{"id":2188,"date":"2019-05-30T11:33:02","date_gmt":"2019-05-30T11:33:02","guid":{"rendered":"https:\/\/punkt.hu\/2019\/05\/30\/maganerdek-es-kozkincs-2-resz\/"},"modified":"2019-10-08T08:58:22","modified_gmt":"2019-10-08T08:58:22","slug":"private-interest-and-public-treasure-2","status":"publish","type":"post","link":"https:\/\/punkt.hu\/en\/2019\/05\/30\/private-interest-and-public-treasure-2\/","title":{"rendered":"Private Interest and Public Treasure 2."},"content":{"rendered":"
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Lui Magazin January 1, 1986. Photo: \u00c1gnes Eperjesi.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\u00a0<\/strong>Contexts of Gyula Pauer\u2019s statue \u201cMiss Hungary\u201d (1985)<\/strong><\/p>\n

The Miss Hungary beauty pageant was the centre of attention in 1985, as the ceremonious election of a beauty queen was the first of its kind to be organised in Hungary during the socialist era. The meanings of the words \u2018beauty\u2019, \u2018queen\u2019 and \u2018election\u2019 had changed fundamentally in socialism: these concepts had either become empty,<\/span> or conversely, loaded with lewd undertones. No wonder (that) the occurrence of these three concepts in the same context raised attention, and a veritable crowd, more than 2200 girls applied to participate.<\/p>\n

News of the beauty pageant also tickled the imagination of the sculptor Gyula Pauer, and \u2013 to quote Annam\u00e1ria Sz\u0151ke \u2013 \u201che decided to document the entire event in the frame of a Beauty Action by means of sculpture. The prevailing technique to carry out this action had always been the preparation of a plaster mould as a method of documenting reality, and it was no different in this case.\u201d<\/p>\n

A sculpture to be modelled on the winners was announced at the awarding ceremony as one of the prizes. This is considered by critics as the first attempt in the Hungarian art world to deliberately use the media as a means to an end. The privileged position Pauer gained beyond increasing his popularity by using the mass media is, however, benevolently left in obscurity: as his activity was legitimised by the organiser, the Hungarian Media, he seemingly became the officially commissioned sculptor of the contest. The appearance of officiality thus created came with the practical benefit of not having to woo each contestant into participating. By appearing to be an integral part of the competition, Pauer\u2019s enterprise made the aspiring beauty queens feel obliged to automatically, unquestioningly place themselves at his disposal. As expected, Pauer took advantage of this beneficial situation. To illuminate this, it is worth to bring up an action plan of his from a later period. Further developing the idea of picturing archetypes of beauty in 1992, he wanted to make plaster moulds of the body of Olympic medallists. This time, however, the aegis of apparent officiality was missing. The letter addressed to the Olympic champions contained a sentence implying free choice and the legitimate option of rejecting the offer: \u201cIf you would like to have a place in the FIRST MODERN-DAY OLYMPIC PANTHEON, please indicate your intention as soon as possible, in view of the great number of applying Olympic champions.\u201d Although according to Annam\u00e1ria Sz\u0151ke, the action was prepared \u201cto a considerable extent\u201d, nothing came out of it, and even the letters were never sent.<\/p>\n

Owing to the manner in which the \u201cprize\u201d was announced, the winners of the contest believed their participation to be an obligation entailing their contractual agreement with the Hungarian Media, and they even had to act happy throughout the entire mould-making procedure, which made them feel even more being a subject.<\/p>\n

This brings us to the fundamental questions of the artist-model relation, a delicate issue regarding the use of models in fine art. The inequality of the artist-model relation often masks asymmetrical power relations and is difficult to disconnect from its negative implications. Unequal nudity almost always expresses power bias, the supremacy of the robed over the denuded.<\/p>\n

By the \u201880s, this realisation had been maturing for a while in art discourse. Just recall John Berger\u2019s momentous 1973 essay. He interprets the considerable part of European art as works created to satisfy the voyeuristic and possessive desires of men. The problematic nature of the artist-model relation had been thematised by a number of artists, who made this criticism part of their artistic praxis. If I am to cite only one example, it should be Orsolya Drozdik\u2019s 1977 performance The Nude<\/em>, which is worth mentioning here because such men gave their name to it as Mikl\u00f3s Erd\u00e9ly or L\u00e1szl\u00f3 Beke \u2013 who were on close terms with Pauer.<\/p>\n

Of course, Pauer cannot be brought to book for not representing the above outlined artistic position in the course of making moulds of the beauty pageant winners. However, to some extent, Pauer did sense the controversial nature of using civilian-contestants-turned-public-figures as models. Premiered in 1987, the documentary Pretty Girls<\/em> by L\u00e1szl\u00f3 Hartai and Andr\u00e1s D\u00e9r also attests to the unpleasant situations the winner of the second prize, Judit Kruppa got into in the course of having her mould made, which was topped off by the sculptor handing her the cash that was the models\u2019 due. Pauer gave one thousand forints to his models at the time with the condition that they could not make any subsequent claims. However, the contestants of a beauty pageant are not traditional models. They put their own bodies on the line, they can be identified and named based on their sculpted likeness. Pauer said that he felt awkward about giving money to the beauty queen, Csilla Moln\u00e1r. Instead, he promised that he would make a portrait of her that would eventually be worth ten or twenty times more. We do not know whether this gift was ever completed, but so much is certain that the model of the alleged portrait could never enjoy its increasing prestige as she committed suicide a few months later.<\/p>\n

A beauty pageant is a social event, which was why Pauer was proclaiming that he would record its social imprint. However, he failed to reckon with the symbolic nature of the role of the contestants, for the beauty queen is a protected celebrity by role: the sight of her body is freely accessible to anyone, but her physical body is untouchable. This unattainability makes it possible for the winner of the contest to have a symbolic significance: to be an idol for the masses, the subject of their adoration; to serve as a diplomat in politics, contributing to the country\u2019s image, bearing the role and title of \u2018ambassador of beauty\u2019 for a year. It was precisely this symbolic meaning that the army of sculptor\u2019s assistants shown in the documentary destroyed with their hands fumbling all over the bodies of the select beauties.<\/p>\n

The problematic nature of the artist-model relation with regard to the Beauty Action is mitigated by critics to how the documentary Pretty Girls<\/em> gave insight into the work taking place at the studio, which gave rise to ambiguous situations that could be interpreted as erotic. Annam\u00e1ria Sz\u0151ke dismissed the issue with \u201cPauer was not above a little eroticism\u201d. \u00c9va K\u00f6rner turned eroticism into a moral issue, and fended off any potential criticism by blaming the prudishness of \u201csocialist virtue\u201d saying \u201cEros, the fulfilling, invigorating principle became particularly ill-famed in socialist realism.\u201d \u201c\u2026it turned out that true Hungarian virtue and Socialist Virtue with a capital V cannot stand each other.\u201d The problem with these sentences is that whatever \u201ctrue Hungarian virtue\u201d and \u201cSocialist Virtue with a capital V\u201d may refer to, the beauty pageant and beauty queen election had nothing to do with either<\/p>\n

Pauer expressly stressed the non-erotic quality of art, namely that there is no place for eroticism during work in the studio: the model\u2019s body \u201cis a workpiece, and we regard her as such.\u201d No doubt this must have been the case, and yet this is exactly what gives free rein to objectification and sexism.<\/p>\n

Let us take as an example Pauer\u2019s 1975 recipe for Pseudo-sculpture, in which the model is not merely a \u201cbeautiful\u201d (!) woman who should be \u201cstripped bare\u201d, but who can also be subject to being watched, drawn, painted, and, by a sculptor, touched and groped as well.<\/p>\n

The recipe is as follows: \u201cTake a beautiful woman, strip her bare, stand her on a pedestal [\u2026] take the beautiful woman, make her stand straight, adorn her, wrap her in silk veil, smooth the silk with clean, wet hands tightly all over her body\u2026\u201d It is not only what he says (viz. \u201cbody\u201d can only stand for a female body, and \u201cmodel\u201d can only stand for a beautiful, naked young woman) that is notable in this recipe, but also the language he uses to say it. The model seems to have already transubstantiated into a sculpture, a lifeless object to whom it is best to refer in objective case as she will passively undergo the entire process. Of course, we could say that the recipe of the pseudo-sculpture is filled with irony to its core, but then this supposed irony will seem rather peculiar in the light of the beauty pageant\u2019s context, which might make that irony a lot less enjoyable.<\/p>\n

None of the writings about the statue reflects on the potential problems of objectification or the difference between eroticism and sexism.<\/p>\n

Art historian Emese R\u00e9v\u00e9sz, who witnessed the mould-making still as a high school student, recalls her memories as follows: \u201cI was a teenager when I ended up at the studio in the scope of some social event, and I heard them talking amongst themselves about the work that was going on there. Men were discussing women as sexual objects, which was by far not unusual in this scene, it only seems unbecoming to my adult mind. They were talking about making full-body moulds, and how they could touch those girls at places and in ways no one else could. Is it possible to distinguish between the touch of a man and the touch of an artist? From this perspective, what I heard there, the case was that these girls had been touched not by artists but by boys and men. From what I saw, the way they spoke \u2013 again: I was outside the subculture of the art scene \u2013 implied that boys and men were talking about chicks, and incredibly hot chicks at that<\/span>, to whom they had access in a way as others didn\u2019t.\u201d<\/p>\n

In our assessment of Pauer\u2019s role as an artist, the erotic photographs that took up ten full pages in the January 1986 issue of the French adult entertainment magazine Lui<\/em> must be regarded as primary evidence. The photos had been taken in Pauer\u2019s studio with his active assistance and support. The images used the tools of art production, such as racks and canvases, as erotic props, that is, the magazine appropriated Pauer\u2019s entire project along with its attributes, to which Pauer readily assisted.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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Lui Magazin January 1, 1986. Photo: \u00c1gnes Eperjesi.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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One of the photos reveals the half-naked Zita Kalm\u00e1r, with no less than seven male hands fumbling around on her lustrous oily skin. Another image shows a sculptor\u2019s assistant\u2019s hands massaging the ointments required to create the oily lustre into the breasts of the recumbent model. In a third photo, the photographers have Zita Kalm\u00e1r lie down next to a previously made erotic plaster cast and \u2018playfully\u2019 assume the pose of the cast\u2019s model. Owing to the colourful orange-green lighting, there is almost no difference between the sculpted and the living body.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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Lui Magazin January 1, 1986. Photo: \u00c1gnes Eperjesi.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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It is not only the artist\u2019s studio and the erotic photo shoot that overlap in this case, but the sculptures are also brought to the same level as the erotic photographs they became subjects of. The explicit exposure of the artist\u2019s studio, the environment of sculpture and fine art in an erotic magazine showed the connection between mass culture and elite culture in an unprecedented manner. This perfectly suits the definition of beauty by P\u00e9ter Gy\u00f6rgy as \u201cthe meeting of kitsch and pornography on a dissecting table, that is, in the exclusive publicity of high culture.\u201d<\/p>\n

Perhaps Pauer was not aware of it, but the indubitable fact is that these photos completely blur the relations between artistic model and erotic model, artwork and erotic photo. And he did not just innocently get involved in this situation. The unobstructed blurring of power, apparent officiality and the imperative of art \u2013 which I have already outlined above in relation to the mould-making project \u2013 is reiterated in Pauer\u2019s act of giving his consent to the photo shoot. The only thing Pauer asked of the photographers \u2013 who allegedly had shown up unexpectedly at the studio \u2013 was to get the models\u2019 consent for the photo shoot. What were these young women expected to say when ambushed like this, without being prepared? A presumably crucial factor in their awkwardly automatic consent was the fact that they were in the studio of a sculptor. Standing model for a sculpture and for an erotic photo could not be clearly distinguished in this situation. And thus Pauer\u2019s studio, the scene of art, was conclusively rendered into an alibi.<\/p>\n

The two photographers, B\u00e9la Bacs\u00f3 and J\u00e1nos Feny\u0151 were employees of the Periodical Publishing Company. Little did the beauty contest\u2019s prize winners know that Feny\u0151 was also a regular contributor of the Lui<\/em> magazine. To be fair, they only learned about the publication of the nude photos after the fact! Therefore, they had never consented to their publication, and this was what rendered the events into a de facto insult. As opposed to the girls, Pauer was \u2018naturally\u2019 let in on the secret by the two photographers, meaning that they had asked for his permission to publish the photos. He had no objection whatsoever. The photos in question are above all the ones the two photographers made of Csilla Moln\u00e1r\u2019s cast. Photos of a sculpture bathed in lascivious blue-red light in front of a homogeneous black background. In the documentary, an art critic as momentous as L\u00e1szl\u00f3 Szalma, head of programming at the Hungarian Media, stresses that \u201cwhat is most important regarding the case is that the magazine published no nude photograph of Miss Hungary. As only the sculptural representation of Csilla Moln\u00e1r was published as the reproduction of a work of art, she was thus not disqualified from Miss Europe Malta.\u201d In other words, Csilla Moln\u00e1r would make it to the European beauty pageant while through the backdoor of high art, her naked body could still make its way into an erotic men\u2019s magazine.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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B\u00e9la Bacs\u00f3: Gyula Pauer in studio. In: Pauer, 2005. Photo: Eperjesi \u00c1gnes Eperjesi<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div>\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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The reason the photos published in Lui<\/em> are key elements in the judgement of Pauer\u2019s role as an artist is that on account of the unprecedented flagrance of the context, they invalidate the attempts to interpret the bronze statue.<\/p>\n

Art criticism, however, has attempted to usher the artist\u2019s work back into its safe elitist cage. In connection with the making of the plaster moulds, the authors of texts analysing Pauer\u2019s art almost without exception cite Pseudo<\/em>, as Gyula Pauer\u2019s trademark, his conceptual invention, which essentially addresses the illusory nature of representation. With special emphasis on the concept and its critical tone. So far, so good, but none of them query how exactly we are supposed to interpret the idea that the sculptor intends to take a sociological sample of society while also blowing the lid off the beauty myth. The writings themselves fail to convince the reader that this almost compulsory, in fact, compulsively reiterated reference indeed has a substantive correlation with the plaster moulds of the subjects. Another query none of them has made is whether the chosen medium was suitable for the documentation of social\/sociological phenomena. Nor have they pondered what exactly it was the casts of the winners of a beauty contest blew the lid off. For although it is true that the body of the winner of a beauty pageant does in fact represent a social expectation towards the prevailing ideal body image and conception of beauty, the lifelike sculpture of a body identifiable by a name directs attention at the model\u2019s person and conceals the social processes that give rise to the system of expectations in question. Additionally, it fails to reckon with the political nature of the social attention directed towards the outward appearance of women.<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t

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The majority of art historical analyses refer to the piece as an outstanding product of fine art. The bronze statue of the beauty queen does indeed capture some of the contradiction between transience and eternity, but even that is legitimised by the tragedy of death. The contexts cited above present the statue in a more than ambivalent light.<\/p>\n

The past few years have seen a certain shift, with some careful voices emerging in the art scene, criticising the enterprise from a professional point of view. I have witnessed scathing criticism in private conversations by countless professionals or people related to the art world, but scholarly literature shows no trace of such critical attitude. I believe it is time to re-examine some remarks that rapturously praise the statue of Miss Hungary, for instance, the one by G\u00e9za Perneczky, who thinks \u201cGyula did not aestheticise, but like a surgeon, buried his fingers deep into the cancerously proliferating tissue of contemporary phenomena.\u201d<\/p>\n

I wish to extend my gratitude towards Edit Andr\u00e1s and Andr\u00e1s Beck for their helpful remarks.<\/p>\n

The full study was originally intended for publication in a printed compilation of lectures held at the conference Reconstruction and Nationalisation<\/em> on 3 December 2018.<\/p>\n

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Lui Magazin January 1, 1986. Photo: \u00c1gnes Eperjesi.<\/p>\n\t\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Lui Magazin January 1, 1986. Photo: \u00c1gnes Eperjesi.<\/p>\n\t\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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Lui Magazin January 1, 1986. Photo: \u00c1gnes Eperjesi.<\/p>\n\t\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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B\u00e9la Bacs\u00f3: Gyula Pauer in studio. In: Pauer, 2005. Photo: Eperjesi \u00c1gnes Eperjesi<\/p>\n\t\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t\t<\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

“Perhaps Pauer was not aware of it, but the indubitable fact is that these photos completely blur the relations between artistic model and erotic model, artwork and erotic photo. “<\/p>\n","protected":false},"author":6,"featured_media":1604,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"spay_email":""},"categories":[11],"tags":[97,94,95,96],"acf":[],"yoast_head":"\nPrivate Interest and Public Treasure 2. - PUNKT<\/title>\n<meta name=\"description\" content=\"The study by \u00c1gnes Eperjesi gives a new feminist analysis of the statue of Gyula Pauer, a canonized author in Hungarian art history.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/punkt.hu\/en\/2019\/05\/30\/private-interest-and-public-treasure-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Private Interest and Public Treasure 2. - PUNKT\" \/>\n<meta property=\"og:description\" content=\"The study by \u00c1gnes Eperjesi gives a new feminist analysis of the statue of Gyula Pauer, a canonized author in Hungarian art history.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/punkt.hu\/en\/2019\/05\/30\/private-interest-and-public-treasure-2\/\" \/>\n<meta property=\"og:site_name\" content=\"PUNKT\" \/>\n<meta property=\"article:published_time\" content=\"2019-05-30T11:33:02+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-10-08T08:58:22+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/punkt.hu\/wp-content\/uploads\/2019\/05\/punkt-maganerdek-es-kozkincs-2-resz-02-731x1024.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"731\" \/>\n\t<meta property=\"og:image:height\" content=\"1024\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Kassai L\u00e1szl\u00f3\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Organization\",\"@id\":\"https:\/\/punkt.hu\/#organization\",\"name\":\"PUNKT\",\"url\":\"https:\/\/punkt.hu\/\",\"sameAs\":[\"https:\/\/www.instagram.com\/punkt.hu\/\"],\"logo\":{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/punkt.hu\/#logo\",\"inLanguage\":\"en-US\",\"url\":\"https:\/\/i2.wp.com\/punkt.hu\/wp-content\/uploads\/2019\/05\/punkt-rolunk-01.png?fit=729%2C529&ssl=1\",\"contentUrl\":\"https:\/\/i2.wp.com\/punkt.hu\/wp-content\/uploads\/2019\/05\/punkt-rolunk-01.png?fit=729%2C529&ssl=1\",\"width\":729,\"height\":529,\"caption\":\"PUNKT\"},\"image\":{\"@id\":\"https:\/\/punkt.hu\/#logo\"}},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/punkt.hu\/#website\",\"url\":\"https:\/\/punkt.hu\/\",\"name\":\"PUNKT\",\"description\":\"PUNKT\",\"publisher\":{\"@id\":\"https:\/\/punkt.hu\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/punkt.hu\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/punkt.hu\/en\/2019\/05\/30\/private-interest-and-public-treasure-2\/#primaryimage\",\"inLanguage\":\"en-US\",\"url\":\"https:\/\/i0.wp.com\/punkt.hu\/wp-content\/uploads\/2019\/05\/punkt-maganerdek-es-kozkincs-2-resz-02.jpg?fit=1428%2C2000&ssl=1\",\"contentUrl\":\"https:\/\/i0.wp.com\/punkt.hu\/wp-content\/uploads\/2019\/05\/punkt-maganerdek-es-kozkincs-2-resz-02.jpg?fit=1428%2C2000&ssl=1\",\"width\":1428,\"height\":2000,\"caption\":\"B\\u00e9la Bacs\\u00f3: Gyula Pauer in studio. 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