Savaria - A Vas Megyei Múzeumok értesítője 13-14. (1979-1980) (Szombathely, 1984)

Gyógyszerésztörténet - Rádóczy Gyula: A XVIII. századi bécsi dispensatoriumok

and their works viewed as a series was by all means suceesful. Twjo participants (A. Baj ко, К. Gulyás) canne to finish their creative periods started earlier at Velem, one of (them went on elaborating a programme of longer duration (Cs. Kelecsényi and Lujza Gecser started a completely new experiment that was too vague to evaluate at that time. The year 1979 brought some more significant changes. For the first time non-textile concerned artists (György Kemény graphic artist and György Galánitai sculptor and graphic artist) were also invited thus promoting a way of thinking that is more universal and less textile-orlented. The favourable effects of this endeavour appeared not so much in the objects as in the improvement of the symposium, the professional debate. The aim of guaranteeing sholarships for three ant historians (András Bán, Aliz Torday and Anna Wessely) was the same. This change seems have been the most effeotive one since the workshop started its work. Their presence was useful for both sides : the artists had a constant intellectual control of their work, and the theoretical knowledge of the art historians was added with some useful practical information. Thus the professional level of evaluating creative work has also improved. The third significant novelty in this year was that an artist from abroad (Hansi Hübmer from Austria) also participated in the wonk for six weeks. Her activity came as a revelation, her work was one of the best productions of the year. In all her ithree works textile and handwriting were combined. A white bedsheet full of hasty handwriting like a love-letter covered with gauze sewn to it making the personal message that is nobody's business, undecipherable and private. (Du und Ich.) (Ili. 9.) The writing is present and perceivable, it is only its message that cannot be decoded, it is covered with gauze just like The Cell of Zsuzsa Szenes with iburlap. We are all aware that it is present, but we are all imcompetent to read it. There are numbers on an other "bedsheet" divided by a playful inscriptoán (Velem — mit mir) in order to "represent identification". The strange thing about it is that it was right her, who, as a foreigner came back to Velem after two years and who could best continue a progress that had been previously started here. As Márta Kovalovszky put it: "Some features of Hansi Hubmer's sheet compositions, their deep (though carefully hidden) émotions are closely related to Zsuzsa Szenes' s work, but they were a lonely remainder of the previous years among the works made in 1979."

10 (Ш. 10.) 1980 brought with it yet another type of activities. More industrial textile designers participated than ever before (Ildikó Balázs, Valéria Bem, Emese Gaál, Anna Torma, Éva Vajk). The rest of the works was also of the type of particular questions, of part-reseairch, thus they could not effect the overall atmosphere cf the workshop. There was one outstanding and rather complex work done by Lujza Gecser and András Szirtes together. L. Gecser further developed her experiments with space and reflection started a year before. She created a monumental pseudoenvironment out of perishable, light and airy materials like cellophane, aluminium foil, mirror and glass. But the end-product was not this ever-changing, transitional system of space but the motion picture recording of it. (See in detail under the evaluation of individual works.) The rest of works worth mentioning were of very differing characters and were not echoed by each other. Thus the studies exciting in themselves of Károly Hantos (sculptor) or the inspiring activities of the artists from abroad — Gyöngy 427