MINISTRY OF INTERIOR
III/III-4-b subdivision
TOP SECRET!
B u d a p e s t, 23 April 1986
R E P O R T
(about the book launch
A költészet másnapja
[Poetry – The Day After])
(excerpt)
Seizing the opportunity, I talked with Galántai about other issues too. He told me that the publication of the ART POOL LETTER / AKTUÁLIS LEVÉL (abbreviated to A–L) series would continue. He was not able to come out with a new issue since the latest, 10th issue (the first large-format ART POOL LETTER). Galántai made a reference to the fact that collecting the material as well as the supplementary texts and articles are not his ‘job’ but are done by Júlia Klaniczay. Klaniczay is working hard on the 11th issue at the moment. After she finishes it, Galántai will arrange the typing, reproduction, etc. (He promised to let me know if a new issue is ready.) He also talked about another issue: in recent times he has contacted the Museum of Fine Arts several times; the museum wants to mount an exhibition in its graphic art room from artworks (partly classical, partly contemporary) owned by private collectors. They also contacted Galántai and enquired about the ART POOL material. They would primarily like to exhibit the stamp works (stamp designs) he received from foreign artists. Galántai definitely does not want to initiate a new call for projects, a new international ‘action’. He did not even commit himself to participating in the exhibition. His hesitation has several reasons. Some legal regulations changed in the recent past, and private collections can now be given a protected status. However, if that has been done, protected artworks cannot be sold abroad (not even if the work in question was only made 1 or 2 years ago). Galántai said he was not planning on selling any of the works in his ownership (either in Hungary or abroad) but it still makes him wonder if he should deprive himself of the potential opportunity in exchange for gaining the protected status. There is a more weighty reason why he does not want to go into gaining the protected status for his material too ‘hastily’. Galántai anticipates that art policy organisations will have it more and more “in their interest” to grant official protection for the artworks in ART POOL (or a part of them) and they will work steadily towards realising this. Once this happens, Galántai wants to use this process as a negotiating tool. Modelled on the oeuvre of the French artists Duchamp, Galántai will propose that he be given a house (even one in a bad state of repair), where he can set up his own ‘museum’ and then ART POOL can be given the protected status. This house would not necessarily have to be in Budapest.
Registry number: 4/5-429/86.
Printed in 4 copies