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Pollack Periodica
Authors:
Xue Kang
,
Gabriella Medvegy
, and
Yufang Zhou

design in modern small exhibition spaces. With the process of information society, the rapid development of high and new technology, the modern cultural level and aesthetic concept also improve and change. Museum exhibition design will undoubtedly face a

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Summary

In this survey of the most important exhibitions of art historical interest the following exhibitions and (if published, also with the indication of their texts or summaries in an other language then Hungarian) their catalogues are reviewed. History and its Images, the Relationships between Past and Art in Hungary – Hungarian National Gallery/Budapest Images of Hungarian History – Historical Gallery of the Hungarian National Museum/Budapest Medieval History in the Mirror of Seals. Medieval Seals of Esztergom – Cathedral Treasury/Esztergom Cult and Relics of Hungarian Saints – Christian Museum/Esztergom The Center of Europe around 1000 (an international exhibition) – Hungarian National Museum/Budapest „Basilica grandis et famosa‘ The Provostry Church of the Holy Virgin (stone carvings of the medieval royal Provostry of Székesfehárvár) – Museum of King St. Stephan/Székesfehárvár Three Codexes (the Csatár-Admont Bible, the Hungarian Angevin Legendary and the Psalter of Bishop Urban Nagylucsei) – Széchényi National Library/Budapest The Centuries of the Royal Palace in Buda – Historical Museum of Budapest/Budapest The House of the Nation, Parliament Plans for Buda-Pest, 1784–1884 – Museum of Fine Arts/Budapest Guardians of Hungay's Heritage. József Könyöky's and Viktor Myskovszky's evaluations of historic monuments (late 19th century) – National Office for Historical Monuments/Budapest Treasures of the Applied Arts in Hungary – An hommage to the donors – Museum of Applied Arts/Budapest Intuition, Innovation, Invention. Scientific and technical discoveries, artistic innovations from Hungary – Exhibitions Hall/Budapest Images of Time – Museum of Ethnography/ Budapest

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Thermal Analysis Society’s Annual Workshop and Exhibition on May 12–13, 2010. This special issue contains a great collection of papers covering a wide range of thermal analysis and calorimetric techniques, and materials, submitted by authors from many

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The predecessor of the Breuer Marcell Doctoral School has been founded in 2004 at the Pollack Mihály Faculty of Engineering, University of Pécs. This Doctoral School had the authority to issue DLA degrees in the artistic field of architecture. In January 2010 the Doctoral School has been named after Marcell Breuer and since then it has the authority to issue both DLA and PhD doctoral degrees.The Doctoral School has introduced itself to international forums in the past years several times. For example it has been invited to organize a large-scale exhibition in the Collegium Hungaricum Berlin and another exhibition at the University of Stuttgart.The governance of the Doctoral School has decided that the results of the past years produced under the supervision of the Doctoral School and the future plans of the school should be exhibited at the Budapest University of Technology and Economics. It was also the intention that this exhibition should also be an opportunity for all Hungarian architects to get to know the ‘Architect School of Pécs’. The exhibition has been opened by Prof. József Finta (member of the Hungarian Academy) in the main hall of the Budapest University of Technology and Economics on the 13th of December 2010.

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Lajos Kassák’s exhibition in the Fényes Adolf Showroom in 1967 was to be the last exhibition during the lifetime of that emblematic figure of the historic avant-garde in Hungary. It also serves as a window into the emergence of self-financed exhibitions at that time. There were two mutually contradictory phenomena connected with Kassák and his art in the Sixties: resurgence and rejection. Mounting demands for Kassák’s art to be put on show were set against the banishment of such exhibitions to the periphery. Kassák fought hard for acceptance as a painter. The contradictions typified by this simultaneous resurgence and rejection beset all kinds of intellectual accomplishment in the Kádár era, and more accurately characterize the period than the — nowadays somewhat worn-out – concept of ‘prohibition.’

After 1956, the cultural authorities’ relations with artists and cultural intellectuals were decidedly cold. After reaching a low point in 1957, cultural relations began to improve in the 1960s through a process that may be most simply described as a gradual widening of dialogue or attempts at dialogue, with both the authorities and those involved in cultural life putting out feelers to each other at varying levels of intensity. They sought a broader set of partners, on one side in the hope of a more rewarding pursuit of culture, and on the other in hope of justification. This process continued to unfold until the events of 1968, after which it stagnated and began to deteriorate. Set against this simple schema, Kassák’s exhibition in 1967 took place as optimistic dialogue was reaching its peak. But even in that brightest phase of compromise-seeking between the system and the cultural sphere, there was to be no prestigious, publicly-funded life’s-work exhibition for Kassák; only a modest, ‘off-site’ self-financed show in the Fényes Adolf Showroom.

This period saw an extension of the ‘tolerated art’ category. The regime could not — or did not want to — maintain its division into friends and enemies. By the end of the period, the passively-tolerated category had completely displaced the active, judgemental thrust of cultural policy and with the emergence of the self-financing exhibition system it became firmly established.

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Abstract

This paper is devoted to how the Slovaks were staged, encountered and recognized by the Czechs at the Czechoslavic Ethnographic Exhibition organized in Prague in 1895. The Slovaks, living during the last period of the Hungarian Kingdom, were perceived by the Czechs as an ostensibly familiar collective of ‘Slavic relatives.’ The less the Czech urban society in the last decades of the 19th century kept its ties with the slowly, but inevitably modernized countryside, the more the picture of the ‘Czechoslavic’ imagined community required a different area for placing its ‘native cottages’ into. In reconceptualizing the modern Czech ‘geography of knowledge’, even the most notable Czech specialists in Slavic studies have adopted the notion that Slovaks were in fact an ‘eastern branch’ of the ‘Czechoslavic people settled in Bohemia, Moravia, Silesia as well as the Northwest of Hungary’. Consequently, the idea of an ethnocentric, ‘national’ exhibition needed a demonstrative extension of the ‘Czech territory’ on to the East. To achieve a public demonstration of the idea, the later renowned architect Dušan Jurkovič invited a small group of people from the Trenčín and Zvolen/Detva regions to act as ‘Slovaks’ at the exhibition and so they did, wearing ‘typical’ folk costumes, singing and dancing in a peculiar style. They were viewed as a strangely exotic ‘Slovak colony’ by visitors and Czech journalists alike. The public response to the show only reinforced the petrification of the Czech collective stereotype of the ‘Slovak people’ as an underdeveloped poor community, ‘unspoiled’ by ‘western’ civilization, yet still resisting Hungarization. This ingrained discourse of ‘otherness’ survived among most of the Czechs until the establishment of the Czechoslovak republic in 1918, resulting in a growing wave of mutual misunderstandings.

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From June to September 2013 I was organizing an exhibition entitled “Ancient Death Masks” in the Hungarian National Museum. The most important goal of the exhibition was to display for visitors an idea supported by scholarly research. According to this conclusion, silver and gold death masks observed in the graves of the 10th century Hungarians who settled in the Carpathian Basin originated from Magna Hungaria, the Uralian territory of the Hungarians. We displayed death masks found in three large regions of Eurasia: that of Tashtyk Culture in the Yenisei Valley (1st–5th cc.), 6th–11th century masks of the Ural Region, and 10th century masks from the Carpathian Basin (Fig. 1). Although the religious background of the masks in the three territories is similar, the forms of manifestation are different. From the shape of the masks we can clearly conclude that the 10th century Hungarians brought this burial custom from the Ural Region, Magna Hungaria. This can be cited among the few pieces of archaeological evidence (compeer to the historical evidence) attesting to the migration of the Hungarians from the east to the west.

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18th CTAS Annual Workshop and Exhibition CTAS 2008

13–14 May, 2008 Stage West Hotel, Mississauga, Ontario, Canada Selected papers

Journal of Thermal Analysis and Calorimetry
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