Summary
Máder Indira (HU) – Golden Fleece Award / Hungarian Academy of Arts
Naustdal, Ann (Norway) – Golden Fleece Award
Riis, Jon Eric (USA) – Golden Fleece Award
Vajda Mária (HU) – Award for the best Hungarian work
Rónai Éva (HU) – Honorable Mention Award
Ferenczi Zsuzsa (HU) – Honorable Mention Award
Kiss Katalin (HU) – Honorable Mention Award
Aranyfal / Golden Wall – Honorable Mention Award
Explanation
GRAND PRIZE
Hungarian Academy of Arts
Golden Fleece Award
1 000 000 HUF
Indira MADER – In the Beginning Was the Word
In Indira Mader’s work, sombre skyscape and seascape mirror each other and seem to merge, somewhere beyond a distant, luminous horizon. Diffuse, atmospheric effects are achieved through a calligraphic delineation of light and shade.
PRIZES EX AEQUO (3)
1. The Price of Ministry of Human Resources
Golden Fleece Award
500 000 HUF
Ann NAUSTDAL – Arid Landscape II
Anne Naustdal is an incomparable textile virtuoso, opposing figurative and abstract forms to pay tangible homage to the secret richness of terrains widely dismissed as barren.
2. Ministry of Foreign Affairs and Trade
Golden Fleece Award
500 000 HUF
Jon Eric RIIS – Wing of Young Icarus
Jon Riis combines impeccable draughtsmanship and technical whimsy in this monumental commentary on man’s ill-fated, hubristic relation to nature.
3. Association of Hungarian Tapestry Artists
Award for the best Hungarian Work
500 000 HUF
Maria VAJDA – Drinking Water – At the Price of Gold
In her glistening composition, Maria Vajda reminds us that today a few liters of water in a plastic bag are – for many – a mirage more precious than gold.
HONOURABLE MENTION EX AEQUO (4)
Zsuzsa FERENCZI – Epiphany
In Zsuzsua Ferenczi’s opulent composition, the variegated patterning shifts subtly between fragmentation and unity, to convey an intentionally ambiguous message of condemnation and/or redemption.
Katalin KISS – Memory of a Landscape with Serial Numbers
In this deceptively photorealistic image of rippling waters crushed within a thick black frame and stamped with a barcode, Katalin Kiss warns against ecological neglect.
Eva RONAI -The Eighth Day
This well-deserved recognition goes to a teacher who has shared her artistry and skills with generations of Hungarian weavers. “The Eighth Day” heralds the harmonious enjoyment of a replenished, bucolic habitat.
Group Work
Golden Wall
In this brilliant mosaic, more than 50 weavers revive a collective art form, sharing visual mementos to create a lively panorama of personal experience and artistic accomplishment.
Dear Applicants!
It’s completed the summarized list based on the votes of the international jury, which will be published in the attached file.
Congratulations to the winners! We’ll inform further details about the exhibition.
Many thanks to the other applicants to have applied to the KÁRPIT 3, and we hope to welcome them among the winners next time.
The jury’s list is available for download.
Best regards, Edit Balogh and Livia Pápai,
the Organizing Committee and the Association of Hungarian tapestry Artists management
45 artists from 15 countries applied for the competition KÁRPIT 3.
7 invited artists’ works will be shown on the exhibition:
Ariadna Donner
Joanna Foslien
Edit Balogh
Feliksas Jakubauskas, member of the jury
and Ibolya Hegyi post humus
They were winners of the KÁRPIT 2.
Invited artists are among the organizers of the KÁRPIT 3:
Lívia Pápai, member of the jury
Nóra Tápai
They are out of race.
Tapestry 3, Budapest 2017
Taking into account the time problems of some artists, the deadline of Tapestry 3 is postponed till 1st of December. This is arrival date. Artists who haven’t finished yet their works could apply before this date. In this case you are expected to contact with the Association.
Please note: the jury date was changed to 15th December 2016.
The list of the selected works will be published on the website until 30th December 2016
We will inform everyone by e-mail, too.
The final arrival time of 20×20 cm works to the “Golden Wall” is between 1 and 15 January, 2017,
to the following address by mail:
Hungarian Tapestry Artists Association, 1507 Budapest, Pf .: 172
Apocalypse or Global Sustainability?
The Apocalypse or Global Sustainability conference took place as the first phase of a large project on 15 April 2015 in building B of Budavári Castle. The international series of programmes involving experts from the fields of arts and sciences will also have some more stages such as the large-scale exhibition on tapestry whose main participant and organizer is the Association of Hungarian Tapestry Artists.
The participants of the conference were the members of the mentioned association and professionalists dealing with visuality who – according to the organisers’ intentions – could gain inspiration to individual and common thinking and acting. What can be done, what solution will save the world which is slowly exploiting its resources – such as (rain) forests, oil, fishes in the oceans – in many areas and rushing towards its own destruction. Is it possible to go against the tendencies happening in the world? It seems that there are always some people who are not satisfied with answering this question with a cynical or accepting gesture.
The presentations of the conference held on 15 April were divided into two sections. The morning section dealt with the artistic references of apocalypse approaching the question of end of the world problem from more subliminal aspects.
Dr. Szilvia Bognár, Head of Graphics Department, Museum of Fine Arts, had an interesting classical art history presentation illustrated with plenty of pictures about Albrecht Dürer’s Apocalypse wooodcut series and the 16th century engraving illustrations of the Book of Revelation. The circumstances of creation of Dürer’s woodcuts and their analogies were presented in details.
Dr. Concha Herrero Carretero, Spanish art historian arrived at the conference from Madrid to tell the audience the story of the Apocalypse tapestry (which partially survived a maritime disaster) made in Willem de Pannemaker’s workshop in Brussels and financed by Philip II, Spanish king. The presenter analysed not only the questions referring to the origin of the monumental textile but its iconography and style.
The afternoon section started with Dr. Lívia Pápai’s (freelance artist) comprehensive presentation entitled The ecology of image and tissue, opening much wider historic and theoretical perspectives than the previous ones. The interdisciplinary presentation with wide perspective outlined the use of materials and the philosophical background of textile art, which is as old as mankind, from the 10,000-year preColumbian weaving culture to Bauhaus concepts about textile. The artist gave insight into her textile theory which she had already discussed in her DLA thesis, and which thoughts she is continously redefining in her art. (For example in The Living Tissue exhibition catalogue published in 2005)
Dániel Barcza, the Head of the Design Institute of Moholy-Nagy University of Art and Design Budapest, had a presentation entitled Apollo paradigm with outstanding rhetoric. Although as a philologist I expected to hear about the aesthetic concepts of Friedrich Nietzsche’s book, The Birth of Tragedy (Dionysian and Apollonian art) in new approach, but something different happened. The starting point of Barcza’s train of thought was the most exciting technical challenge of the mid-twentieth century, the moon travel which – he thinks – symbolically presents the continuously speeding struggle that the ‘homo technicus‘ has with his own instincts to conquer the world. The presentation highlighted that the global problems have completely changed by now. The conditions of sustainability of technical development can be expressed today not by conquering the Moon or the Mars but, symbolically, the safe return to the Earth. The main question is how we can substitute the energy sources which are to be drained by alternative methods and how we can produce the resources for the survival of mandkind. Some answers of environmentally friendly design were shown in the presentation.
Dr Sándor Csegzi, the vice mayor of Târgu Mureș and the president of the Hungarian Technical Sciences Society of Transylvania Branch of Târgu Mureș, presented the charts and facts about the activities of environmentally friendly management in the Transylvanian town in a practical approach. He also mentioned that as a politician and a technical expert how he thought about this question and what he thought about the role of art which – he said – is outside of Apocalypse and crisis. He also showed some examples of supporting the presented artistic activities.
Dr. László Hubbes, Assistant Professor in Târgu Mureș spoke about the symbols of two parallel representative traditions in Christian art and universal art history. Theoretical background and examples from the history of art were shown from John J. Collins through Károly Pogány and Northrop Frye to contemporary Armageddon films.
The afternoon section was closed by economist László Zsolnai’s provocative presentation entitled Only art can save the world. Zsolnai started with a famous Heidegger quotation (‘Only a god can save us.‘) and continued with the great philosopher’s thoughts about technical civilization which states that technology itself is not dangerous, it becomes dangerous only if technology is combined with exclusive business approach. The summarizing presentation dealt with the threat that all objects and subjects of our world have to face if they are defined only from the aspect of industrial production. Zsolnai explained: although the threat caused by calculative thinking seems to be very strong, maybe a superior enemy, we still have reasons for hope. Since there are adequate answers to these problems such as Joseph Beuys’s artistic activity or the Duan Cricle’s public , and all human creations made by hand or created in harmony in nature.
The conference was led by Dr. Attila Horányi, Assistant Professor of Moholy-Nagy University of Art and Design Budapest, who contributed to the discussions and the dialogues between the audience and the presenters with his critical remarks and questions. After the presentation Rodolphe Viémont’s almost one-hour long film about the Angers Apocalypse Tapestry was shown.
The presentations of the conference with exciting interpretations from social and scientific aspects will be soon published in a catalogue by the organizers.
Eszter Molnár
art historian