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Gábor Klaniczay traveled to Paris for the first time in 1967, when he spent one year in the city. This journey was followed by more. During his travels, he collected an array of different material: leaflets, proclamations, and posters about alternative cultural life and student movements. These documents reveal the kind of ideas, trends, performances, and exhibitions he was interested in at the time. This particular item is a leaflet of Bread and Puppet Theater’s performance in Paris, entitled “Notre résurrection américaine.” 

A project based on the extension of the correspondence with Ray Johnson

In July of 1979, Artpool got Ray Johnson's mail address from Romano Peli in Parma. At first, they didn't get any replies to the letters they sent him.

In 1982, Ginny Lloyd, who knew Johnson personally, was visiting Artpool and found it strange that Ray hadn’t answered the letters. Galántai then decided to make one last try with a postcard action: he made twenty postcard-collages and mailed them one after the other over the course of twenty days.

The answer arrived soon, the first “send to” letter with drawings, asking that they send it to Wally Darnell in Saudi Arabia. The drawing or the letter? The request wasn’t clear to him, so he decided not to deliver the letter passively, but instead to become a part of the action, so he photocopied the drawing.

There were four numbered Fan Club stamps on the drawing, with four characteristic “bunnies.” He decided to rearrange them to allow for further additions.

A new decision was made. For the upcoming “Artpool's Ray Johnson Space,” he decided to invent a background institution, the “Buda Ray University” (modelled on the Buddha University).

Copies were made of the modified drawing and then sent first to all of Artpool’s mail connections and then back to Ray Johnson.

October 13, 1982 - Johnson mailed the second drawing with the “add to” stamp on it.

November 3, 1982 - Johnson mailed the third drawing.

December 22, 1982 - A letter arrived, referring to the second drawing with the inscription “Thank you for all your communications” and a Dora Maar Fan club stamp, and finally, a letter with a Yoko Ono Bunny stamp closed the year.

September 28, 1983 - the fourth drawing's inscription “Thank you for yaur” refers to the former letter (after nine months), and continues with “send to Peter Below,” and the drawing: a duck in a cloud with the inscription DUCK CLOSE and with a ball-point pen OH BOYS ALWAYS THE SAME STYLE.

The Buda Ray University gained more and more participants through the continuous posting of the first four letters. The University published a book in 1985 that contained a selection of the letters that had been received up to that time.

February 13, 1986 - Johnson mailed the fifth drawing “BILL de KOONING'S BICYCLE SEAT” which arrived enclosed with a catalogue of the Nassau Museum, in exchange for the Ray Johnson Artpool Book.

The fifth drawing was the most successful. Many replies came within a short period of time. There were too many replies to include in a single a book, so Artpool had to use another form of publication: the exhibition.

The Artpool's Ray Johnson Space was shown 14 times in 8 different countries between 1986 and 1993, either as part of other events or sometimes as an independent program.

În decursul anilor 1980, o întreagă zonă a Braşovului a fost demolată pentru a face loc construirii unui cartier denumit Centrul Civic, care trebuia să reprezinte noul centru socialist al oraşului. Construirea de noi centre urbane, denumite în genere centre civice, a fost o parte a politicii de sistematizare urbană întreprinsă de Ceauşescu în anii 1970–1980. Prin această politică se dorea să se imprime o nouă identitate oraşelor, care să reflecte “măreţia” Epocii de Aur, aşa cum propaganda oficială prezenta regimul Ceauşescu. Clădirile din imagine fac parte din cartierul care în anii 1970 se numea “Strungul,” după numele fabricii din apropiere. Clădirile erau case particulare cu unul sau două etaje, construite la începutul secolului XX sau în perioada interbelică de mica burghezie sau de muncitori.
În zona acelor clădiri demolate, a fost ridicat în doua parte a anilor 1980 un ansamblu de blocuri de zece-cincisprezece etaje. Pe fundalul fotografiei, apare o clădire construită în anii 1960 a fabricii Hidromecanica, pe care se poate citi o lozincă din epocă: “Trăiască Partidul Comunist Român!” Combinarea acestei lozinci, care dorea să sugereze măreţia realizărilor regimului, cu peisajul apocaliptic al demolărilor dă fotografiei un sens ironic. Realizarea ei a fost un act de opoziţie culturală deoarece prin fotografierea demolărilor autorul îşi asuma riscul de a suporta măsuri represive din partea autorităţilor.

Bulgakov's Heart of a Dog, a satire on the Soviet New Man, was written in 1925 in the Soviet Union, and it was immediately confiscated and banned until as late as 1987. From the 1960s it was circulated in the country in Western editions, but in Hungary very few people had the chance to read the novel. It was not known even among people who had access to sources of clandestine literature under the Kádár regime.

The situation changed a little when the Slovak journal Svetová Literatúra published the novel in Slovak translation in 1978. The Hungarian writer György Spiró thus could read the novel - strangely enough, upon the recommendation of the notorious hard liner cultural journalist, columnist of the party daily, and editor of the journal Szovjet Irodalom [Soviet Literature], Pál E. Fehér. Spiró started to work at the Csiky Gergely Theatre in Kaposvár as a dramaturge in late 1981 (officially from early 1982), and he encouraged the director to adapt it for stage. By then, the professor of Russian Zsuzsa Hetényi had already prepared the translation based on the 1969 Paris edition of the book, which Spiró had lent to her. The initiative nevertheless failed, and the Hungarian translation was put on file in the archive of the Institute of Theatre in Budapest. There was a second attempt to stage it in 1986, but the authorities intervened. The Hungarian translation, however, was published in the same year by one of the smaller samizdat publishers, Katalizátor Iroda.

The publication of the book caused some tensions within dissident circles. The book was brought to Katalizátor Iroda by Ádám Modor, who had until that point been involved in the printing of the samizat journal Beszélő since 1983. The editors of the journal had a rule: no other publication was allowed to be printed on the stencil machine of Beszélő located in the suburban workshop of painter Kitty Márczi. Modor, however, decided to print Heart of a Dog anyway that was noticed by the editors. In March 1986, the editorial team parted company with Modor, who brought the book to Katalizátor Iroda and published it under their brand.