Ádám Kokesch (b. 1973) studied at the Academy of Fine Arts in Budapest in the class of Dóra Maurer. The question he addresses in his practice is the assignment of forms and functions to each other. His objects, totems of fictitious science, move on their own orbit of interpretation and leave the viewer alone in their interpretation and the possible signification, meaning one can find to them. The use of materials – mainly Plexiglas and wood – as well as the way they are exhibited both invoke a kind of laboratory situation and function. The forms and the qualities that the viewer relates to them through visual conditioning are just meant to imitate function, their aim is not to make the exhibition’s visitors believe that the pieces would actually be capable of real scientific activities and processes. He lives and works in Budapest.
Tamás Szvet (b. 1982) studied at the Sculpture department of the Academy of Fine Arts in Budapest. The convergence of science and art is a central focus in his – art historical and scientific – research-based artistic activity. Conceptual questions form the starting point of his projects, in which he looks for solutions and answer to art theory questions through applied techniques. He plays with technological inventions in a socio-critical and experimental way in order to convey his fascination with fields of energy and our place in the world, through illusion and reality, as well as the thin line dividing them. He lives and works in Budapest.
Tibor Iski Kocsis
Tibor Iski Kocsis (b. 1972) studied at the Painting department of the Academy of Fine Art in Budapest. As a conceptual contemporary artist, his creative approach is driven and oriented by theoretical and philosophical premises. He has long been engaged with the pursuit of distinct equilibrium states like social affairs or the balance of the entity of paintings and metaphysical concept. His projects based on socio-political issues are related with current painterly discourses. The selection and representation of chosen topic play major role in his artistic practice, aiming to realize the synthesis of concept and contemporary painting. He lives and works in Budapest.
Marcell Esterházy (b. 1977) studied at the Academy of Fine Arts in Budapest and the ESBAM in Marseilles.
He works with family materials and found archives that he appropriates and reinterprets. Since 2005, he has been preoccupied with the history of the Esterházy family, the events of which constitute an integral part of the Hungarian and universal history. To address it, he uses a variety of media, intentionally selecting the medium for each one of his works. Compression of meaning and layers of references are characteristic of his modus operandi, resulting in enigmatic and poetic pieces.
Hajnalka Tarr (b. 1977) graduated from the department of painting at the Hungarian Academy of Fine Arts in 2006. She works in different media, but mostly realizes installations and objects. She deals with the subject of change and relative existence through the analysis of situations and objects that seem to have very clear and stiff definitions, and commonplace conceptual identities. Her works are mostly process based, the methods she uses are repetitive and time consuming. She tries to demonstrate that a phenomenon doesn’t have a permanent identity or conceptualization, and that the language and concepts we generally associate with it are totally different things. She lives and works in Budapest.
Gábor Gerhes began his career in the late 1980s, paralel to his artistic practice he has been teaching at several universities. His photos and installations of carefully staged composition show everyday, banal scenes and objects, which, through their ironic manner of presentation, bear cultural references.
Peter Puklus is an artist living and working in Budapest, Hungary. He studied photography at the Moholy-Nagy University of Art and Design, Budapest (MOME) and new media design at the École National Supérieur de Création Industrielle (ENSCI) in Paris. He is about to finish his DLA (Doctor of Liberal Arts) studies in photography at MOME.
Gróf Ferenc finished his high school education at the faculty of biology at Trefort (Budapest) in 1991, after which he was a student of the Semmelweis University at the Faculty of Medicine for 3 years and of Eötvös Loránd University’s Art History department for one year. From 1996 he studied at the Hungarian Academy of Fine Arts, where he graduated at the Intermedia department in 2001. After his graduation, he moved to Paris where he has lived and worked since then. Between 1998-2001 he worked as a member of Vákuum TV and he exhibited in various group exhibitions. His first solo exhibition in 2002 opened in Stúdió Gallery Budapest, entitled Franz-Joseph-Land. He summarized the first Paris years’ work in Tour de Paris (2005), a book published by L’Harmattan. As a founding member of Société Réaliste, from 2004 he hadn’t produced any independent works for more than 10 years. Société Réaliste exhibited at numerous international exhibitions and biennials, and in 2008-2009 was granted a research sholarship at Jan van Eyck Academie in Maastricht. The exhibition series empire, state, building (2011-2012) which was shown in the halls of Jeu de Paume (Paris), Ludwig Museum of Budapest and MNAC (Bucharest) summarized their work. Since 2012 Ferenc Gróf is an art professor at ENSA, Bourges.
Belonging to the youngest generation of Hungarian artists, Tranker Kata's socially sensitive focus of interest has long been on the human nature and the boundary between appearance and reality. Her socio-historical analysis - focusing on the symbiotic relationships - results in identity questions. The installations composed of variable drawings and objects are mostly narrative, but not giving the viewer a linear plot or interpretation. The artist creates fiction based spatial systems that raise questions for the viewer and offer room for interpretation. Accordingly, the artist's use of exhibition space is not merely a presentation of individual works but also weaves together complex stories that make each work and item an indispensable part within a larger whole.
Lakner Antal is one of the Hungarian artists emerging in the 1990s, who have achieved international recognition. Working at the border between reality and fiction, he creates works of a subversive nature, integrating visual arts into quotidian reality, or querying the traditional approach to art objects and the monotonous rituals of audience behaviour by transforming the institutional environment. His works, with both a critical attitude and a sense of humour, have been presented at numerous domestic and international solo and group exhibitions, including major international contemporary art events, such as the Hungarian Pavilion at the Venice Biennale, the Istanbul and São Paolo Biennials, the Fellbach Small Sculpture Triennial, and Manifesta 4, held in Frankfurt am Main.
His works explore the relationship between a plane, space and time. He uses art as a means to accompany the viewer into the world of science. Inspired by perspective, geometric shapes and applied mathematics, his works combine fantasy and curiosity to represent various physical and mathematical phenomena, thus creating a new perspective on a reality of which we are no longer aware. Csörgö creates complex installations which upon first glance appear to be bricolage, but which provoke dynamic visual experiences.
Born 1978 in Sepsiszentgyörgy, Romania. István Csákány is a young Hungarian artist known for his megalomaniacal working methods. His works are usually large-scale enterprises, highly demanding in terms of time, space and cost. However, he uses the simplest raw materials of the building trade. Wood and concrete add a DIY aesthetic, but they also lend a strong Central-European atmosphere to his installations.
The art of Asztalos Zsolt is more than a cultural entity integrated into the whole of society. His art is not an alienated form of activity, but Man himself. His relationship with the unspeakable is entirely personal, which, hidden in his works, he shares with his audience. His sensitivity, and his belief that he undertakes openly, paradoxically tempts to sin, to envy. His spiritual sensitivity, and his technical skill in visualizing it, are enviable. In his works, he often co-operates with the engineers of our technicized society; thus, by using the means of our age, he creates tentative answers to constant philosophical questions. Past and present, life and death, family ties, our emotions. Asztalos casts his vote for the real man, who is more than the target of ravaging wars, economic and political expansions: Man is the World itself. His works reveal almost all methods of contemporary art, but no matter what type of medium he exhibits, the goal is always to create an integrated picture along the lines of his specific intellectual and spiritual sensitivity.
Szinyova Gergő was born in 1986 in Budapest. He lives and works in Budapest. Szinyova Gergő has developed an approach that is marked by a respect for classical predecessors and the exploitation of the potential tension generated by oppositions. Besides traditions, the young painter takes inspiration from numerous contemporary phenomena.
Initiative of two visual artists, András Gálik (1970) and Bálint Havas (1971)
Tehnica Schweiz is an artist collective founded in 2004 by Gergely László and Péter Rákosi. The majority of their projects centre on the themes of community and collaboration, and are often realised with the participation of numerous volunteers. All Tehnica Schweiz works are built on comprehensive research, with the occasional use of archived documents.
His works allow the interpretation of past and current events of Hungarian society beyond the usual media clichés and refers at the same time on the history and status of the former socialist region. In his artistic practice, he uses different mediums like drawing, painting, video and photography. He is a lecturer at the Art Academy of the University of Pécs and is represented by Knoll Gallery Budapest/Vienna.
Fridvalszki Márk was born in Budapest and works in Leipzig and Berlin. Significant for his toolbar in 2015 are generously planned, robust geometric figures and overbearing, dominating forms with a seamless stealth yet richly detailed grey color palette. Sharp, ripping edges and borders, masculine geometry and tone, indifferent, digital shapes as well as the appropriation of Cold War graphic aesthetics are characteristic elements within my form constellations. While building on reduced elements of hi-tech design (CAD planning), the shapes are dissolving in soft gradients. An important feature of his work is a post-digital approach, which can be traced throughout my collages and installations, as well as the visual language of the fanzine Technologie und das Unheimliche. The computer-designed forms and digital surfaces conglomerate through the laser printer into analogue appearances.
Katarina Šević (b. 1979) studied at the Academy of Fine Arts in Budapest, where she completed her DLA in 2012. She bases her creative methods on a wide range of themes and various work strategies. The themes she engages hinge on the points of connection between art, design and society, questioning prevalent historical narratives. Her work is often articulated in the form of object assemblages, as well as related performative situations and events, which are regularly accompanied by text and narration.
Csilla Klenyanszki’s (b. 1986) performative interactions can be seen as personal research for balance. A constant attraction to physical and mental tension characterizes her work. The projects play with the borders of nonsense; something that looks foolish at first, always finds it right place at the end. The nature of the work is highly playful and experimental, but the approach is rather analytic.
Her current practice focuses on gender and time, while her artistic method balances between installation- and a simplified version of performance art, in combination with photography and video.
Kútvölgyi Szabó Áron
Keresztes Zsófia received her masters degree on painting at the Hungarian University of Fine Arts, but she is primarily known for her characteristic, mostly paper-based installations and sculptures. Her colorful, spontaneous and ironic art is mainly related to the concepts of the Post-Internet and Trash Art. Namely, she transforms the toolset of Internet subcultures and areas of high-tech into art via often used materials, wrapping paper and cardboard boxes. Her work is sharply characterized by the horroristic and humorous deconstruction of the body, the biological existence, recently blended with a set of motives created by the new digital media. Her sculptures and installations are organic shapes, which seem to be continuously moving and changing, just like the unceasing updates to operating systems and mobile applications. One of her favorite subjects, for example, an amorphous azure spatial formation, which is a virtual body and a spectacle behind a screen at the same time, is manifested in three dimensions, diffluent, flowing in the physical space.
Kútvölgyi-Szabó Áron (1985, Budapest) graduated in 2013 at the University of Pécs, Faculty of Music and Visual Arts, Sculpture Department. Previously, he studied Art History and Philosophy for 4 years and sculpture for a semester in Engelsholm Højskole, Denmark. Since then he participated in several exhibitions, for example at the Studio Gallery (Mindsets, Ongoing h/Histories), the OFF-Biennale Budapest (Recollection), Chimera-Project (Freefall, Radical Memories, the Positions Art Fair in Berlin). In 2015 he took part in the Kunststiftung Baden-Württemberg’s residency program in Stuttgart and in 2016 he was invited to PROGR, Bern by residency.ch. He was awarded the Fundamenta-Amadeus scholarship and the Derkovits Gyula prize for the second time in 2016. He is a board member of the Studio of Young Artists’ Association. In his works Áron Kútvölgyi-Szabó shifted focus from sculpture to the field of video, print-works and photography, recently creating mixed media installations.
Oravecz Anita Tímea
Timea Anita Oravecz, born in Budapest, graduated at 2007 BFA, Accademia di Belle Arti, Department of Sculpture, Venice and Master Student by Professor Olafur Eliasson, Institut für Raumexperimente (2009-2011), Examination at 2011 February. Over more than eighteen years she has been living in different West European countries, being fascinated by cultural and social approaches, so diverse from those she experienced during her childhood in Hungary, under the socialist regime. Combining her background and the experiences faced as an immigrant, she developed an interest for the relationship between personal identity, culture of origin and need for integration.
Her projects are usually connected to the socio-cultural context she live in and inspired by her daily life. The urban space is crucial in her work as well as the connections between the political, cultural and historical context.
Albert Ádám was born in Veszprém, 1975. Ádám Albert is an analytical engineer of the meaning. His earlier works, which already came into action on the edge of artistic institutions or even beyond them, already told about such a conceptual way of creation in the course of which the artist reflects on a process besides creating art. During this process, the work of art is born not just as a thing but also as the abstract carrier of the meaning of art. One of the main questions of his enamelled panels (that can be interpreted as laboratory street-art) referred to presentation as art, that is, how the place of a work of art and its institutional position influence the viewer’s conditioned sight. What differs two forms from each other, art from non-art if they have the same bearing surfaces that impregnate the same texture. Is art as sign able to point towards a meaning beyond itself? The artist goes even further this time: he questions the possibility of medialization of art’s abstract code system. The components and building blocks of his works are such pictograms which examine the potential of deliverance of art’s meaning. His pictures, which have typographical affinity, set up the basics of a visual framework and also lay orientation points for the audience in the mechanism of generating meaning. Since art can be understood as retinal machinery whose bare virtual automatisms come into being in the gallery. The artist uses cleaned channels without technics and technology which do not include any disturbing element. There is no interference, even error message is composed into the system. Every drawn line of the artist is determined and reasoned from the respect of graphic connotation. The clear mechanisms of the meaning’s deliverance and reception throb in these works filled with minimalism and monochronicity.
Szilvia Bolla was born in 1992 she lives and works in Budapest, Hungary. She recently graduated with First Class Honours at BA Fine Art Photography course at Camberwell College of Arts, London. Since 2014, she has exhibited in Hungary, Italy and the United Kingdom. Within her practice she explores the flux of photographic images between virtual and physical environments to challenge perception, colour, substance and space. Researching the ever progressing photographic translation of the external world from the obscure process-based to mainstream artefacts, her focus is on the fluid transmission of images between different realities. She attempts to deconstruct both the digital and chemical nature of photography driven by the curiosity to understand, also to provoke preconceptions and mistranslations of the contemporary photographic image. Expanding its physical qualities through printing processes and the nature of their components from light sensitive paper to digital bitmaps, her work oscillates between 2d image and 3d object, flat rectangle, animated form and compositional play of fragments.
More recently she creates tridimensional photo-objects made up of clear perspex in conjunction with vaporised colour photograms activated by dynamic installation strategies that open onto a play with the material and immaterial, the visible and invisible, object and image. Her work offers an escape from bi-dimensional, wall based photographic conventions to launch the viewer into the multidimensionality of the medium with an expanded, intuitive and positive approach.
Schmied Andi was born in 1986. In her work explores the underlying psychological patterns of urban landscapes through image-based installations and site-specific documentation. She visit places that for one reason or other does not enter conventional urban logic - yet they are part of our cityscapes. These vary from urban areas that went far from their original function, to sparsely inhabited (but not abandoned) cities or utopian architectures. She start her work with exploration to produce documentation that later becomes the raw material for my interventions, videos, installations.
Németh Hajnal was born in 1972. In her artistic practice Hajnal Németh creates musicals, operas, performances, films and photographs but most of all, through slight modifications of poems, songs and texts she encourages political statements.
Kristóf’s work is based on the exploration of the overlapping land between traditional visual arts and different industrial media. In the realm of high volume reproductional industries his interventions result in founding a shared autonomous platform of creation and it’s applied potentials. On the development of Kristóf’s artistic praxis was with radical infuence his parallel presence at the more conservative painting and mainly interdisciplinary and conceptual intermedia departments. From his early figurative paintings based on materials got from offset printing houses, his focus has shifted more strictly to abstraction and conceptual approaches, involving topics of image studies, ephasizing on the changing nature, role, context and notion of the image, involving factors of time and the process incorporated in the pictures of our time. The methodology developed during the work on his first solo show Offsetting became essential in his recent ongoing projects as in the series Polychrome Monochromes or Die-line Drawings, which are based on discovered possibilities arising from his experimental use of powder coating and die-cutting industries. His previous solo show Melting Point lies in the buffer zone of the very basics of painting and industries producing our everyday visual surrounding, aiming to rethink the fundamentals of the western visual epistemology.
Sári Ember (1985) lives and works in Budapest, Hungary. In 2009 she graduated from Moholy-Nagy University of Arts and Crafts (MOME), where she majored in Photography and Visual Communications. During her studies she spent several semesters in the United Kingdom and Slovenia. She took part in many residency programmes in Brazil, Belgium and the Czech Republic. Her works have been exhibited internationally both in solo and group exhibitions for example in São Paulo, Paris, Lodz, Brno and Budapest. In 2010 she was selected to take part in Contretype residency in Brussels. Sári Ember deals with the notions of home, community and heritage. Her works are based on the paradoxical duality enclosed in the exhibited pieces. By displaying simple objects and at the same time continuously redefining classical genres like portraiture, still-life and landscape the artworks address questions about the nature of representation.
Ákos Ezer graduated from the Hungarian University of Fine Arts in 2014. His unmistakable, energetic, colourful and grotesque paintings have been exhibited in various places such as the Tanja Pol Galerie in Munich or Beers London in the framework of an international group show introducing young talents to the public.
The works of Botond Keresztesi are connected to the medium and toolbar of painting firstly. It can be tagged as a traditional board painting. Mostly he uses photos as a starting point, which is often found on the internet about daily objects, and with the mix of photos taken by himself.Usually banal, well known, industrial motives transformated into sacral meaning in one picture. The plain and the space or real and unreal confronting like a collage. He interested in the contrast of 2 dimensional surface and 3 dimensional object. The works inspired by the early hungarian avantgard painting and commercial posters from the 40’s (Sándor Bortnyik, Lajos Kassák and the movement of activism), the analytic cubism or the material culture of the 80’s and some commercial from the same age. Influenced by computer interfaces and the world of internet such as stock photos, textures and 3D effects.
Benedek Regős was born in 1989 in Szentendre. His work proceeds from the observation of common phenomenon of own cultural heritage. These all interest he from the aspects of photographic criterions like the emphasizing and distinctive attribute, its relation to the past, its topographic nature, and its role in defining our place. In his series his aim for an accurate, simple and sometimes symbolic language. His interest focuses on the different phenomenon of the culture, history, religion, remembrance, and the built and tangible heritage, but mostly the person behind.
Dávid Biró is an artist based in Budapest, Hungary. He studied Photography BA at the University of Kaposvár and he is currently doing his Photography MA studies at the Moholy-Nagy University of Art and Design (MOME). His main interest is the correspondence of the photographic medium and perception. He uses the camera as an extension of the human sight and tries to examine the concept of reality and knowledge. He mostly works in the studio environment and seeks to unfold his ideas in a progressive form. During the previous activity, he was represented in several national and international exhibitions. He won the ON_AWARD grand prize of the OFF_Festival Bratislava Contemporary Photography Festival as a member of a group exhibition in 2014. He won the National Scholarship of Hungary in 2015-2016 and the Association of Hungarian Photographers: Photography Scholarship for 2017. He is a member of the Hungarian Photographers’ Association and Studio of Young Photographers.
Zsolt Molnár is a member of the youngest generation of Hungarian graphic artists. After having completed his studies at the Graphics Department of the Hungarian University of Fine Arts in 2012, he moved away from traditional printmaking techniques and began studying the conceptual possibilities inherent in graphic arts imagery. He abandoned the slow chemical processes of printmaking and began constructing highly complicated works of collage-architecture, which at first were layered pictorial surfaces and which with time grew into three-dimensional installations the structures of which were balanced in space. The wooden and metal structures built around picture fields expanded into objects closely follow and almost simulate in space the actual functions of the depicted objects, tools and agricultural equipment. Associative titles, like Magpie-Trap (2014), Situation-Regulator (2015) and Multi-Row Sprayer (2016), help one decode the objects, which are hard to identify at first glance. In front of and surrounding the collages, the colours of which have been reduced and the forms and sizes of which vary, Molnár often places a white “paper coulisse” cut to shape. These “coulisses” follow the contours of the objects in the collages with minute precision. The objects depicted in this manner seem to float in the sterile space, which lacks any horizon.
The collages, which consisting of various picture planes and paper layers, become part of the installations and thereby enter the space. The groups of works and the series can be categorized according to subject matter. Prototypes of the forms depicted in the picture planes are mostly tools and pieces of equipment used in agriculture. Molnár studied their mechanisms and construction before transforming them into abstract geometric structures.
Barna Péli (1972) is one of the most tenacious and tireless Hungarian sculptors of the past decade, a key figure of his artistic generation. Péli, who was born in Oradea (RO), and graduated as a sculptor at the Hungarian Academy of Fine Arts in Budapest is often addressed by his critics as one of the most experimental and innovative sculptors in Budapest. His sculptures are basically about the central and timeless challenges of sculpture: gravity, balance and composition. Péli has a true talent in applying new technologies, which is fed by his curious artistic nature, thus he is able to create real instant constellations and spontaneous technical solutions.
Gergely Kiss uses Instagram as a platform to work on ideas. A work gains its importance only through its viewer - that ́s why he posts all his works on Instagram which is ideal with its huge visual po- tential, its speed and its permanent flow. What happens between the work and the Insta user is a form of communication. Gergely Kiss is interested in the digital image and the question on which principles it works: what visible und invisible grid systems are hiding behind it, how does the individual behave to the system and how are its implications on the perception of abstract painting. A grid creates a framework of possibilities. And here the questions are: How do you behave in this system? Which possibilites do you have insi- de the system? How can you match grid system and the individual, how do they behave together or against each other? As another part of his practice Gergely Kiss creates scupltures, which he does not comprehend as a stand-alone artwork but as a documentation of his working process.
Csató developed a new painting practice, where he applies a particular collage technique – using his old, cut up canvases and a stain-and-patch like painting method. Csató finds great joy in the recycling of his earlier works. He uses the characteristics of the earlier works, like color and signature painting technique, in order to combine something essentially and sensually new. The lively and vibrant colors are changed to deep toned and soft pastels on his rugged surfaces. The old canvases integrate in an aerial way into the heavy layers of oil paint and they create exciting “discrepancies” and accidental, amorphous phenomena.
The philosophical notion of deconstruction is an important allegory for Csató's new paintings. In that matter, deconstruction means that we need to dissolve reality and its perception into layers and we need to reconsider it. Csató's whole oeuvre balances between different poles, originally abstract but seemingly figural elements, vibrant and faded colors, surfaces constructed out of layers or simple and clear gestures.
Dorottya Vékony is an interdisciplinary artist living and working in Budapest, Hungary. Her main field of interest is examining and creating fictional or real communities, through which she aims to understand humanity’s deepest and most fundamental desires. Will humans ever find a form of settlement that satisfies these desires? Along existing and fictional concourses, she offers alternatives on how we can reinterpret the notion of a community. Let it be a micro-community (such as a relationship) or a concourse at a much larger scale. The unconcealed purpose of these experimental groups is to find functioning systems that can be utilized in practice. Dorottya determines the composition, the form and the purposes of each community through particular network models and structures. Her fundamental medium is photography that she often combines with other disciplines, such as objects, photobooks or video.
Lilla Lőrinc (1980), and János Borsos (1979) work together since 2008 as Lőrinc Borsos. The name covers an entity with its own creative consciousness. His/her age is currently 10 years. His/her gender, sexual orientation and intellect are equally characterized by bipolarity. The basis of his/her existence is the coexistence of extremities, but his/her actual goal is the solution of duality. He/she vitalized by transition. His/her spiritual nutriment is paradox, the intersections of contradictory ideologies. The typical case of fall between two stools but the choice of the floor is self-imposed. The artist aims at the glimpse of the greater whole: instead of choosing a part, he/she is excited about the relation of the parts to the whole.
He/she despises hierarchy and the social divide and exclusion created in its wake. He/she sets his own existence/nonexistence against these. Part of his/her art is direct questioning of the medium and social reflection. A dialogue with material, dialogue with the medium. Works that are place- and situation-specific. He/she reflects on the current and delves into longer projects at the same time. For him/her, art gets interesting beyond morals, when it still exists in an unfiltered state, right after the moment of the birth of an idea. At this point there is no political correctness of self-censorship yet.