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    The conception of GWB18’s visual campaign was based on caricatures of modern art in the post war era mocked the meaningless and the snobishness o… Read More
    The conception of GWB18’s visual campaign was based on caricatures of modern art in the post war era mocked the meaningless and the snobishness of the abstraction, published in the Eastern part of the Iron Curtain (anti-Imperialist jokes in satirical picture magazines; e.g. the Hungarian ‘Ludas Matyi’), and the Western side (see Ad Reinhardt’s clarifying cartoons) too. As self-sarcastic commentary on the ‘What is modern/contemporary art’ rhetoric question, the GWB's campaign answered with a combination of pseudo contemporary art installations (invented by Fanny Pápay, photographed by Dávid Biró) and funny Messenger dialogues (written by Gábor Rieder), contextualizing the fragile situation of the real contemporary art works exhibited in the participant galleries of the GWB. Read Less
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The conception of GWB18’s visual campaign was based on caricatures of modern art in the post war era mocked the meaningless and the snobishness of the abstraction, published in the Eastern part of the Iron Curtain (anti-Imperialist jokes in satirical picture magazines; e.g. the Hungarian ‘Ludas Matyi’), and the Western side 
(see Ad Reinhardt’s clarifying cartoons) too. As self-sarcastic commentary on the
‘What is modern/contemporary art’ rhetoric question, the GWB's campaign answered with a combination of pseudo contemporary art installations (invented by Fanny Pápay, photographed by Dávid Biró) and funny Messenger dialogues (written by Gábor Rieder), contextualizing the fragile situation of the real contemporary art works exhibited in the participant galleries of the GWB.