Lóska Lajos szerk.: Művészettörténeti tanulmányok Pest megyéből (Studia Comitatensia 20. Szentendre, 1990)
Szentendre képzőművészete 1945–1985 - Novotny Tihamér: „Zászló, mint olyan szél lobogtat, mely nem fúj”
(Az írás az 1988. februári m SZAFT m kiállítás [A Vajda Lajos Stúdió és meghívott barátaik közös kiállítása, Bp. Ernst Múzeum] katalógusában közölt tanulmány kibővített változata) Tihamér riovotny: "A FLAG THAT IS BLOWN BY A NON-BLOWING WIND" Preliminary Study for a Longer Essay on the Lajos Vajda Studio of SZENTENDRE In the summer of 1986 an exhibition titled "Mew Mixture" opened in Szentendre Gallery from the pieces of some of the founders of the Lajos Vajda Studio (LVS) — János Aknay, László fe Lugossy and István ef Zámbó — and those of artists who joined later — István Balogh, Peter Bereznai, Viktor Lois, Mihály Qubis, Sándor Gyó'rffy, Tibor Imreh, Károly István Selényi and István Tóth. For personal conflicts some highly regarded artists like András Wahorn, Imre Bukta, Attila Agócs, György Holdas and Gábor Matyófalvi did not participate at the show which was an attempt of revival. The story of the studio began in 1967 with the meeting of ef (effectual) Zámbó ant fe (phenomenal) Lugossy who in 1968 founded Purgatory Club where they staged their first happening titled "Vanilla Dream Buiscuit" a la J. Hendrix. In 1969 the First Edvinist Art Camp was organized in Szentendre by Zámbó, Holdas, Matyófalvi and Lugossy (Edvin being the name of a mole cricket, a sacred animal of the underground subculture they strove to create). They articulated their own esoteric-orphic philosophy which stated that Edvinism had no connection with reality, it was based on emotions and true enthusiasm in doing something one was not qualified for and thet one should have forgotten all in order to be able to act. Their happening titled "Malaya" provoked police action by misunderstandings but in 1972 they were joined by János Aknay and founded the Lajos Vajda Studio. In 1984 they were given the Baroque cellar of Péter-Pál Street for their thematic and individual shows. Their most active period was from 1974 to 1981 with a varying number of participants who were all inspired by the experimental, direct and plebeian spirit of the "cellar" and included photographers, art students, artists from Marosvásárhely, Aachen and Bielefeld and musicians participating at the actions of the Bizottság (Committee) underground rock group. The pillars of the group have all been admitted to the Studio of Young Artists. In 1977 the experimental plastic sculptures made in Leninváros were highly regarded by the official art establishment as well. Success triggered the members to take their own ways. The most active core of the Studio (ef Zámbó, fe Lugossy, Bernáth(y) and Wahorn) tended towards Mew Wave with their attraction to music, art and experimental film. In 1984 and 1985 the shows in the cellar were organized by Aknay which meant the strengthening of the Abstract trend which attained the same rank as the earlier Neo-Dadaist, New Realist, Fluxus and Concept Art attempts. A chapter titled "The History of Autodidact Existence in the Modern Period" enumerates the precedents of the specific Avantgarde character of the LVS wich resembles the appearance of Naive Artists who were accepted only by the Avantgarde masters with the keenest eye. A landmark was „Der Blaue Reiter", an almanach which included woodcuts, glass paintings, votive pictures and primitive works of art. The trenches and prisoner camps of World War I gave rise to an interfolkloric "Do It Yourself Art". As a criticism of the industrial society and mass production Duchamp exhibited his first „ready mades" in 1915. These and the Dadaist collages, objects and assemblages democratized the earlier concept of art. The 1928 introduction of Naive Artists in Paris paved the way to the later success of Naive and Primitive Art in and outside Europe. In 1948 Dubuffet, Breton and Tapies formed the Art Brut Society which again called attention to autodidacts, instinctive, spontaneous and peripheric attempts. Beuys, the most universal character of the Avantgarde movement did not refrain from stating "everyone is an artist". This is how autodidact became an epithet for the most remarkable art trend. The earlier Collectivistic, Expensionist period seems to be over now giving rise to individual characters and careers insteed. There seems to be a quiet period in 20th century art now which seems to justify Kandinsky's image of our century: "The age of synthesis between arts and visual culture". For the members of the LVS art is an outspoken entertainment, a vital part of their lives, work therapy, a way to heal psychological wounds as it is reflected in their lives. The author maintains that the end of the collectivist period will produce a richer, more versatile aesthetic picture. 186
