Mirror-works by 35 artists (organised by László Beke) Balatonboglár, Chapel Studio, 5-11 August 1973 Again presentated at the opening of Artpool Art Research Center, Budapest, 23 March-15 May 1992, (space–glass/pane installation by György Galántai)

1. Francis Picabia ◼ Gabrielle Buffet – elle corrige les moeurs en rieant. Le fidèle Picabia, 1915. – Reproduction

2. The Hungarian magazine “TÜKÖR” (Mirror). August 7th issue.

3. Angelo de Aquino (Rio de Janeiro, Brasil) ◼ Project for a portrait (in the mirror), 1972. – Paper, cellophane, ink, letraset, 15x15 cm

4-7. Attalai Gábor (Budapest, Hungary) ◼ Contrast (tv-project for mirror, fire, pullet, people), 1971 ◼ Fried egg (Hungarian name “Tükörtojás” i.e. “Mirror egg”), 1972 ◼ No title (project), 1972 ◼ No title, 1972 “The best definitions of the phenomenon 'mirror' could be OHO, OHOHO, HOH, HOHOH.” – Typescripts, 29.8x25 cm.

8. Balázsovics Mihály (Budapest, Hungary) ◼ No title. – Mirror, 10.8x10.5 cm. (On the mirror side: “Your portrait”. On the reverse: “My portrait: AU-IV 903280”.)

9-10. Baranyay András (Budapest, Hungary) ◼ Two postcards (29.11.72. and 11.6.73) with stories of Zen and Charles Baudelaire:
Yang-shan got a mirror from Wei-shan. He held forth the mirror before the congregation of monks and said: 'O monks, Wei-shan has sent here a mirror. Is this Wei-shan's mirror or mine own? If you say it is Wei-shan's, how is it that the mirror is in my hands? If you say it is mine own, has it not come from Wei-shan? (Essays in Zen Buddhism) A shockingly ugly man comes in and looks at himself in the glass. “Why do you look a yourself in the mirror, since you cannot see yourself there but with displeasure?” Sir Ugly answers me, “Sir, according to the immortal principles of the year '89, all men have equal rights: ergo, I possess the right of looking at myself, – whether with pleasure or chagrin is no one's business but my own.” In the name of good sense, I was doubtless right; but from a legal standpoint he was certainly not wrong. (Charles Baudelaire, The Mirror, Little Poems in Prose)

11. Ben Vautier (Nice, France) ◼ Geste. Le 13 octobre 1969, lors de “work in progress”, je me suis regardé dans un miroir pendant 120 minute de 17 a 19 heures. ben. – Printed text, 27x21 cm.

12-13. Canada Art Writers (Silton, Sask., Canada) ◼ Art Project Song. ◼ Thoughts of Art, 1972. – Typescript, 27.9x21.6 cm. ◼ From the letter of David Zack: “Hi, Beke László, here are some proceedings of the SILTON ART PROJECT conference and a couple plans for playground sculptures for you to use if you think they're mirrors of anything, as I do.”

14. Gustave Cerutti (Sierre, Switzerland) ◼ Miroir anticipateur. Tube néon vert, miroir ordinaire. Application pratique: Mme Ducon à la lumière naturelle – Mme Ducon sous l'éclairage néon (ou 20 an plus tard), 1972. – Photomontage, colour pencil, ink. 29.6x21 cm.

15-16. Dalibor Chatrny (Brno, Czechoslowakia) ◼ 5 pieces from the series “mirror orientation” (north-south, up-down, light-dark, back-front, left-right). ◼ 5 pieces from the series “mirrors - relations of opposite horizons” (I, IV, 1,2,4), 1973. – Prints, 14.9x20.7 cm.

17. Gáyor Tibor – Maurer Dóra (Budapest – Vienna, Hungary – Austria) Peculiar reflection of the objective reality, 1968. – Photography, 30.8x21.6 cm.

18. Tom J. Gramse (Kassel, West-Germany) ◼ No title, 1972. – 5 photographs, 28.9x21.4 cm. From the letter of Gramse: “ich habe in einer meiner letzten aktionen für eine invisible sculptur einen zigelstein mit spiegeln beklebt und diesen anlässlich des kunstkongress in göttingen in einen kleinen see geworfen. diese dokumente möchte ich für spiegel/mirror/miroir schicken. in der schweiz bereite ich ebenfalls eine action mit spiegel vor. Hier das koncept: ein spiegel in den massen 200x200 cm wird auf einen rasen im park des geländes gelegt in dem das festival stattfindet. auf dem spiegel sind die masse 200x200 cm aufgedruckt. So entsteht wenn das projekt fertig ist ein “stück himmel” von 200x200 cm.”

19-22. Klaus Groh (Oldenburg, West-Germany) ◼ Der Spiegel ("The world is like a mirror. World is mirror. Try to identificate /sic!/ the mirror"), 1972. – Photograph, montage, 30.4x22.3 cm. ◼ Traffic mirror I-III. – Cut-outs 19.9x10.4 cm.

23. Jerzy Kiernicki (Wroclaw, Poland) ◼ Gestalt, 1972. – Offset, 29.5x20.7cm.

24. Jiří H. Kocman (Brno, Czechoslovakia) ◼ jhk-pseudo-touch, 1972. – Photograph, 18.3x13.1 cm.

25. Romuald Kutera (Wroclaw, Poland) ◼ Reflection, 1972. – Offset, 29.5x20.7 cm.

26. Legéndy Péter (Budapest, Hungary) ◼ Polymorphic synthesis, 1973. – Mirror, 15.5x10.3 cm. Typescript on the verso: “POLYMORPHIC SYNTHESIS. This MIRROR is my paper it is not my paper that makes the understanding of this paper possible the MIRROR does not make it possible to understand this paper the MIRROR is about all and says nothing more about anything than nothing this MIRROR says far more than nothing this MIRROR is my poem it is not my poem that makes it into a MIRROR it is absolutely nonsensical to look at the MIRROR in the MIRROR this poem cannot be seen everything can be seen that is in it…”

27. Major János (Budapest, Hungary) ◼ Spiegel. (Tomb-stone of the family “Spiegel”). – Photograph, 24x18 cm

29-30. David Mayor (Exeter, England) ◼ Untitled. – Hammer fastened to a wooden structure (25.5 cm) and a mirror in a nylon bag (9.6 cm). (The two objects were posted with hardly any packaging, so they could have broken at any time. ◼ “Mirror, mirror on the wall / you don't tell me fuck all” and “Mirror, mirror off the wall”. – Sheet of paper, foil, 29.3x21.1 cm.

31. Christian Megert (Switzerland) ◼ Spiegelobjekte und zoom. ◼ Catalogue of the exhibition in the (Op/art Galerie, Esslingen).

32-35. Anette Messager (Paris, France) ◼ Mirrors. – Mirrors 6x9 cm, in black cloth cases. (The French concept artist makes these mirrors not as works of art but as a source of income.)

36. Missmahl (Köln, West- Germany) ◼ Postcard. – Photograhps of an action on a paper sheet, 29.7x21 cm.

37-39 Perneczky Géza (Köln, West Germany) ◼ Postcard, 1973. – Photograph. ◼ From the series “Dialectics”. – Photographs, 21x29.7 cm. ◼ Art. – Photographs, 21x29.4 cm.

40-42 Pinczehelyi Sándor (Pécs, Hungary) ◼ Mirror 1972 ◼ Stone, puppets, mirror, 1972 ◼ Grass, pebble, stone, 1972. – Photographs, 29.6x21 cm.

43-44. Martin Schwarz (Winterthur, Switzerland) ◼ Spiegelung I-III. – Photographs, 12.3x30 cm and 16.4x24 cm.

45. Jörg Schwarzenberger (Vienna, Austria) ◼ Postcard. – Metal plate, 10.5x15 cm.

46. Chieko Shiomi (Osaka, Japan) ◼ Mirror, 1963. “Stand on the sandy beach with your back to the sea. Hold a mirror in front of your face and look into it. Step back to the sea and enter into the water.” – Printed card, 7.6x9.3 cm.

47. Zdzisław Sosnowski (Wroclaw, Poland) ◼ Mirror. – Photographs of an action. Offset, 28.6x21 cm.

48. Petr Štembera (Prague, Czechoslovakia) ◼ Mirror 1-5. – Photographs, 18.6x21.5 cm.

49. Szentjóby Tamás (Budapest, Hungary) ◼ Untitled (Moveable Remorse), 1973. – Photograph on metal plate, mirror, magnet, 14.5 x 21 cm.

50. Tábor Ádám (Budapest, Hungary) ◼ Lord Tandori – 273°. – Typescript, 298x21 cm.

51. Tót Endre (Budapest, Hungary) ◼ My mirror – your mirror. – Mirror with inscriptions, 6x8 cm.

52. Tölgyesi János (Szigethalom, Hungary) ◼ Balaton durch-sicht, 1972. – Postcard, mirror. “Put the postcard in front of a mirror and look out trough the hole: you can get a reality-like view. If the view is not resembling enough you may cut out a larger hole equal to the 'durch-sicht' - for sure you will get a real view.”

53. János Urbán (Lausanne, Switzerland) ◼ Bar Italia – The Meeting, 1971. Chioggia / Italy. Special version. – Scripto-visual work, photographs, texts, mirror, 6 pieces of 40x30 cm. “Until her marriage in Novembre 1955, she had been the associate editor of the Look magazine for nearly 10 years. During this period, she created and edited the Flair magazine, which appeared in January 1950…” etc.

54-55. Jiří Valoch (Brno, Czechoslovakia) ◼ Mirror piece for László Beke, 1973. – Plastic ruler, 2.5x17 cm. ◼ Mirror, 1972/73. – Paper, cellophane, letraset, 13.6x15.5 cm.

Mirror-works by 35 artists (organised by László Beke) Balatonboglár, Chapel Studio, 5-11 August 1973 Again presentated at the opening of Artpool Art Research Center, Budapest, 23 March-15 May 1992, (space–glass/pane installation by György Galántai)