Immer wiederkehrende Motive in Loewigs Arbeiten sind Mauern, Zäune oder Flüsse mit zerstörten Brücken, verletzte oder tote Menschen und Vögel. Die Darstellungen rühren aus den eigenen Erlebnissen im Zweiten Weltkrieg, richten sich somit allgemein gegen jede Form von Gewalt und Unterdrückung.
Die Lithographie „Paar hinter einem Zaun“, 30 x 42 cm und 1971 entstanden, zählt zum vierten Blatt der Serie „Mein Mund webt ein Fangnetz für den Tod“. Die Serie, die insgesamt 8 Blätter umfasst, wurde kurz vor der Ausreise aus der DDR geschaffen und gehört zu den Arbeiten, die Loewig noch heimlich drucken ließ, weil ihm der Zugang zu den staatlichen Druckerwerkstätten nicht mehr erlaubt war.
During the Rákosi era, when religious life was oppressed and religious works, choirs, publishers, and institutions were banned, László Lajtha composed Catholic masses in Latin. Before, Lajtha had shown no interest in religious music.
His masses are Missa in tono Phrygio – “In diebus tribulationis” Op. 50 (1950), Missa pro choro mixto et organo Op. 54 (1952), and Magnificat, pour Choeur de Femmes et Orgue Op. 60 (1954). – Lajtha dedicated the Magnificat to Margit Tóth, a member of the Lajtha group and Trois Hymnes pour Sainte Vierge, pour Choeur à trois voix de Femmes et Orgue Op. 65 (1958).
The Missa in diebus tribulationis op.50. was composed between April to June in 1950. This was not much time, given that Lajtha was composing a mass, so he worked intensively. This period was very hectic in Lajtha’s personal life. In 1948, he returned from London and had to remain in Hungary because he was not given a passport. He was dismissed from all his all positions, and he had to sell his personal belongings to get money. He became lonely. His sons emigrated, and most of his friends lived abroad, in other European countries. Lajtha always highlighted his rejection of socialism. Composing a mass was one of the ways in which he expressed this rejection. His mass was performed first in 1957, when István Vermes, the head of Magyar Radio (Hungarian Radio), decided to present works by composers who were under pressure from the communist regime. Although the cultural policies of the Kádár era were less radical, this kind of masterpiece still stood a good chance of being banned. Magda Kelemen, who knew Lajtha’s work as a composer, proposed changing the mass’s title to Phrygian Mass (Mise fríg hangnemben). This title seemed less explicit as an expression of opposition to the socialist regime. The mass was presented by Magyar Radio in 1957. In 1989, it was performed again, and in the 1990s a performance was recorded on CD.
The interview done by Menyhért Lakatos is a unique part of the István Kemény collection. After the sociologists had done interviews with Roma individuals, they faithfully transcribed them, always maintaining the distinctive style of the person interviewed. The interview done by Lakatos was probably not transcribed on the basis of a sound recording, however. It seems that Lakatos reconstructed the discussion afterwards on the basis of his notes.
Lakner László: Identity I. (Rope), 1969, oil on canvas, 120 × 50 cm; rope: 159 × 54 cm
The work of László Lakner entitled Identity I. (Rope) was shown first at the second Iparterv exhibition, which is known as one of the most important manifestations of the Hungarian neoavantgarde. The work consists of two parts: one of the panels is formed by a piece of rope vertically stretched to a frame; the second panel is a painted depiction of a similarly sized and positioned piece of rope. The painted panel is framed as well, but a little shorter in length. The painted rope is depicted realistically and in detail. Its colour is a little darker than the object, and it is a little curvier. The painted part is a little bit splattered at some places, and this, together with the slight curvature, creates a sense of a slam, a hit. The painted rope rolls to the left, the real rope rolls to the right.The diptych composition can be interpreted as a depiction of the relationships between original and copy, representation and model, object and print, reality and imitation with sensual means. The rough presence of the hemp-rope and the detailed, almost photorealist, but still dynamic diction of the painted rope creates tension, as does the similar, but slightly different positioning of the two. The rope as a symbol and as an object can activate the cultural memory of the viewer (it can refer to sailing or to hanging), but at the same time, it reflects on the conceptual question of vision-based imaging, the identity of art with traditional painterly means. This “one fire drives out another’s burning” momentum alone makes this conceptual work peculiar.