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

Gyógyszerésztörténet - Rádóczy Gyula: A XVIII. századi bécsi dispensatoriumok

and end of space-relations that had become more and more complicated as the artists carried on forming' this system of space and reflection the balks of the Velem workshop. The film was employed not as a means of documentation but as an independent way of artistic formation. The final appearance of this programme is not a palpable (and also transitory, pulled down at the end of the workshop) spaoensystem, but its version on film (recorded in time). By connecting the possibilities of fine ants and thse of film art, the film itself has produced a quality unknown so far. On (the one hand L. Gecser's experience of space has been deprived of direct perception, of the physical experience of entering the space and staying in i„t, and on the other, the illusory aspect of the space was magnified and the paths of movement got exclusively determined. The spaceoriented work was transformed into a time-oriented one. (Шз. 30—33.) Csilla Kelecsényi spent her first season at Velem in 1977. She stretched out blue and green threads and bundles on wooden frames and examined how the "elementary" textile behaved if falling loosely or stretched with differing tensions. Anikó Bajkó observed the transparency of silken surfaces and Cs. Kelecsényi placed the examination of sysal threads put behind each other and their reaction in the centre of her attention. At the 5th Biennial of Wall and Space Textile (Processes) her work "Currents" was awarded a prize. Here the wooden stretching frames were changed for plexiglass. This idea was further improved in her work at Velem in the same year." ... plexiglass which has changed the structures of fibres twofold: — plexigQass itself built up a structure in space due to its material (stratified) ; — transliucent plexiglass created a pseudo space. ... with employing plexiglas ... translucency appeared not only in the sysal fibres but also in the space construction, in the layers of plexiglass, too. Thus light and airy sculptures of textile were created, the relation between fibres hiding among layers of perforated plexiglass and ohanging (their colours following strict rules have become settled, at least in one work, and has stiffened inifîo a work of art."

19 The "natural" system of stretched or loose fibre conditions suffered an intervention at the third season at Velem; she cut .through the completed construction, thus freely floating, draping fibres free of any system were produced. The series of experiments was completed at the 1980 exhibition at Kőszeg. Her works so far constructed in miniature versions were changed for monumental fibre-spaces. The fibre jungle of the "Splits" constructed from black celljute fibres of different radius and density which crossed each other was broken up by bright splits fixed with tar. Here the experiences (of three year's work were completely unfolded: study photoes of natural fibre-intersections or interweaving, the micro observation of fibre structures and a rational and conscious order of forms having been realized in her earlier works. (Ills. 34—35.) Kaiti Gulyás experimented with conceptual textile sculptures of miniature dimensions in 1977. The varied arrangement of red and green textile rolls, the disappearing and reappearing bands of national colours in nylon containers filled with sand were all the first phases of a textile-plasitical world realized through its prints. The realization of this idea has speeded up by the time she had her personal exhibition at the Fészek Club : wrapped stones, jute, water and air into triangular polyaimid foils and exhibited these together with their reproductions 432