EXHIBITIONS[1]
(selection)
Important events organized by other institutions but realized with the participation of Artpool and/or with the help of research conducted at Artpool and/or materials borrowed from Artpool.

1985: Cartoline e grafica ungherese tra Art Noveau e New Wave (Rome) ￭ 101 tárgy. Objektművészet Magyarországon 1955–1985 [101 Objects. Object Art in Hungary 1955–1985] (Óbuda Gallery, Budapest)
1987: Kép-vers / vers-kép [Picture-poem / Poem-picture] (Petőfi Literary Museum, Budapest) ￭ “A surprise for our readers!” International artists’ book exhibition (King Stephen Museum, Székesfehérvár)
1990: Hidden Story. Samizdat from Hungary & Elsewhere (Franklin Furnace, New York, USA)
1993: Poésure et Peintrie (Marseille)
1994: Tibor Csiky oeuvre exhibition (Hungarian National Gallery)
1995: L’Art du Tampon (Musée de la Poste, Paris) ￭ Horizontal Radio (Radio Bartók, Budapest) ￭ András Halász retrospective exhibition (Ernst Museum, Budapest)
1996: Mail Art. Osteuropa im Internationalen Netzwerk (Staatliches Museum, Schwerin) ￭ A művészeten túl / Jenseits von Kunst [Beyond Art] (Ludwig Museum, Budapest)
1997: Jenseits von Kunst (Neue Galerie am Landesmuseum Joanneum, Graz)
1998: A magyar neoavantgard első generációja, 1965–72 [First Generation of the Hungarian Neo-avantgarde] (Gallery of Szombathely, Szombathely) ￭ Donáth Péter – memorial exhibition (King Stephen Museum, Székesfehérvár) Prague spring, Prague fall 1968 (Galeria Centralis, Budapest) ￭ Miklós Erdély – oeuvre exhibition (Kunsthalle, Budapest) Rózsa presszó 1976–1998 (Ernst Museum, Budapest)
1999: Transmit. Fluxus, Mail Art, Net.works (Queens Library Gallery, Jamaica, NY, USA) ￭ The Commissar vanishes (Galeria Centralis, Budapest) ￭ Interarchiv (Kunstraum der Universität Lüneburg) ￭ Global Conceptualism: Points Of Origin, 1950s–1980s (Queens Museum of Art, New York City) ￭ Hommage à Dick Higgins (Ernst Museum, Budapest)
2000: A második nem – Nőművészet Magyarországon 1960–2000 [The Second Sex. Women’s Art in Hungary 1960– 2000] (Ernst Museum, Budapest) ￭ Média Modell... (Kunsthalle, Budapest) ￭ Global Conceptualism: Points Of Origin, 1950s–1980s (Walker Art Center, Minneapolis; Miami Art Museum, Miami, Florida; Vancouver Art Gallery, Vancouver) ￭ Type Writer (Galeria Centralis, Budapest) ￭ Samizdat. Alternative Kultur in Zentral- und Osteuropa. Die 60er bis 80er Jahre (Berlin, Akademie der Künste 2002: National Museum, Prague; European Parliament, Bruxelles) ￭ La Ville / Le Jardin / La Mémoire (Académie de France à Rome – Villa Medicis, Roma)
2001: CHECK-IN/CHECK-OUT – “suitcase” works (Universal Space NoD, Prague)
2003: Outside of a Dog. Paperbacks & Other Books by Artists (BALTIC. The Center for Contemporary Art, Gateshead)
2004: Szamizdat. Alternatív kultúrák Kelet- és Közép-Európában 1956–1989 [Samizdat. Alternative Cultures in East and Central Europe 1956–1989] (Millenáris Park, Budapest)
2005: Tibor Hajas “Emergency Landing” (Ludwig Museum, Budapest) ￭ Gyula Pauer – oeuvre exhibition (Kunsthalle, Budapest)
2006: Interrupted Histories/Historiae Interruptae (Moderna Galerija Ljubljana) ￭ ‘I Confess that I Was There: Art, Archives and Location[s]’ (Switch Room, Belfast)
2007: Klipzensored – Rock music in film, television, music clips and media censorship in Hungary GDR and post-1990 Germany (General Public, Berlin) ￭ FLUXUS EAST. Fluxus Networks in Central and Eastern Europe (Künstlerhaus Bethanien, Berlin); Contemporary Art Centre, Vilnius; 2008: Bunkier Sztuki, Krakkow; Ludwig Museum, Budapest; Kumu Art Museum, Tallinn; 2009: Kunsthallen Nikolaj, Copenhagen; 2010: Henie Onstad Art Center, Oslo)
2008: Himmlischer Frieden 1919–2008 / Heavenly Peace 1919–2008 (CHB – Moholy-Nagy Gallery, Berlin) ￭ Concept Conception, Extracts (Vasarely Museum, Budapest) ￭ The Last Sticker Show (Tűzraktér, Budapest)
2009: Hungary: Art and Subcultures – series of lectures (CEU, Budapest) ￭ Subversive Praktiken. Kunst unter Bedingungen politischer Repression 60-er–80-er / Südamerika / Europa (WKV / Württembergischer Kunstverein, Stuttgart) ￭ Invisible history of exhibitions. Parallel chronologies – exhibition and international symposium (LABOR and Krétakör Bázis, Budapest) Typopass – Critical design and conceptual typography. Anti- and parallel design (Platan Gallery, Budapest) ￭ Revolutionary Voices / Performing Revolution in Central and Eastern Europe (New York Public Library, New York) ￭ Agents & Provocateurs (ICA, Dunaújváros) ￭ GENDER CHECK. Femininity and Masculinity in the Art of Eastern Europe (MUMOK, Vienna; 2010: ZACHETA, Warsaw)
2010: Hungry Man, Reach for the Book. It is a Weapon! (Printed Matter, New York) ￭ Promises of the Past. A Discontinuous History of Art in Former Eastern Europe (Centre Pompidou, Paris) ￭ Invisible History of Exhibitions. Parallel Chronologies (Badischer Kunstverein, Karlsruhe) ￭ Pauer: Pseudo 40/70 (Picture Gallery of the Hungarian Academy of Sciences, Budapest)
2011: Parallel Chronologies – “Other” revolutionary traditions (Riga Art Space, Riga) ￭ Museum of Parallel Narratives (MACBA, Barcelona) ￭ Maps. Art Cartography in the Centre of Europe 1960–2011 (Galéria mesta Bratislavy, Slovenska národná galéria, Bratislava) ￭ “YOU’LL BRING THE DEATH OF ME” Bizottság Goes to Kunsthalle (Műcsarnok / Kunsthalle, Budapest)
2012: DATA. Daily Action Time Archive. A self-historification project by Pete Horobin (Street Level Photoworks, Glasgow) ￭ Contactzone. Juraj Meliš and the Slovak-Hungarian Relations (Kassák Museum, Budapest) ￭ Betűk kockajátéka. [Dice of characters. Five Decades of the Hungarian Atelier in Paris] (Petőfi Irodalmi Múzeum, Budapest) ￭ Sounding the Body Electric. Experiments in art and music in Eastern Europe 1957–1984 (Muzeum Sztuki w Lodzi, Poland) ￭ Mutually. Archives of non-institutionalized culture of the 1970s and 1980s in Czechoslovakia (Tranzit dielne, Bratislava, Slovakia) ￭ Paris Budapest Wien Transfer “Magyar Műhely 50” (Vasarely Museum, Budapest) ￭ The Freedom of Sound. John Cage behind the Iron Curtain (Ludwig Museum, Budapest)

FILMS
￭ Stampfilm, 1982–1983, 16 mm, b&w, 36 min., directed by György Galántai , Balázs Béla Studió
￭ Kultúr Domb [Culture Hill], 1992, 40 min., directed by: György Galántai, MTV V. Stúdió, Fríz production
￭ Vakáció I–II. A Balatonboglári Kápolnatárlatok története 1970–1973 [Vacation. The Story of the Chapel Studio of Balatonboglár 1970–1973], 1997–1998, 52+54 min.; and a 66 min. version with English subtitles, dir. by Árpád Soós, edited by Róbert Római, script and reporter: Edit Sasvári, Magyar Televízió Dokumentumfilm Stúdió
￭ JAVA – György Galántai (Artpool), 2002, 41 min., directed by and camera: János Fodor, Balázs Béla Studió
￭ VHK. Akik móresre tanították a halált [The Galloping Coroners. Who taught Death a Lesson], 2012, 70 min., directed by: Júlia Nagy, HVD Corps production
￭ Plusz egy dimenzió – Kései Sirató [Plus One Dimension, documentary about the life of Károly Tamkó Sirató, directed/ edited by András Kroó, camera Lajos Nádorfi, Absolút Film (in preparation)
Numerous other cultural TV programs about Artpool’s activity and about various artists, groups and arts events made with the help of videos, photographs, posters and publications found in the Artpool Archives.

PUBLICATIONS[2]
(selection)
The most important books, studies, and periodical issues realized with the participation of Artpool (articles, illustrations) and/or Artpool publications or online content, and/or as a result of research conducted at Artpool.

1978: Carrión, Ulises et al. (eds.): Ephemera No. 11, 1978, Special Issue: Hungary (guest editor: György Galántai)
1980: Cavellini, G. A.: Cavellini in California e a Budapest, Brescia, 1980, 76 p. ￭ Cavellini, G. A.: Cavellini in California and in Budapest, Brescia,1980, 77 p.
1982: Spatola, Adriano — Maurizio Spatola (eds.): Geiger 9 – Antologia ipersperimentale, Geiger, Mulino di Bazzano, Parma, 1982, ca. 50 p.
1983: Grundmann, Heidi (ed.): Art + Telecommunication, Western Front–BLIX, Vancouver–Wien, 1983, 140 p.
1988: Bélyeglexikon [Encyclopedia of Stamps], Gondolat, Budapest, 1988, 668 p.
1991: Várnagy, Tibor – John P. Jacob (eds.): Hidden Story: Samizdat from Hungary & Elsewhere, Franklin Furnace Archive, New York, 1991 (bookwork), 82 p. ￭ Perneczky, Géza: A háló. Alternatív művészeti áramlatok a folyóirat-kiadványaik tükrében 1968–88 [The Magazine Network. The Trends of Alternative Art in the Light of their Periodicals 1968–88], Héttorony Könyvkiadó, Budapest, 1991, 300 p.
1993: Timár, Katalin: Fax- und Mailart des Artpool im Wandel politischer Systeme. Fax- and Mail Art of the Artpool in the Change of Political Systems, in: Ursprung, Eva (ed.) In Control. Mensch – Interface – Maschine, Kunstverein W.A.S., Graz, 1993., pp. 72–74.
1994: Keserü Katalin (szerk.): A modern poszt-jai. Esszék, tanulmányok, dokumentumok a 80-as évek magyar képzőművészetéről [The “Post”s of Modern. Essays, Studies and Documents from the Visual Arts in Hungary in the 1980s], ELTE Bölcsészettudományi Kar, Budapest, 1994, 335 p.
1995: Richard, Alain-Martin (ed.): Territoires nomades. Une manoeuvre de membres du collectif Inter/le Lieu. Première étape: mai et juin 1994, Éditions Intervention, Québec, 1995, 185 p.
1996: Mrotzek, Katrin – Kornelia Röder (eds.): Mail Art. Osteuropa im Internationalen Netzwerk. Mail Art. Eastern Europe in International Network, Staatliches Museum, Schwerin, 1996, 320 p.
1997: Baroni, Vittore: Arte Postale. Guida al network della corrispondenza creativa, AAA Edizioni, Bertiolo (Italy), 1997, 250 p.
1998: Beke, László (ed.): Mail Art, Műcsarnok, Budapest, 1998, 71 p.
1999: Kortárs magyar művészeti lexikon I–III [Encyclopedia of Contemporary Hungarian Art], Enciklopédia Kiadó, Budapest, 1999–2001, 774, 990, 974 p. ￭ Knoll, Hans (ed.): Die zweite Öffentlichkeit. Kunst in Ungarn im 20. Jahrhundert, Verlag der Kunst, Dresden, 1999, 407 p.
2000: Nézőpontok/Pozíciók. Művészet Közép-Európában 1949–1999; Aspekte/Positionen. 50 Jahre Kunst aus Mitteleuropa 1949–1999; Aspects/Positions. 50 Years of Art in Central Europe 1949–1999, Kortárs Művészeti Múzeum – Ludwig Múzeum, Budapest, 2000, four volumes: 339, 302, 284, 244 p. ￭ Eichwede, Wolfgang (ed.): Samizdat. Alternative Kultur in Zentral- und Osteuropa: Die 60er bis 80er Jahre, Edition Temmen, Bremen, 2000, 472 p. ￭ Felter, James Warren: Artistamps. Francobolli d’artista, AAA Edizioni, Bertiolo, 2000, 213 p.
2002: Bismarck, Beatrice von – Hans-Peter Feldmann – Hans Ulrich Obrist et al. (eds.): Interarchive. Archivarische Praktiken und Handlungsräume im zeitgenössischen Kunstfeld / Archival Practices and Sites in the Contemporary Art Field, 2002, 639 p. ￭ Maurer, Dóra (ed.): Párhuzamos életművek / Parallele Lebenswerke / Parallel Oeuvres. Maurer – Gáyor, Városi Művészeti Múzeum, Győr, 2002, 260 p.
2004: Deréky, Pál – Müllner András (eds.): Né/ma? Tanulmányok a magyar neoavantgárd köréből [Mute? Papers on Hungarian Neo-Avantgarde], Aktuális avantgárd 3., Ráció Kiadó, Budapest, 2004, 381 p. ￭ Beke, László (ed.): Image Whipping. Tibor Hajas’ Photo Works with János Vető, MTA Művészettörténeti Kutatóintézet, Budapest, 2004, 232 p.
2005: Hajas, Tibor: Szövegek [Texts], Enciklopédia Kiadó, Budapest, 2005, 480 p. ￭ Hamersky, Heidrun (ed.): Gegenansichten. Fotografien zur politischen und kulturellen Opposition in Osteuropa 1956–1989, Christoph Links Verlag, Berlin, 2005, 195 p. ￭ Piotrowski, Piotr: Awangarda w Cieniu Jalty. Sztuka w Europie Srodkowo- Wschodniej w latach 1945– 1989 [In The Shadow of Yalta. Art and the Avant-garde in Eastern Europe, 1945–1989], Dom Wydawniczy REBIS, Poznan, 2005, 502 p. ￭ Szőnyei, Tamás: Nyilván tartottak. Titkos szolgák a magyar rock körül 1960–1990 [Registered. Secret Servants Around Rock Music in Hungary], Magyar Narancs – Tihany – Rév Kiadó, Budapest, 2005, 831 p.
2006: Badovinac, Zdenka – Tamara Soban (eds.): Interrupted Histories. Arteast Exhibition (catalog, ca. 68 p.) and Piskur, Bojana (ed.): Arhivi Samizdatov / Samizdat Archives (supplement, 16 p.), Moderna galerija / Museum of Modern Art, Ljubljana, 2006 ￭ Devic, Ana: Artists’ Books in (what was formerly known as) Eastern Europe. What, how and from Whom/WHW, printedmatter.org, 2006 ￭ Havasréti, József: Alternatív regiszterek. A kulturális ellenállás formái a magyar neoavantgárdban [Alternative Registers. The Different Forms of the Cultural Opposition in the Hungarian Neoavantgarde], Typotex, Budapest, 2006, 331 p. ￭ Sugár, János: Schrödinger’s Cat in the Art World, in: IRWIN (ed.): East Art Map. Contemporary Art and Eastern Europe, Afterall Books, London, 2006, pp. 208–221.
2007: Fluxus East. Fluxus-Netzwerke in Mittelosteuropa / Fluxus Networks in Central Eastern Europe, Künstlerhaus Bethanien, Berlin, 2007, 281 p. ￭ Müllner, András (ed.): Erdély Miklós [Miklós Erdély], Metropolis (special issue) Vol. XI., No. 4, 2007, 118 p. ￭ Parabélyeg. A művészbélyeg négy évtizede a fluxustól az internetig / Parastamp. Four Decades of Artistamps, from Fluxus to the Internet, Szépművészeti Múzeum, Budapest, 2007, 108 p. ￭ Szilágyi, Sándor: Neoavantgárd tendenciák a magyar fotóművészetben 1965–1984 [Neo-avantgarde Tendencies in Hungarian Photography 1965–1984], Új mandátum könyvkiadó, Budapest, 2007, 425 p. (with a CD supplement)
2008: Körner, Éva: No Isms in Hungary, in: Fair. Zeitung für Kunst und Asthetik – Wien/Berlin, No. 02, 2008, pp. 25–26. ￭ Havasréti, József: Mündlichkeit, Gegenöffentlichkeit und Dialog in der Praxis einer, ‘mündlichen Zeitschrift’: Lélegzet, Budapest, 1980–1985, in: Boden, Doris – Uta Schorlemmer (eds.): Kunst am Ende des Realsozialismus. Entwicklungen in den 1980er Jahren, Verlag Otto Sagner, München, 2008, pp. 205–219. ￭ Hornyik, Sándor – Szőke Annamária (eds.): Kreativitási gyakorlatok, FAFEJ, INDIGO. Erdély Miklós művészetpedagógiai tevékenysége 1975–1986 [Creativity Exercises, Fantasy Developing Exercises (FAFEJ) and Inter-Disciplinary-Thinking (InDiGo). Miklós Erdély’s art pedagogical activity, 1975–1986], MTA Művészettörténeti Kutató Intézet – Gondolat Kiadó, Budapest, 2008, 532 p. ￭ Dózsai, Mónika: “Fußspuren in der Luft”. Kunst im öffentlichen Raum in den 1980er Jahren in Budapest, in: Boden, Doris – Uta Schorlemmer (eds.): Kunst am Ende des Realsozialismus. Entwicklungen in den 1980er Jahren, Verlag Otto Sagner, München, 2008, pp. 283–299.￭ Röder, Kornelia: Topologie und Funktionsweise des Netzwerks der Mail Art. Seine spezifische Bedeutung für Osteuropa von 1960 bis 1989, Schriftenreihe für Künstlerpublikationen, Band 5, Salon Verlag, Köln, 2008, 303 p. ￭ Schwarz, Isabelle: Archive für Kunstlerpublikationen der 1960er bis 1980er Jahre, Schriftenreihe für Künstlerpublikationen, Band 4, Salon Verlag, Köln, 2008, 495 p.
2009: Piotrowski, Piotr: In The Shadow of Yalta. Art and the Avant-garde in Eastern Europe, 1945–1989, Reaktion Books, London, 2009, 487 p.
2010: Art always has its consequences (exhibition catalog), What, How & for Whom / WHW, Zagreb, 2010, 264 p. ￭ Angel, Judit – Hegyi Dóra – László Zsuzsa (eds.): Typopass – kritikai design és konceptuális tipográfia / Typopass – Critical Design and Conceptual Typography, Tranzit Hungary, Budapest, 2010, 118 p. ￭ Calligrammes & compagnie, etc. (Des futuristes à nos jours), Éditions Al Dante, Paris, France, 2010, 560 p.
2011: Hegyi, Dóra – Hornyik Sándor – László Zsuzsa (eds.): Parallel Chronologies. How art becomes public – “Other” revolutionary traditions. An exhibition in newspaper format, tranzit.hu, Budapest, 2011, 56 p. ￭ Sasvári, Edit: A Moment of Experimental Democracy in the Kádár Era. György Galántai’s Chapel Studio in Balatonboglár and the Social Milieu of Counter-Culture in Hungary in the 1960s and 1970s, in: Removed from the Crowd: Unexpected Encounters I, [BLOK] – DeLVe, Zagreb, 2011, pp. 82–101. ￭ Hock, Beata: Where Have Some Women Gone? Making Women Artists’ Networks Visible, in: Micropolitics Notebook 2011, [BLOK], Zagreb, 2011, pp. 38–47. ￭ Hegyi, Dóra et al. (eds.): Art Always Has Its Consequences – Artists’ Texts from Croatia, Hungary, Poland, Serbia, 1947–2009, tranzit.hu – Sternberg Press, Berlin, 2011, 262 p.
2012: Tumbas, Jasmina: International Hungary! György Galántai’s Networking Strategies, ARTMargins, June–October 2012, Vol. 1, No. 2–3, pp. 87–115. ￭ Vanja V. Malloy: Rethinking Alexander Calder’s Universes and Mobiles: The influences of Einsteinian Physics and Cosmology, Immediations (The Courtauld Institute of Art Journal of Postgraduate Research), Vol. 3., No. 1., 2012, pp. 9–26. ￭ Debeusscher, Juliane: Information Crossings: On the Case of Inconnu’s ‘The Fighting City’, Afterall, No. 31, 2012 (Autumn/Winter), pp. 73–83. ￭ Czirak, Adam: Die Melancholie verbotener Kunst. Schreibstrategien und performative Praktiken in der ungarischen Neoavantgarde, in: Berliner Beiträge zur Hungarologie. Schriftenreihe des Fachgebiets für ungarische Literatur und Kultur an der Humboldt Universität zu Berlin, Bd. 17., Humboldt Universität, Berlin, 2012, pp. 76–111. ￭ Detterer, Gabriele & Maurizio Nannucci (eds.): Artists-Run Spaces. Nonprofit collective organizations in the 1960s and 1970s, JRP/ Ringier, 2012, 294 p. ￭ Balázs, Katalin: Sztuka efemeryczna i kontrkultura. Na przykładzie wybranych zjawisk z węgierskiej historii instytucji kultury. [Ephemeral Art and Counterculture. An Example of Selected Cases from the History of Art Institutions in Hungary.], Sztuka i Dokumentacja, nr. 7, 2012, pp. 31–37. ￭ Danyi, Gábor: The Spaces of Samizdat, in: ELTE BTK Doktori iskolák tanulmányai 3. [Papers of the Doctoral Programs of the Eötvös Loránd University 3.], Budapest, 2012, pp. 67–82.

[1] Starting in 1979 György Galántai and Artpool was included in several hundred mail art / artists’ book / artistamp and rubber stamp / visual poetry / network / correspondence art exhibitions and publications worldwide, thus establishing the international recognition of Artpool and promoting the enrichment of its collection. A detailed description of this would extend beyond the scope of this book. We hope to be able to publish a book devoted to the presentation of Artpool’s correspondence art activity.

[2] Starting in 1979, György Galántai and Artpool were included in several hundred mail art / artists’ book / artistamp and rubber stamp / visual poetry / network / correspondence art exhibitions and publications worldwide. The most important mail art periodicals with Artpool’s regular participation: Libellus, Arte Postale, Commonpress, Lightworks. A detailed description of this would extend beyond the scope of this book. We hope to be able to publish a book devoted to the presentation of Artpool’s correspondence art activity.