aftermath

of the t'.vo world wars the openly dictatorial relations and the

obvious impotence of good will resulted in a partial and temporary

apathy in public life. In this situation the need árosé fór a kind of

artist v/ho takes a stand, who cannot be ’usedf by the authorities

and cannot be sucked in conveniently intő the repressive social and

political processes. This kind of art can exist only if it is tied neither to any centralized party ideology whatsoever, nor to any manipulative, auto.- cratic culture resulting from such an ideology.

4. In one half of the globe /.../ it is business /.../ while in the other half /.../ it is cultural policy /.../. There must exist somewhere between these two poles a coimnunity art working in the interest of Mán /.../, a peculiarly East-European artistic course

,t+