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Heritage of an archive for generating, networking, curating, and studying artwork considering the fact that 1970.

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The exhibition would have contained the collected visual and sound poetry works and mail art pieces, but was prohibited by the cultural authorities in the end. Beside the growth of Artpool’s collection, the tour resulted in several common projects: Artpool was asked to make the chapter on Hungary for Art Diary 1980; Galántai made (designed and printed) in 300 copies the cover for Geiger 9; and the preparations for Cavellini’s exhibition in Budapest began during this time. DOCUMENT: correspondence, photo WEB-DOCUMENT: www.

Artists’ postcards and mail art works welded into slips (1 slip – 1 artist) and hung into space. Shop windows with mail art objects and bookworks. T-shirts of the artists on the entrance door. Set against the walls were Róbert Swierkiewicz’s first mail art project titled Substitutable Self-portrait and the sheets of György Galántai’s assembling titled Textile without Textile (▶ p. 43). 56 A RT P OO L E V ENTS 1 9 7 9 – 1 9 9 1 1981 A RT P OO L E V ENTS 1 9 7 9 – 1 9 9 1 57 4–14 December 1981 Hazafias Népfront II.

Nonprofit collective organizations in the 1960s and 1970s, JRP / Ringier, 2012, p. 87. A RT P OO L E V ENTS 1 9 7 9 – 1 9 9 1 37 1979 ARTPOOL EVENTS 1979–1991 1979 25 March 1979 Frankel Leó út 68/B (henceforth: Artpool Studio), Budapest The Founding of ARTPOOL On this day György Galántai and Júlia Klaniczay decided to establish an active alternative arts archive, which they named Artpool. At first Artpool’s operation was realized strictly via the mail art network using postal services. Artpool’s projects were made public at APS-s (Artpool’s Periodical Space) organized at various venues.

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