{"id":44303,"date":"2010-03-02T20:02:26","date_gmt":"2010-03-02T19:02:26","guid":{"rendered":"http:\/\/meonline.hu\/archivum\/2010-1\/laszlo-moholy-nagy-retrospective\/"},"modified":"2010-03-02T20:02:26","modified_gmt":"2010-03-02T19:02:26","slug":"laszlo-moholy-nagy-retrospective","status":"publish","type":"post","link":"https:\/\/meonline.hu\/en\/uncategorized-hu\/laszlo-moholy-nagy-retrospective\/","title":{"rendered":"L\u00e1szl\u00f3 Moholy-Nagy Retrospective"},"content":{"rendered":"

Schirn, Frankfurt, October 8th, 2009\u2013 February 7th, 2010<\/strong><\/p>\n

\"\"

Kinetic-constructive system, 1922<\/p><\/div>\n

True to the interferences of avant-garde in Berlin\u2013Vienna\u2013Budapest, the exhibition in Frankfurt presents 170 objects d\u2019art including experimental works and suppletory documents based on which contemporary photography, film and theatre art, plastic art, painting an typography would not be the same. The majority of Gesamtkunstwerk demos and creations by Moholy-Nagy rated now as media works appear to be futuristic ones even today. From among the works first presented in the 1920s, Telefonk\u00e9p<\/em> (\u2019Telephone Image\u2019, 1922) is an outsanding one being a geometric painting by Moholy-Nagy made in an enamel factory, the parametres of which were given by the painter via telephone based on a studio sketch. This work of his heralded today\u2019s parametric architecture and CAD-based practice. F\u00e9nyj\u00e1t\u00e9k<\/em> (\u2019Lightplay\u2019) from the 1930s and the \u201eschwarz-weiss-grau\u201d graphemes elevated as icons in the film-montage herald the concept art of the 1970s and \u2013 because he wrote the text on transparent pneu-balloon sculptures \u2013 preceeds the neo-avantgarde architectural world of Coop Himmelb(l)au by half a century.<\/p>\n

The exhibition evokes the stage ambitions of Moholy-Nagy with an unprecedented profusion. Enigmatic even today, the score-folded leaflet titled Partit\u00fara-skicc <\/em>(\u2019Musical Score Sketch\u2019, 1924) has been influencing contemporary music for 85 years now, as well as the neo-avantgarde spectacle theatre more recently. Including spiral chutes, the stage design titled Kinetikus-konstrukt\u00edv sziszt\u00e9ma<\/em> (\u2019Kinetic-Constructive System\u2019, 1922\u201330) approaching theatre practice, with yet non-existing volleying point-pullers Moholy-Nagy may have envisioned the genre of today\u2019s theatre-circus amalgamated with street art. Anyway, the scenes of public domain and extreme optic angle exerted influence on Moholy-Nagy as a documentary maker and photographer. However, his photograms born in a closed laboratory are almost prototypes of today\u2019s computer-aided image-manipulation. In room No. 3 there are works from the period between 1930 and 1945 on display representing experimental sculptures, coloured photograms and his late \u201enuclear\u201d paintings. Composed with a light-modulator and projection room, this space of 60 square metres summarizes what architecture, design, photography and theatre art back in those days had known about the future in a tangible way, just like a kind of time-machine.<\/p>\n

Gy\u00f6rgy Szeg\u0151<\/p>\n

\"\"

The Tales of Hoffmann, 1929<\/p><\/div>\n

\"\"

Telephone painting EM1, 1922<\/p><\/div>\n

\"\"

Outside the studio, 1928 k\u00f6r\u00fcl<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

True to the interferences of avant-garde in Berlin\u2013Vienna\u2013Budapest, the exhibition in Frankfurt presents 170 objects d\u2019art including experimental works and suppletory documents based on which contemporary photography, film and theatre art, plastic art, painting an typography would not be the same.<\/p>\n","protected":false},"author":1,"featured_media":37624,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/posts\/44303"}],"collection":[{"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/comments?post=44303"}],"version-history":[{"count":0,"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/posts\/44303\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/media\/37624"}],"wp:attachment":[{"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/media?parent=44303"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/categories?post=44303"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/meonline.hu\/en\/wp-json\/wp\/v2\/tags?post=44303"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}