COURAGE

Mbledhje koleksionesh

Poet, visual artist, dispatcher, lecturer.
1963 – he begins writing tradition-oriented poetry; later on, as a member of the Dull Poets‘ Circle, participates in poetry competitions dealing subjects concerning current politics.
1966 – initiates (with Gábor Altorjay) Happening & Fluxus in Hungary.
1968 – under the cover name Parallel Course/ Training Track, he founds the International Parallel Union of Telecommunications (IPUT).
1974 – due to his participation in the Samizdat movement, he is arrested by the state defence bureau on charges of anti-capitalist pornographic agitation and conspiracy.
1975 – before his forced exile, he presents the purpose of the Union: Subsistence Level Standard Project 1984 W (Make a Chair! – Hommage à George Brecht – SLSP 1984 W).
1975 – opens the new IPUT headquarters, orientated North-East-South, in Geneva, CH.
1975-1979 – the preparation of the Five-Year Plan.
1977– establishes a subsidiary institution of IPUT, the Near-East-European Free University for the Jobless of Western Europe (departments: Ast.ronomy, Rock&Roll and St.Rike), where, due to the deliberate waste production of telescopes by the astronomy industry, he launches the St.Reik Macht Frei!-program at the St.rike Department, which is declared R’n’R by the Ast.ronomy Department, and this is how it eventually settles in the public opinion of the world.
1979-1984 – as a result of a heterarchical transcendence of the Evolutionist and Creationist Myth Circles, in order to catalyse the Free Will Vestige, The Mutant, The Mutant Class, and The 24th Canton are realised.
1989-1990 – as an honorary member of the International Flat Earth Society, he makes a journey around the Earth that lasts for exactly one year.
1991 – following the coup d’état of 1989 in Hungary, he resettles from the Fatherland to the Motherland, where, from the Near-East-European Homogeneous Office, he superintends the post-1984 phases of Myth Correction.
1996 – presents the Katabasis Soteriologike, an extension of the research of Anatomic Immortality in the Grotesque Centres: the peripheral Mucsarnok/Kunsthalle (Budapest) and at the central Musée Rath (Geneva).
2001 – opens the Neo Socialist.-Realist. IPUT Global Counter-Art-Hist.ory-Falsifiers‘ Front, and publishes the NETRAF Manifesto.
2003 – as a correction of art-history-falsification, establishes the Portable Intelligence Increase Museum, and organises the first grassroots, Direct Democratic referendum on the issue of joining the Neutral Weapon Free Near-East-European Fluxus Green Zone (NEWNEEFLUGREEZ).
1991 – 2012 lectures at the Intermedia Crèche of the Hungarian University of Fine Arts (Anatomic Immortality – or the difference between the Catholic M. Duchamp and the Protestant G. Brecht = St.Rike like Sabbath, and Wei Wu Wei, that is, Dormant Land).

Zsófia Júlia Szilágyi (1972–) is a literary historian and curator of the Ferenczy Museum in Szentendre.

She received her MA diploma in Hungarian Language and Literature (1999) as well as Art History (2012) from the Loránd Eötvös University (ELTE), Budapest. Following her studies, she took an active part in research and editorial work of a number of critical editions of twentieth-century Hungarian classics (correspondence of Mihály Babits, diaries of Zsigmond Móricz and Milán Füst, collected poems of Domos Szilágyi). As an editor of Fekete Sas Publishers, she launched a new series of books showcasing some young literary historians’ PhD dissertations on prominent Hungarian writers. In the meantime, as an outside collaborator, she also took part in a number of philological and publishing projects of the Petőfi Literary Museum (PIM) in Budapest.

Later on, after she received her diploma in Art History (ELTE 2012), she became a head of the newly established Literary Department of the Ferenczy Museum, Szentendre. Its main task and concept since 2015 has been to prepare exhibitions in Szentendre – a traditional center of visual arts and a number of local collections – by opening up new dimensions for contemporary literature and intermedial contexts. This was the main idea in fact for the exhibition “The Prohibited Journal ‘World in Move,’ 1975–1983,” which she curated in late 2016 and early 2017. The next one to open in mid-February 2018 was a similar venture presenting to the public the neo-avantgarde Hungarian art and literary periodical Új Symposion (New Symposium), edited and published in Novi Sad, Yugoslavia, before 1990.