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Abstract

On the occasion of the 125th anniversary of György Lukács's birth, the Georg Lukács Archives affiliated with the Institute for Philosophical Research of the Hungarian Academy of Sciences held a one-night show, Interventions, that was conceived and organized by artist Tamás Soós who invited Balázs Beöthy, Miklós Erhardt, the artist duo Little Warsaw and János Sugár to contribute to the event.

There is a considerable difference between Lukács's reception in Hungary and abroad (mainly in the Western world). In his native country Lukács has sunk into near oblivion, while elsewhere – also on the occasion of the jubilee – several conferences and publications support the reinterpretation of Lukács's legacy parallel with the renaissance of the Western new left. Gail Day's recent essay looks into Lukács's legacy in fine arts. She argues that Lukács's concept of realism is probably best represented by Allan Sekula's art whose “critical realism” is indeed connected to Lukács's late concept of art in many respects. She also introduces the notion of “militant citoyen” in her analysis of the Lukácsean legacy of engaged artists depicting social issues in an agitating manner (e.g. the Radek community or the chto Delat? group). The Hungarian reception of Lukács is far more ambivalent because of historical and political reasons. His impact on contemporary Hungarian art was not exclusively philosophical, his function as an ideologist and his relentless hostility to the avant-garde had occasionally more direct effects on the art production of his time. His antipathy to the avant-garde is not only visible after the communist turn of 1918 and the parallel “Weimarisation”: for Lukács modern art was essentially anti-art already in 1907 because it was not culture but fashion that determined its face – he claimed. Although he stood up for the new progressive art of the Eight group, in his writing The Ways Have Parted (1910) he still insisted on the conventional relationship between artist and public. For him, the warranty of “new constructivism” was an art emanating harmony, peace and tranquility, and in this respect he is closer to Kant and Hegel than to the avant-garde that he defended in the essay. His ideas on art were deeply influenced by his friend Leó Popper after whose untimely death Lukács lost contact with contemporary art. He was less interested in art and was tempted more and more to use painting only as a pretext to explicate his ideologies.

In 1918 Lukács joined the Hungarian Party of communists. During the Republic of councils as a deputy leader of the commissariat of Public Education he was in charge of the art directories led by progressive artists of the period. Although he defended Lajos Kassák and the periodical MA he edited against Béla Kun and his comrades' attacks, but his harsh criticism published during the artist and his circle's emigration in Vienna, determined the reception of Kassák for many decades. During his emigration in Moscow, Lukács made attempts to elaborate a system of Marxist esthetics with Mikhail Lifshitz and he got into debates with Ernst Bloch, Bertolt Brecht and others, whether German expressionism should wholly or at least partly be considered as part of cultural heritage. He connected expressionism politically to social democracy and ideologically to fascism (and its precedents). In terms of form, he prescribed classical legacy, rejecting the formal realm both of the avant-garde which he saw as decay and chaos, and the dry naturalism of Stalinist esthetics. With an unexpected turn, Lukács shifted the topic of the polemic from expressionism to realism. During the decades-long debates he was arguing with philosophers like Walter Benjamin and Theodor W. Adorno, who rejected the dogmatic character of Lukács's esthetic and political views.

After World War II, Lukács moved back to Hungary. Though he was not directly involved in politics and held no state or party position, the communist leadership entrusted him with an important task as they needed internationally acknowledged prestigious experts who could help spreading Marxist ideology among the intellectuals. He was not the official ideologist of the party but his critical writings of this period still greatly influenced cultural trends of the next decades. In his Hungarian theories of abstract art (1947) Lukács applied his theses of the expressionism debate to the book of Béla Hamvas and Katalin Kemény, as well as Ernő Kállai. Lukács argues that abstraction “opposes to the centuries-old practice of European art” and hence it is not a “normal” shift of style. The Hamvas–Kemény book as well as Ernő Kállai's The Hidden Face of Nature were the most important theoretical writings of abstract and surrealist artists after World War II. Hamvas's book Revolution in Art, co-authored with Katalin Kemény, followed the unfolding of Hungarian art from Károly Ferenczy to the European School. Lukács's article therefore contributed not only to the silencing of Hamvas but eventually also actively contributed to creating a hostile and unbearable situation for the European School and the Group of Abstract Artists. “Silenced into a legend”, Hamvas became an important point of reference for the so-called Zugló circle and the young Hungarian avant-garde artists.

Lukács passed down his inexorable anti-avant-garde views to his disciples, too, who could only discover the art of their age moving away from the aged master. However, only few of them had actual contact with neo-avant-garde artists. At the end of the sixties, with the contradictions of his life and work, Lukács was the defender of the (conservative) middle-class culture versus socialist realism and at the same time the main ideologist of socialist realism; with his revolutionary and hereditary interpretation of Marx, he paved the way for democracy while at the same time he was a doctrinaire communist; he was a philosopher of international reputation and a has-been scholar, the apologist of “mandarin culture”, the minion and persecutee of the system. Nevertheless, Lukács was present in the mentality of avant-garde art because despite his ideological dogmatism he represented a bourgeois esthetic culture (often downright in opposition to the regime) which had a kind of ethos compared to the bureaucratic indolence of power.

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Kálmán, Zsófia Bárczi and others under the category of early postmodern. The second, so called “areferential” strategy of the postmodern builds on neo-avant-garde experiences on the material level of the text. According to the representatives of the

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