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

Gyógyszerésztörténet - Rádóczy Gyula: A XVIII. századi bécsi dispensatoriumok

on photoactive linen. Thus the objects were present in a double reality (as palpable objects and their prints of the same sizes). The next phase was her environment exhibited at the 1979 Lausanne Biennial of Tapestries •— she reproduced her own figure of life-size in different positions (standing, squatting, etc.) on photoactive linen applied to several plastical forms. Her work at Velem in the same year seemed to be the summing up and completion of this chain of ideas. Her life-size figure is copied on linen several times — her stepping or budging figure is seen in profile, half and quarter profile enlarged to Mghit or dark tones. Above this was hung, as an independent frieze her selfportrait made with the same technique and proportions decorated with the red diagram of her cardiogram. "Not only the emotions and perceptions of yesterday, but also those of the previous minute belong to the past. They may survive only in the visions of memory, they stand simultaneously in the space influencing each other and being influenced by new ones, and any previous moment is permanently modified by the one following it."

20 — she wrote in her reflections on Velem. The series of experiments with self-reproduction did, in fact, end with this work, another terra incognita was explored by the activities of Kati Gulyás at Velem. (Ш. 36.) It is very probable that by now all the participants of the Velem workshop and all those interested in it have clearly relalized that Velem cannot become a grouping like the Bauhaus was, and it cannot aim at 'being one. When the workshop started to work* as a natural outcome of the "golden age", the common trend in the activities of the partakers was to observe the possibilities (in form, material and ways of expression) of (textile. These studies passed /beyond the itraditional interpretations of the category of textile, and in the case of some artists they even went beyond the strictly held boundaries of the genre. At that time there were attempts at defining this phenomenon with the unfortunate category of "marginal cases", though this expression did hide exactly the essence of this phenomenon; this is not a "neither fish nor flesh" neutral genre. As a result of its development textile has conquered areas of expression (from both technical and material aspects) that it had not possessed before. The starting point for this approach was textile, and the result became an autonomous genre that has got no exact name or category at the moment — all one can tell about it is that it conveys the potentialities of a new visual way of expression. This is the common aspect of the works made by the most outstanding participants of the Workshop. None of them is engaged in defining what (textile is any longer, they work for widening the range of their ways of self-expression. Its further elaboration could be the task of the Workshop in the eighties. 433