Here you go. Sometimes it feels a bit weird translated to English, but some sentences feel weird compared to contemporary Hungarian as well :) "The time of liberation has arrived. This period of time has meant to me that I could become an editor once again. I was the editor of the official magazine of the Magyar Művészeti Tanács (Hungarian Art Council). It was an absolutely modern magazine in it’s looks, messages, and typography. We’ve sent the magazine abroad as propaganda material. We’ve received really nice letters - borderline surprised letters that in Hungary after the war a magazine of such quality could be produced. In 1948 the magazine was discontinued. I was going to the editorial office from Békásmegyer because my apartment in Pest was destroyed and I had to move to Békásmegyer. These were tough years, I seemingly phased out heavily from both literature and the fine arts but essentially, I continued my work: in part for my desk and in part by turning my paintings to face the wall. This period also meant change in my life. I am a heavily nature feeling person and there I happened to be in the middle of nature. The effect of nature started to appear in my poems and pictures. I didn’t start meddling with naturalism, but I let nature directly affect me. My poems turned more subjective and lyrical, and my pictures too turned more or less figurative - naturally again, not in a lifelike figurative sense but constructed and transcendent. This period seems like a softer, more lyrical series of confessions. Looking from today it’s approximately the middle of my career. My constructive pictures and poems with an objective point of view first appeared this time - and also collages. Collages intrigued me in a way that I - as a person constructive in nature - tried to combine different materials to create something new. I believe that this turned out quite successfully. In my poems the constructive image editing appeared and in my constructive pictures the literary lyric - thus the two trends once again intertwined and continues to this day. Currently I live in Óbuda and in these outskirts have I spent the 80th anniversary of my mission. If I think back, I feel that I built my works and my human behaviour consciously and in a straight line. Success did not avoid me either - my work is acknowledged. In my home country I am mostly known as a poet, while abroad I am mostly known as an artist. I had many exhibitions abroad, many notable museums have my works, and publications were published about me with my compatriot, the world famous Victor Vasarely. An album consisting of 6 colour pictures of mine and 6 colour pictures of his. A 1922 manifest of mine and a 1960 manifest of his. He is the generation following mine which creates constructive art. Between us the difference is that I represent stability and he represents motion. My creative work still has the same intensity on both literature and fine arts. I develop myself with the exact same intensity." _At __5:52__ he puts on his glasses and starts reciting the poem _*_Festményeim előtt_*_ (meaning In front of my paintings)._ "Now I am in front of a painting of mine close to being finished. I am sitting and seemingly resting - but I certainly am not. Tension is high in me; I have a dialogue with my painting: I ask a question from he/she, and he/she answers me. He/she tells me what deficiency he/she feels in and on him/herself and then I reply: I grab the brush and try quieting his/her complaints and perfecting the painting. It is an interesting methodology of my work: I constantly identify myself with my painting and the only time I can rest is if the painting lets me get close to him/herself and I can get close to him/her. The painting is me and I am the painting. The painting does not break away from me, it presents me."
Someone could please have subtitles in english please? Thanks for this great archive and greetings from Chile.
Here you go. Sometimes it feels a bit weird translated to English, but some sentences feel weird compared to contemporary Hungarian as well :)
"The time of liberation has arrived. This period of time has meant to me that I could become an editor once again. I was the editor of the official magazine of the Magyar Művészeti Tanács (Hungarian Art Council). It was an absolutely modern magazine in it’s looks, messages, and typography. We’ve sent the magazine abroad as propaganda material. We’ve received really nice letters - borderline surprised letters that in Hungary after the war a magazine of such quality could be produced. In 1948 the magazine was discontinued. I was going to the editorial office from Békásmegyer because my apartment in Pest was destroyed and I had to move to Békásmegyer. These were tough years, I seemingly phased out heavily from both literature and the fine arts but essentially, I continued my work: in part for my desk and in part by turning my paintings to face the wall. This period also meant change in my life. I am a heavily nature feeling person and there I happened to be in the middle of nature. The effect of nature started to appear in my poems and pictures. I didn’t start meddling with naturalism, but I let nature directly affect me. My poems turned more subjective and lyrical, and my pictures too turned more or less figurative - naturally again, not in a lifelike figurative sense but constructed and transcendent. This period seems like a softer, more lyrical series of confessions. Looking from today it’s approximately the middle of my career. My constructive pictures and poems with an objective point of view first appeared this time - and also collages. Collages intrigued me in a way that I - as a person constructive in nature - tried to combine different materials to create something new. I believe that this turned out quite successfully. In my poems the constructive image editing appeared and in my constructive pictures the literary lyric - thus the two trends once again intertwined and continues to this day.
Currently I live in Óbuda and in these outskirts have I spent the 80th anniversary of my mission. If I think back, I feel that I built my works and my human behaviour consciously and in a straight line. Success did not avoid me either - my work is acknowledged. In my home country I am mostly known as a poet, while abroad I am mostly known as an artist. I had many exhibitions abroad, many notable museums have my works, and publications were published about me with my compatriot, the world famous Victor Vasarely. An album consisting of 6 colour pictures of mine and 6 colour pictures of his. A 1922 manifest of mine and a 1960 manifest of his. He is the generation following mine which creates constructive art. Between us the difference is that I represent stability and he represents motion. My creative work still has the same intensity on both literature and fine arts. I develop myself with the exact same intensity."
_At __5:52__ he puts on his glasses and starts reciting the poem _*_Festményeim előtt_*_ (meaning In front of my paintings)._
"Now I am in front of a painting of mine close to being finished. I am sitting and seemingly resting - but I certainly am not. Tension is high in me; I have a dialogue with my painting: I ask a question from he/she, and he/she answers me. He/she tells me what deficiency he/she feels in and on him/herself and then I reply: I grab the brush and try quieting his/her complaints and perfecting the painting. It is an interesting methodology of my work: I constantly identify myself with my painting and the only time I can rest is if the painting lets me get close to him/herself and I can get close to him/her. The painting is me and I am the painting. The painting does not break away from me, it presents me."
@@speeder04444 thank you so much
A képarchitektúra mestere, Kassák Lajos (1967)
magyar dokumentumfilm, portréfilm, rövidfilm, 22 perc
rendezte: Zsigmondi Boris
A teljes filmhez valaki tud linket?
Ó