It was in 1995 that I read for the first time the interview Ernst H. Gombrich and Neil MacGregor made with Bridget Riley, discussing the collections of the National Gallery in London. At that time, I was already working at the Museum of Fine Arts, Budapest and I was curious to find out how some of the most significant Hungarian artists who began their carrier in the 1950s and 1960s would remember the – often determining – experiences they gathered in the collections of the museum.
In the beginning of the 1980s, for a period of two years, I spent hours in the museum on Friday afternoons with artist Miklós Erdély and the members of the Indigo Group. Erdély himself incited me to accomplish this task. I have known the participants to this new series of interviews for decades, and I have already heard a few of their recollections. Lacking any possibility to travel abroad and visit international exhibitions, deprived of new art books and albums, they went to the Museum of Fine Arts to study.
On February 17, 2013, the day the Cézanne and the Past exhibition closed its doors, I decided to start this series of interviews. The personal recollections of these artists constitute an important part of the historiography of the Museum of Fine Arts. I first started with the painters who participated to the series of cabinet exhibitions organised by the Department of Art after 1800 in the past few years (Keserü, Jovánovics, Lakner). Many other discussions will follow.
Frida Kahlo a Matilde és Guillermo Kahlo által 1904-ben épített Casa Azulban látta meg a napvilágot, amely nevét ragyogó kékre festett falairól kapta. Az akkor még külvárosnak számító Coyoacán negyedben álló Kék Ház belső udvara a spanyol kertek jellegzetes építészeti megoldásait a mexikói kertek őshonos növényvilágával ötvözi.
Előző számunkban már megemlítettük, hogy az OFF-Biennále programsorozat felénél el kellett oltani Sugár János közösségkovácsoló tüzét a Rombusz Teraszon, de lett még egy tűz, Perbálon.