A Veszprém Megyei Múzeumok Közleményei 21. (Veszprém, 2000)

Gopcsa Katalin: A jelenlét megsokszorozott bizonyossága. Šwierkiewicz Róbert: Többedmagával című műtárgyegyüttese a Laczkó Dezső Múzeum Képzőművészeti Gyűjteményében

CSAPÓ GY.: Közelképek. In: SWIERKIEWICZ 1994 ANDRÁSI 1991. 38. KESERŰ 1987 HAJDÚ 1990 SZABÓ 1999. 15.. KOCH 1994 SWIERKIEWICZ Vétála - Pancsavinsatika Kelet kezd - Nyugat befejez. Kiscelli Múzeum, 1994 KÉP A KÉPBEN. 1997. december HUDRA 1988. 37. GYETVAY 1979. 25. HUDRA 1988. 37. ВЕКЕ L.: Utószó Susan Sontag: A fényképezésről с könyvéhez PERNECZKY G.: Miért használ fotókat Andry Warhol? FM 1970/2. 21 -28. 1У ВЕКЕ L.: Miért használ fotókat az A.C.L.P? FM 1972/2. 20-27. 20 SONTAG 1981 21 HUDRA 1988. 37. Szubjektív - kiállítás Díszeiben. Első Magyar Látványtár, 1999. jún. - 2000. máj. 23 TÖRÖK-VÖRÖSVÁRY 1994 Üveg a kortárs művészetben. (Rend. Gopcsa K.) Tihanyi Múzeum, 1990.; Absolut-Tükrök és dobozok. Első Magyar Látványtár kiállítás. Tihanyi Múzem, 1992; Speculum. Budapest Galéria kiállítóház, (Rend. Török T. - Vörösváry Á.) 1994 25 SAINT - JOHN PERSE 1289 26 SONTAG 1981. 128. 27 ANDRÁSI G.: Az új kép. In: ANDRÁSI - PATAKI - SZŰCS - ZWICKL 1999. 221. THE MULTIPLIED ASSURANCE OF PRESENCE (Róbert Swierkiewicz: Group of exhibits „In the company of others" in the graphic arts collection of Museum „Laczkó Dezső") Róbert Swierkiewicz is one of the most striking personalities of contemporary Hungarian art. He first appeared in the mid 60s with a private exhibition, and since then he has also contributed to national art exhibitions with his remarkable works. He is an active mail art artist; as a member of the XERTOX group formed in 1982, with surprising communication rituals he also deals intensively with the magic of creating relationships between objects, people, eastern and western cultures. His life work is permeated by a unity of total art character (Gesamtkunstwerk). He constructs and builds together his works from the most diverse materials, in various genres and in ensembles and out of ensembles which know no genre limits. His art does not have defined periods; his activity is much rather characterised by individual defined object classes and themes. In connection with his works, abstract expressionism and arte povera, the definitive marks of Fluxus, the discipline of concept and the uninhibited liberty of pop art have all been mentioned. This all goes to show that his art is difficult to define using categories of style and genre. This liberty is not only displayed in his individual paintings and assemblages, but also in his installations. They do not merely populate the walls enclosing the exhibition areas, but also the space itself, hovering above it if need be - like his painted and inscribed air ships - filling the three dimensions, extending even into time. One unit of Róbert Swierkiewicz'

s 1985 exhibition is the 21 part application series of painted photographs and mirrors entitled, "In the company of others." The museum collection has recently acquired this group of exhibits, as well as a series of documentary photographs, which appeared as a separate unit in the above exhibition, and was produced by the artist in 1976 in Krakow during shooting for the film, "The dead class" by T. Kantor and A. Wajda. 197