{"id":110793,"date":"2017-05-11T17:37:04","date_gmt":"2017-05-11T21:37:04","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=110793"},"modified":"2017-05-11T18:00:17","modified_gmt":"2017-05-11T22:00:17","slug":"very-special-gladnesses","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2017\/05\/11\/very-special-gladnesses\/","title":{"rendered":"Very Special Gladnesses"},"content":{"rendered":"<p><em>Endre T\u00f3t is one of thirty artists whose work appears in \u201c<a href=\"http:\/\/www.elizabethdee.com\/exhibitions\/with-the-eyes-of-others-hungarian-artists-of-the-sixties-and-seventies\" target=\"_blank\">With the Eyes of Others: Hungarian Artists of the Sixties and Seventies<\/a>,\u201d a group exhibition devoted to the Hungarian avant-garde, showing at Elizabeth Dee Gallery through August 12. T\u00f3t, born in 1937, was loosely affiliated with the Fluxus movement and is known especially for his pioneering mail art: postcards, stamps, and typographical oddities\u00a0that\u00a0he used to correspond with other conceptual artists. His work is characterized by its focus on nothingness\u2014in 1970, he abandoned painting, having declared \u201ca state of zero\u201d\u2014through which, in his perspective, one can reach pure joy;\u00a0in one postcard he\u00a0writes, \u201cI am glad if I can type zer0s.\u201d \u00a0<\/em><!--more--><\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_110799\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110799\" class=\"wp-image-110799\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot3.jpeg\" width=\"1000\" height=\"1099\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot3.jpeg 1638w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot3-273x300.jpeg 273w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot3-768x844.jpeg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot3-932x1024.jpeg 932w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><p id=\"caption-attachment-110799\" class=\"wp-caption-text\">Endre T\u00f3t, <i>Very Special Gladness<\/i>, 1971\u201376, gelatin silver print, 9 1\/2&#8243; x 7 1\/8&#8243;.\u00a0Courtesy the artist, Elizabeth Dee New York, and acb Gallery Budapest.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_110794\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110794\" class=\"wp-image-110794\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot.jpeg\" width=\"1000\" height=\"378\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot.jpeg 1800w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot-300x114.jpeg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot-768x291.jpeg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot-1024x387.jpeg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-110794\" class=\"wp-caption-text\"><i>Old Rain, New Rain<\/i>, 1971, typewriting on postcard (offset, paper), 3 3\/4&#8243; x 9 5\/8&#8243;.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_110795\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot4.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110795\" class=\"wp-image-110795\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot4.jpeg\" width=\"1000\" height=\"1092\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot4.jpeg 1648w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot4-275x300.jpeg 275w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot4-768x839.jpeg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot4-938x1024.jpeg 938w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-110795\" class=\"wp-caption-text\"><i>Very Special Gladnesses Series &#8211; I am glad if I can read Lenin<\/i>, 1971\u201376, gelatin silver print, 9 1\/2&#8243; x 7 1\/8&#8243;.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_110796\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot2.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110796\" class=\"wp-image-110796\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot2.jpeg\" width=\"1000\" height=\"552\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot2.jpeg 1800w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot2-300x166.jpeg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot2-768x424.jpeg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot2-1024x565.jpeg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-110796\" class=\"wp-caption-text\"><i>Ten question (Documents make me glad\/sad\/mad)<\/i>, 1973, postcard (offset, paper), 7 1\/4&#8243; x 4&#8243;.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_110797\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot5.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110797\" class=\"wp-image-110797\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot5.jpeg\" width=\"1000\" height=\"458\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot5.jpeg 1800w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot5-300x137.jpeg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot5-768x352.jpeg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot5-1024x469.jpeg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-110797\" class=\"wp-caption-text\"><i>I am glad if I can type zeros (documents make me glad\/sad\/mad)<\/i>, 1975, rubber stamp, offset, postcard, 8&#8243; x 3 3\/4&#8243;.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_110798\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/hungarian12.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110798\" class=\"wp-image-110798\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/hungarian12.jpeg\" width=\"1000\" height=\"1387\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/hungarian12.jpeg 1298w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/hungarian12-216x300.jpeg 216w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/hungarian12-768x1065.jpeg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/hungarian12-738x1024.jpeg 738w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-110798\" class=\"wp-caption-text\"><i>Audio Visual Rain<\/i>, 1972, typewriting on paper, 8 1\/4&#8243; x 5 3\/4&#8243;.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_110800\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot6.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110800\" class=\"wp-image-110800\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot6.jpeg\" width=\"1000\" height=\"1665\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot6.jpeg 1081w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot6-180x300.jpeg 180w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot6-768x1279.jpeg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot6-615x1024.jpeg 615w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-110800\" class=\"wp-caption-text\"><i>Look! Here\u2019s a giant zero for yoo!<\/i>, 1974, postcard (offset, paper), 7 5\/8&#8243; x 4 5\/8&#8243;.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_110801\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot7.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110801\" class=\"wp-image-110801\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot7.jpeg\" width=\"1000\" height=\"1726\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot7.jpeg 1043w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot7-174x300.jpeg 174w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot7-768x1325.jpeg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot7-593x1024.jpeg 593w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-110801\" class=\"wp-caption-text\"><i>Unique Collection of Rain Portraits<\/i>, 1971\u201378, typewriting, offset print on paper, 9 1\/4&#8243; x 5 1\/4&#8243;.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_110802\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot8.jpeg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-110802\" class=\"wp-image-110802\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot8.jpeg\" width=\"1000\" height=\"1333\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot8.jpeg 1350w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot8-225x300.jpeg 225w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2017\/05\/endretot8-768x1024.jpeg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-110802\" class=\"wp-caption-text\"><i>Very Special Gladnesses Series &#8211; I am glad if&#8230;<\/i>, 1971\u201376, vintage gelatin silver print, 4 3\/4&#8243; x 3 1\/2&#8243;.<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Endre T\u00f3t is one of thirty artists in \u201cWith the Eyes of Others: Hungarian Artists of the Sixties and Seventies,\u201d a group show at Elizabeth Dee Gallery.<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[35,9241,16342,28802,28801,7676,28803,19054,6153,13916,13612,2427,2428,11146,436,28804],"class_list":["post-110793","post","type-post","status-publish","format-standard","hentry","category-look","tag-art","tag-artists","tag-conceptual-art","tag-elizabeth-dee-gallery","tag-endre-tot","tag-galleries","tag-hungarian-avant-garde","tag-hungary","tag-mail-art","tag-openings","tag-postcards","tag-seventies","tag-sixties","tag-typewriters","tag-typography","tag-with-the-eyes-of-others"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>\u201cI am glad if I can type zer0s\u201d: Endre T\u00f3t\u2019s Mail Art<\/title>\n<meta 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