Dr Végh tells stories of the “public life” of young artistic private societies in the 60?s, Kovásznai and the highly hostile cultural policy of the “ancien regime”, while Brigitta Iványi-Bitter focuses on the still obscure aspects of the 60’s from posterity’s point of view. What issues should be reconsidered? What artistic discussions would be worth recalling and clearing up at last? The15-minute-talk was broadcast on Radio Kossuth on the 30th April 2008 in Júlia Ránki’s program called Kultúrkör.

Just like Kovásznai, the short and intensive career of the Kex band from the 70’s is already a legend to the younger generation. Apart from the amnesic elements of the history of their influence, they are also connected in other ways. The soundtrack for Kovásznai’s City through my Eyes (1971) was, for example, composed by Kex.

Nowadays János Másik (who composed the fantastic music for Kovásznai’s all night animation Foambath) luckily has some Kex songs in his repertoir. Here was a great opportunity for those who had not heard them live yet.

At the new Kovásznai bookshow János was playing music to the Kovásznai Research Centre audience.

The bookshow was organised as a round table talk and took place in an intimate atmosphere of remembrance thanks to the powerful Kex adaptations during and after it by János Másik. We recorded the most important moments for those who could not join us, but had wished to (there were almost too many of us to fit in the room, anyway). Dr László Végh, the determinant avantgarde “activist” of the 60’s told us a lot of stories about his friendship with Kovásznai. Thanks to him we have several original audio recordings of the readings and some Kovásznai opus can also be found on this website. ”Dr László Végh is a professional X-ray physician. Now in his seventies, he is still practising. Between 1970 and 2003 he did not have any public artistic activity. But between 1958 and 1970 he acted as a life-style revolutionist, the very first Hungarian electronic and concrete music composer, presenting to the public the most contemporary music of that time, and also the very first Hungarian actionist, the main inspirator and organizer of the avantgarde movement, a visual artist and a representative of improvisative piano art. He was the one who introduced neoavantgarde art in Hungary. László Végh started the new Hungarian avantgarde movement in 1958, the second darkest year in the Hungarian history of the 20th century – after 1944. He started the most active possible intellectual and political opposition at that time, in the year of Imre Nagy’s execution. In his flat György Kovásznai read out his play for about five dozen people. “The beginning is: Dr Végh” as Tamás St Auby summarized it aptly.” (Ádám Tábor: The beginning: Dr Végh)