Az Artpool tevékenysége és archívuma, valamint jelentősége az avantgárd kulturális örökség megőrzésében, 2005-ben a SEGÉLYKONCEPT Fesztivál kapcsán nagy nyilvánosságot kapott.
http://www.artpool.hu/2005/segelykoncept.html
Ehhez kapcsolódóan készült a Kulturház műsora is, melyben Klaniczay Júlia, az Artpool ügyvezetője és György Péter esztéta mutatják be az Artpool Művészetkutató Központot.
english translation:
M1 (Hungarian TV), Kultúrház, 21 November 2005
Narrator:
Twenty-six years ago, Júlia Klaniczay and her artist husband, György Galántai, looked beyond the Hungarian intellectual circle. They wanted to keep in touch with artists in Hungary and abroad, exchange works and ideas, collect information and make it accessible.
As a civil initiative, they established an art centre in 1979 Artpool.
Julia Klaniczay (director of Artpool Art Research Center):
-We continuously improved all that we were doing, more and more professionally, I think, and it was worth it. We could virtually see it right away that such a private project can bring about what free men in a free country have always wanted: to have their own free institutions.
Narrator:
Artpool wished to put an end to the isolation and lack of information in Hungarian contemporary art, and it undertook the task of documenting the Hungarian events of an art that was rejected by cultural policy and thus was not given publicity. Artpools archive makes it possible for future generations of artists and art historians to carry on with intellectual and artistic experiments started by the generations of artists in the 60s, 70s and 80s.
Julia Klaniczay:
-Being locked in a cage, as we were, forced us to speak out for things that would normally not need to be spoken out for in a democracy, i.e. to somehow preserve the events of the 70s and the 80s. It wasnt like libraries were going to preserve any of this, no, nothing, this was going to disappear. It was obvious. There was a concert of a one-off band that was played once and never again, and nobody recorded it. So we knew exactly that the period we were living and working in was practically doomed to be destroyed if we didnt do something to save it.
Péter György (Prof., Institute for Art Theory and Media Studies, ELTE, Budapest):
-A cultural tradition can only really be saved if it is actually included in those institutions that receive great publicity.
One of Artpools biggest problems is that in their present form they can only get limited publicity. It would be important that this collection be included in the prominent collections and major catalogues, so everybody would know that this is an integral part of the Hungarian culture of the 60s, 70s and 80s.
Even today, there are misconceptions in official culture about the history of the avant-garde, or even worse, total absence of knowledge.
It is a fact that the cultural map of the last 30 to 40 years cannot be drawn without Artpool.
If it wasnt for Artpool, we wouldnt know what is happening in the country in a certain segment, and that would be a major loss.
Galántai and Klaniczay have always been able to integrate. They co-operated with practically everybody, so people always trusted them. In this small avant-garde scene, they are the great tradition.
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