Students of the department have to realize a diploma project in order to receive their diplomas, besides writing a thesis and taking the final exam in Art History, Curatorial Studies and Aesthetics.
Former diploma projects:
MEANWHILE IN PAINTING
Meanwhile in Painting focuses on current questions raised by representatives of contemporary Hungarian painting. While the discourse on painting has grown stronger in recent years on an international level, there is only a limited platform in the Hungarian art scene where discussion reflecting on the present state of painting can emerge and develop. Our project addresses this absence.
Among the pivotal art theoretical views of the 20th century, those which dwell on the end of art (Arthur C. Danto) and more specifically the end of painting proved to be of particular importance. As suggested in Douglas Crimp’s The End of Painting or Yve-Alain Bois’ Painting: The Task of Mourning, the death and resurrection of painting can be traced through the transformations of its various tendencies of the century. Nowadays, contrary to the claims on the end of painting, the reinterpretation of the traditional “medium-centric” concept of painting and the elaboration of a “post-medium” understanding of painting (David Joselit, Isabelle Graw) have become important.
In the light of the current theoretical writings on painting, Meanwhile in Painting asks how painting appears in contemporary art, what the new tendencies are in Hungary with respect to the global trends, and how the most prevalent contemporary phenomena (the establishment of network culture and information society and the development of technology) affect painting.
Meanwhile in Painting focuses on tendencies of the last couple years with particular attention to movements such as the so-called post-technology or post-digital painting. The exhibition presents works by emerging Y-generation of Hungarian painters and artists who reflect on this medium and whose art can be tied to the ideas outlined above. The subtitles, which are closely tied to one another, function more like buzzwords than denotations of categories. The exhibition has a wide range of references to exhibitions abroad, of which Vienna’s Mumok Painting 2.0: Expression in the Information Age and the Tate Modern’s Painting after Technology are particularly noteworthy.
As part of the project, we conducted interviews with important representatives of the various areas of the painting scene touching on subjects like instruction, the art market, and the international aspects of Hungarian painting. The thematic short films which were made using the interviews will be shown at a screening open to the public and will then be available on the project’s website, along with the documentation of the exhibition and the accompanying texts.
The subtitles, which are closely tied to one another, function more like buzzwords than denotations of categories.
UNLIMITED FORMS - Interactive VR exhibition
The diploma project of the third year BA students of the Department of Art Theory and Curatorial Studies //http://www.mke.hu/info/kepzomuveszetelmelet.php/ at Hungarian University of Fine Arts / http://mke.hu/ / examines the possibilities of virtual reality as an art medium. The project is based on a new art medium, the virtual reality. Although this technology became expansively used in the past few years, thus the artistic use is also became popular in the international art scene, in Hungary it is still a new phenomenon.
The purpose of the project is to create a new contemporary VR artwork, which shows an example of virtual reality, as an art medium. Within the confines of the project the artists, Mona Birkás / https://www.behance.net/birkasmonabe2d / and Gergő Varga /http://diploma.mome.hu/2015/ba/varga-gergo/ worked together with the developers of the software entitled Shapelab, and created a new, interactive and experience-based contemporary VR artwork. The artwork shows an utopian digital world where the viewer can discover this special world navigating between monumental megalithic objects.
Artists: Mona Birkás, Gergő Varga
Curators: Katalin Fincziczki, Ajna Maj, Kincső Turai
Graphic design: János Kolonusz
Opened by Anna Wessely PhD
Supervisor: János Szoboszlai PhD
Venue: InGame Esport Lounge and VR Arcade
The term anxious object associated with fine art is a constructed situation full of tension that exploits the ever-confusing relationship between the viewer and the viewed object. It induces disturbance in decoding and urges interpretation. It also identifies issues of perception and proven methods which will cease to be applied. This out-of-joint condition can be dangerous to the viewer’s orientation. Searching for personal reflection takes risks for both competent and inexperienced individuals. An exhibition investigating the theme of anxious object will be fueled by the risks of interpretation and the side effects of our constant skepticism.
ARTISTS: Veronika Csonka, Dávid Gutema, László Karácsonyi, Lóránd Szécsényi-Nagy, János Szirtes, Szöllősi Géza
CURATORS: Eszter Honti, Henriett Kövesdi, Nóra Nemes, Zsóka Nagy, Bernadett Tóth, Anita Török
GRAPHIC DESIGN: János Kolonusz
SUPERVISIOR: Anett Ragó PhD
SPONSORED BY: Robert Capa Contemporary Photography Center
How shall we widen the spectrum of the strategies used in the contemporary art scene? What can we learn from the dialogue with other disciplines and cultural fields?
Pica Pica (Latin: the bird magpie) is a project aiming to experiment with the usage of alternative toolkits through focusing on five key topics, dominant in the creation of contemporary art productions. The project was realized in form of a series of events and an online platform featuring issues of public critical discourse, social responsibility, art finance and marketing, and online journalism. Key elements of our working method were experimentation, symbolic and often performative forms and co-operation. Our events took place in Der Punkt Gallery and other locations in Budapest from 8th May to 9th June in 2017.
We consider Pica Pica as a platform of new, experimental approaches. The project does not attempt to solve the issues involved. It has a flexible, often symbolic (curatorial) attitude, through which it hopes to provide starting points rather than answers.
On the web page www.picapica.hu, we not only published the documentation of the project, but also texts and visual content of authors with whom we got in touch via our open call for contributions. We also shared re-published contents that were strongly related to our project.
Pica Pica was the diploma work of Alíz Gallai, Zsófia Kókai, Ráhel Anna Molnár and Lili Téglásy
Supervisor: Edina Nagy PhD
HETEDHÉT / “Behind the Beyond”
A HetedHét „Behind the Beyond” is an experiment which takes the „idea” of the folk dance movement of the 1980s as an example in order to work out a model for organically functioning community building. The events of the project are forms of community building with the special folk dance teaching and dance events.
Can these communities be shelters, in which the common ground for the wish of a certain type of identity serves as the basis for security or freedom? Or can these be intellectual workshops where in a homogenous community the tools or skills for becoming free can be formed, and that can influence a wider spectrum of people outside that community.
The events of the Hetedhét evenings are community projects that will take place within the Hungarian University of Fine Arts. How can we create methods for initiations for community building? Are there any traditions within the University which for students identity? Can it only happen within the walls of the institution or is it better to outsource it? Is it an utopistic aim?
Albert Ádám (MMSZK)
Balogh Boglárka, Magyari Zsuzsi, Mézes Tünde (PINCE)
Csanádi Judit (Magyar Képzőművészeti Egyetem rektora)
Fodor Dániel János
Lépold Zsanett (Négyes Műterem egyetemi online magazin, MKE)
Süle Tamás (MKE HÖK)
REMIX: Remix in contemporary video art
Lecture, screening and talk about the notion of remix in contemporary art.
2016, Studio of Young Artists Association
What does Remix mean in contemporary art? What historical predecessor does remix have? What does the notion of the author, originality, high art mean in the culture of remix?
The event Remix in contemporary video art tries to find answers to these questions, because remix is part of our everyday life, with the emergence of digital culture we entered the culture of remix. Thus the analysis remix as an art phenomenon has gained importance.
The events consist of three parts:
First, a lecture, that informs about the most crucial concerns of the theory of remix.
The lecture contextualizes the second event which is a projection of a few selected remix based art work. Each of these works provide an example remix as an art technique uses.
The third part is a discussion on the topic by experts who share their thoughts and experience related to remix culture.
curator: Kis Veronika Edit
Supervisor: Szoboszlai János
“I propose to accept” – Tragedy in 3 or 4 acts
documentary theatre, diploma project
„I warmly welcome all of our guests, the academic board and our students. You are kindly asked to be part of the debate on the diploma works with keen contributions today and the following review days as well. The teachers and the youth want to be edified by the objective referee’s reports, in order to approach our common goal: the social-realist fine art.”
The audience of the second diploma defense was greeted with these words by Sándor Bortnyik, the rector of the Hungarian University of Fine Arts between 1950 and 1956, in 1951. The history of the university and the emerging socialist art institutional system can be drawn by an alternative way via the short history from the inauguration (1950) till the abolishment (1963) of public diploma defense. After its abolishment students did not have to create diploma work and only teacher degree was available till the late 80s. According to the reports of the, often quite intensive, debates in this short, thirteen year long period, we are facing with its main questions in this project. Can art be taught? Which one is more needed, the graduation of an artists or a teaching degree? What ideological expectation prevail the judgement of a diploma? Whether the aesthetical criteria, the technical knowledge or the theme’s adequacy to political and ideological expectations count more in the judgement? Do we have answers for these questions?
There were different answers case by case. In the first six years, public diploma defenses were organized mainly in order to edify wider public for the socialist ideology, to strengthen its thematic criteria. In 1956 the new rector, Endre Domanovszky, abolished the public defenses. The students still had to create diploma works, but they were excluded of its judgement – it happend behind closed doors, they only got the results, or even just an answer: it is not accepted. The Committee was built of professors and representatives of the ministry, and the latter ones influenced the decisions in every case when ideological questions arose.
Beside the most characteristic diploma defenses of socialist-realist themes of the first period (1950-1956), we show those cases which question the system and principle of that age and go awry many times. Therefore, we deal with the cases of Tibor Csernus, István Kiss, Béla Kondor, László Lakner, Dóra Maurer, Gábor Pásztor and László Gyémánt.
The different periods of the university is shown by its most significant diploma defenses, the happening is built up by using the hybrid form of a theatre play and the events of an exhibition. The happing took place in different spaces of the university. The first scene showed the institutional changes between 1945 and 1950 in the form of a press conference. The second scene was a re-enactment of defenses till 1956, while the third scene directed on stage the closed-door judgements in the university’s public space in the form of a round table discussion. The last part, the finissage was an ironic celebration of the wise decision of the abolishment.
Our project is a research-based documentary theatre, exhibition and community event which is realized with the cooperation of several departments of the Hungarian University of Fine Arts and the University of Theatre and Film Arts.
Director: Júlia Széphelyi
Dramaturg: Mihály Nagy
Actors: Máté Martinkovics, Emina Messaoudi, Anna Mészöly, Áron Sedró, Balázs Szántó, Dávid Vizi
Scenic design: Balázs Mucsi
Graphic design: Krisztián Lakosi, Richárd Lakosi, Roland Peltán-Brósz
Curators: Anna Dohy, Dalma Eszter Kollár, Milán Magyar, Péter Szörényi
Supervisor: József Mélyi
DILEMMA, DRAG and DOUBT
-Dilemma, drag and doubt
Project dealing with the institutional framework of Hungarian contemporary arts and its critique in artistic practices
Institutional critique has gained a great significance in the past few years in Hungary. There are several views and it is not entirely clear how institutional critique can be understood in this context, what attitudes it requires and what forms of art can be seen as a form of institutional critique.
Therefore the aim of the project is to examine what institutional critique as a term means from the 1990s till today. What critical attitude means in this framework. When can we talk about institutional and when about political critique.
It is a common problem that when we talk about the institutions we do not see ourselves as part of it. We form our critique from an outsider’s position and do not realize our responsibility as being part of it. It is a crucial question as we received 300.000HUF subside from the National Cultural Fund for our project, which we consider as an strong institutional framework. We are also students of the HUFA thus part of the institution.
Therefore the project also tries to be self-reflexive.
Borsos Lőrinc, Brückner János, Gruppo Tökmag, Nemes Csaba, Szimán György, Seemann Adrienn
Curators: Don Tamás, Szilágyi Róza Tekla, Varga Krisztina
Supervisor: Szoboszlai JánosConsultants: : Mélyi József, Varga Tünde
design. : Lakosi Krisztián, Lakosi Richárd, Peltán-Brósz Roland
2016, Artpool P60
LABIRYNTH -- The game is on!
Workshop and exhibition based on the mechanism and social aspects of board games.
2016, LATARKA Gallery
LABYRINTH - The Game Begins
The Art Theory students at the Hungarian University of the Fine Arts have chosen board games for the focus of their diploma project.
The project includes an exhibition that reflects on the rules of the art reception game in the medium of art works and re-scripted, reconstructed games. The visitor entering the show becomes a player or, rather, a figure on a game board who proceeds along the fields confronting the mechanism of the rules of the game.
The project deals with the mechanisms, effect and social context of board games. As in the 2000s a number of artist use the board game to reflect on the present economic or political state of things. The 2015 OFF Biennale, Budapest was based on several games or they were included in a number of exhibition projects. Beside its artistic traits we can observe that games as events are more and more popular. The aim of our project is to provide an insight of the experience how the rules of the games function, as well as to point out possibilities of connecting art and board games.
The aim of the project is to let participants create a new game from existing well known ones by creating new rules and structures.
Artists: Beke László, Demeter Dávid, Hordós Boldizsár, Nemmivoltunk Crew, Novotny Dóra, Tettamanti ÁdámCurators: Csóka Heléna, Csordás Dorka, Kovács Kristóf Mihály, Pintér Luca, Vojnits-Purcsár Vító
Supervisor: Wessely Anna
Project curator: Tomasz Piars
Graphic design: Balogh Boglárka
Event series organized around the end of year exhibition of the Hungarian University of Fine Arts
2015, Hungarian University of Fine Arts
The Hungarian University of Fine Arts organises the annual student exhibition, which presents the work of the students with each departments (anatomy, graphic design, painting, restaurator, sculpture, intermedia and art theory) to the public: The Open Up! project aims to provide programs, museum pedagogy, guided tours, presentations in order to call attention to the young artist generation and to connect as many people as possible.
curators: Dózsa Kamilla, Foitl Rebeka, Gábor Sarolta, Molnár Ráhel Anna, Nagy Viktória, Serly Veronika, Sury Dalma, Tamás Sándor Soma, Tüdős Anna, Zsámboki Miklós
supervisors : Szoboszlai János, Mélyi József
Special thanks to: Filp Csaba, Hajnal Ágnes, Hemrik László, Mittich Boglárka
Exhibition dealing with the unforeseeable consequences of contemporary migration
2015, Artpool P60
As the collective diploma work, ’Unintended Consequences’ is a degree show of graduates of the MA Program in Fine Art Theory at the Hungarian University of Fine Arts, Budapest. During the one-year-long project-preparation period related to the initial concept of this exhibition, namely the phenomenon of contemporary migration, we carried out individual researches on different aspects of the question that served as the basis of our thesis.
The question of migration became important issue for us due to our personal quandaries. Our individual concern was strengthened by those more and more frequent, various press releases and political statements that are related to immigration and to the increasing number of Hungarians who tend to work and study abroad over the years. At the same time, the international migration flow towards the European Union has become a more emphasized issue that also draw particular focus to this certain topic.
Thus due to our personal involvement, we decided to select works which deal with different aspects of migration for our generation. In our concept we were interested in how our generation sees such a complex phenomenon as contemporary mobility and what sort of reflections and answers they give to the questions of migration.
During our research we mostly found answers in contemporary films, thus in our exhibition we would like to show the problems around the migration through a selection of documentaries, animations and videos. We were looking for films, which are not dealing with the historical currents of migration, but rather examine the actual situation.
Our exhibition consists of three sections. In the first section, we observe the media-representation of migration. The next section we asked Hungarian contemporary artists and curators who currently live abroad to summerize their thoughts about the new circumstances, the motivations of their migration in a video-work or Skype interview.
The third section was created with the cooperation of different, Hungarian art universities and programs – The Moholy- Nagy University of Art and Design Budapest, The University of Theatre and Film Arts Budapest, The University of Applied Sciences, Budapest. We exhibit short films on the theme of migration by students studying at these universities and by young film directors.
During the work it has become clear, that migration has no a universal, objective approach and the consensual interpretation of the concept is problematic even for us. Although we started with the idea of emigration, gradually it became clear to us, that it is not possible to show the phenomenon in itself, because it is a result of very complex and complicated processes. The discourse on migration is made particularly difficult by the circumstances, that the migration of people or their choice of settling down, is characterized by countless motivations and by countless forced moments, which can be dominated not only general, but also individual life experiences and decision-making positions. We met various life situations, contradictory viewpoints, which did not make it possible for us to find one view, but rather it has enabled us to show the similarities in these motives.
To help our investigation to the arisen questions connected with migration – as well as to point out the unexpected consequences — we thought to give a title of the exhibition that highlights our queries, and concerns related to the question of migration, thus is the word association: ’Unintended Consequences’. On the one hand, these problems are the motivating factors of migration that make people leave their countries – such as the deficiency of social service system or the lack of a proper social welfare system. On the other hand, there are factors that generate migration which are also catalysts as their aim is to raise a “flair” for mobility through oversea scholarships and grants, or exchange programs within the European Union. There are also common problems that can be part of these terms, such as identity crisis of migrants, the difficulty of assimilation, the problems of integration / segregation and the conflicts concerning cohabitation and reception as well. These problems are articulated in the seething political rhetoric and are simultaneously the unintended consequences of the opening of borders and the free flow of labour – the basic platforms of the European Union itself.
During the research we found, that beyond the regional factors the problem of migration is influenced primarily by personal motifs, therefore the cases are not severable from the migrant person. For this reason the exhibition’s other undertaken perspective is subjectivity, whereby we want to show the diversity of the migrant life and personal experiences.
The exhibition includes an online pdf catalogue and a reader, where we can read the information materials collected during the one-year-long research, the abstracts of our thesis with investigation of the theme of migration from a theoretical approach and the used literature.
So the exhibition with the title ’Unintended Consequences’ is a result of three thematically intertwining sections and a reader, which together give the picture of our generation’s migration, at the same time it draws an attention to the consequences of the migration unforseen by us also.
As a side-event of the exhibition – on 9th June 2015 – we are talking with renowned documentary film directors and representatives of film directing courses within the frame of a round table conversation. The subject of the discussion is going to be the nomadic film-directing courses and the topic of migration in films.
– critical platform and open workshop
MONITOR – critical platform and open workshop is an initiative of four graduated students of the Art Theory BA program of the Hungarian University of Fine Arts, scanning the art theoretical, cultural-political and sociocultural questions of contemporary Roma art and culture. The aim of MONITOR is to evolve a civil and cultural platform, where the representatives of the different areas of expertise can develop relevant answers, resolutions and alternatives together with those interested and concerned. In the last year, the group has organised several events on the topic and participated in similar initiatives. Apart from its thematic focus, the project is also a research into the application of participatory curatorial practice.
Curators: Balázs Anna, Varga Krisztina, Horváth Balázs, Don Tamás
Supervisor: Kékesi Zoltán
2014, Kesztyűgyár Community Center
NOT TOO DISTAT PRESENT
Exhibition based on research about how young artists define the society of the future and their place in it
2014, Studio Gallery (FKSE)
The exhibition deals with the presrent and possible future of the Hungarian University of Fine Arts. Its starting point is a sociological survey from 1995 which was made for the FKSE (Young Artists’ Studio). The first part of our present project examines those questions in our present situation: how do young artist picture society in furture and where do they place themselves int hat future. The second part of the project designs an exhibition from works made between 1995 – 2014 which deal with the question of a coming society. In the third part the present artists of FKSE reflect on their future self, art or on the society of 2034. The Exhibition presents all these three whereby the visitor can have an overview on the pat , the present and on how future is seen by the artists.
As a satelite event there will be a roundtable dicussion with the title „Budapest 2033” and a museum pedagogy program for childen of 6-14 by the m!nd group.
artists: : Brückner János, Fillér Máté, Kósa János, Menesi Attila, Nemes Csaba, Sugár János, Szabó Eszter, Szimán György, Takáts Márton
Stúdió Galéria, 1077 Budapest, Rottenbiller u. 35. http://studio.c3.hu/studio-galeria/
curators:: Ács Bálint, Darvas Angéla, Don Tamás Milán, Károly Eszter
consultant: : Mélyi József,
THE SATELLITE MODELL – THE HUNGARIAN GUGGENHEIM
The diploma project titled Satellite method, or the Hungarian Guggenheim is based on a fiction: an ideal Guggenheim satellite, the Hungarian Guggenheim is appearing in Budapest. The question asked about the apparition is: how it takes shape in today’s Hungary?
The project consisted of a three-stage method. First of all, art theory students as the next generation of museum professionals, filled out a questionnaire and outlined the parameters of the ideal institution. A group of hungarian theorists were asked for the second stage of the project to synthesize the results of these questionnaires and develop a more specific picture of the ideal institution.
In the third step, the students of three different universities examined the effects of the fictitious institution from four basic angles: institutional system, architecture, communications, and economic impacts. The various aspects were analyzed by the students of the Hungarian University of Fine Arts, the Moholy-Nagy University of Art and Design and the Budapest University of Technology and Economics as project tasks. The results were shared with each other at regular intervals, and aware of the developments the participants continued to work. The exhibition will represent unique works of art, visual plans, architectural models and infographics, which visualize a fictitious institution and display the impacts on the immediate and wider environment. The diplomaproject and the exhibition, realized in the framework of an interdisciplinary cooperation, would floating on the border between fiction and reality while seeking solutions to existing problems.
Exhibitors and contributors:
Budapest University of Technology and Economics, Faculty of Architecture: JUG Mátyás, STEIBER Zsolt, SZILÁGYI Zsombor, TÓTH Gergely, VÁNYA Gabriella, VARGA Péter
Hungarian University of Fine Arts – Specialization on Graphic Design: LAKOSI Krisztián, LAKOSI Richárd
Hungarian University of Fine Arts – Intermedia Department: SZIMÁN György, SEEMANN Adrienn, SÓS József, TULISZ Hajnalka
Hungarian University of Fine Arts – Painting Department: PÁLINKÁS Bence György, PAP Emese Dorottya
Budapest University of Technology and Economics – Formal and visual environment engineering Msc: BARNA Gergely, GONZÁLEZ Marcell, JAKAB Renáta, KÁDÁR Máté, MEZŐBERÉNYI Krisztina
Moholy-Nagy University of Art and Design Budapest – Department of Design and Art Management: KÖLLER Dalma
Curator: ISTVÁNKÓ Bea – Hungarian University of Fine Arts – Contemporary Art Theory and Curatorial Studies MA
Supervisor: MÉLYI József – Hungarian University of Fine Arts, lecturer of the Art Theory Department
The economic crisis of the previos few years has not only placed a stigma on global markets, but has also greatly affected our cultural environment. A breach of trust and a feeling of doom has surrounded moral portrayed towards extant systems. The group exhibition, entitled Terra Nova is based on the study of this crisis, whilst its main organizing power is the notion of a utopia, a concept of rising prominance in the arts. Utopia, if the context of the exhibited work is considered, has become a paradox term of such inner needs, where new space (terra nova) is created in a deadlock position, when we are not able to point out a viable road. Personal strategies for seeking loopholes can be perceived in the works of the participating artists, which also trigger new, arising questions. What is the nature of the power possessing such a reign, that if freed from, an individual is able to imagine and execute new possibilities? Is there a reason to restart, or to build new strategies? Can de facto moral choices be discussed, during the search of new alternatives? How deep is the ignorant behavior and passivity rooted in our culture, which creates an obstacle against both the opposition of power, as well as the founding of a new paradigm.
Most of the exhibited work was created for this exhibition, or has not yet been shown to domestic audience. The exhibition is executed in the spaces of the Gólya Communal House and the Co-operative Presso. The location, with its communal character and the role undertaken by the 8th district, provides a suitable space to study the notion of a utopia and to house a critical dialogue of power.
Hungarian University of Fine Arts Gólya Communal House and Co-operative Presso Workshop Foundation Ruppert Vineyards and Winery Graphisoft
EXHIBITING ARTISTS: Erika Baglyas, Tamás Kaszás, Imre Lepsényi, Šević Katarina, Tehnica Schweiz CURATORS: Eszter Őze, Stefánia Sparing SUPERVISORS: Eszter Lázár, Edina Nagy OPENING EVENT: 7 p.m. on the 12th of June, 2014 OPENING HOURS: 13th of June to the 26th of June; 12:00 – 18:00, daily LOCATION: Gólya Communal House and Co-operative Presso (Gólya Közösségi Ház and Szövetkezeti Presszó), VIII. district, Bókay János street 34.
Exhibition reflecting on the history of the Liget Gallery.
2013, Olof Palme Hall
Due to the present situation of cultural politics, the transformation of the institutions and their role, examining the activities of Liget Gallery and initiating a discussion on it isof utter importance. We also examine the cultural political decisions which had direct or inderect influence on the Gallery, because we think it had a major influence onartiss and institutions. We aim to make it visible for the younger generation of artists. There were several Hungarian or international exhibition of artists to whose success Liget has greatly contributed and who are important in the contemporary art scene.
We examine Liget Gallery as a complex phenomenon, thus the exhibition is not a chronological narrative of the gallery’s history. The exhibitied works are the result of an open call for new works, that we exhibit along the gallery’sarchive materials. The topics for selecting thenw works were: institutional collaborations, photo as a amedium, women artists , reflections ont he gallery space, socal and
Exhibition dealing with different visions regarding the social, ecomomic and cultural situations of the future Hungary
2013, PLACCC Festival
The exhibition Hidden Visions is one of the three diploma exhibitions of the Hungarian University of Fine Arts’ Art Theory Department. By investigating the possibilities of Hungary’s progressive culture, the exhibition is searching for an answer to the question of how we could form and rebuild our own environment following the economic, social and cultural crisis that have occurred during the recent years, each intensify the other. The project, which includes several preparatory programs and the exhibition in a former building of the Csepel Pipe Factory, is searching for those visions, which could inspire us ideologically and culturally to overcome these changes. Along the notions of labour, community and education – and proceeding from the cultural and social discussions of these fields – the exhibition aims to formulate an image about a post-crisis Hungary.
UNDER RECONSTRUCTION – Újlak 1989-1995
Exhibition dealing with the artist group Újlak and their practice in the context of the regime change
2013, former Florian Cinema building
The exhibition Under Reconstruction processes the oeuvre of Újlak Csoport (the New Inhabitants) operating between 1989 and 1995. The initial impetus of the project was given by the question whether it was possible to approach the activity of a prominent art group of the post transition era by means of an exhibition and how the art practices now passed twenty years ago could become accessible today, especially if they were based on group dynamics, ephemeral genres and processes unfolding on their way.
The New Inhabitants, displaying a high sensitivity to the diversity of technical supports and reformulating the issue of authorship, were among the earliest representatives of installation art in Hungary. They chose uncommon sites for their activities focusing on cooperative experimentations and grandiose space management. Hungária Fürdő (Hungária Bath, Budapest), Újlaki mozi (Újlaki Cinema, Budapest), and the building of a former factory at 72 Tűzoltó utca, Budapest provided suitable grounds for the gestation of their brainchildren without restraint. The members of the New Inhabitants: Kálmán Ádám, Zoltán Ádám, Gábor Farkas, Tamás Komoróczky, András Ravasz, Péter Szarka, and István Szil(i).
The exhibition is held inside the former Flórián mozi (Flórián Cinema). The gesture of reanimating a building deprived of its original functions recalls the practices of the artists. This peculiar site allowed developing a narrative sound installation and exhibition design interweaving the whole space with the involvement of young artists and art groups using similar working methods as the New Inhabitants. We do not intend to show a rigid and peremptory image, rather to transmit the Újlakian spirit of extreme dynamism. Instead of a static, immutable display, we opted for composing an event-oriented programme taking place during four busy days. In addition, the research and the documentation concerning the group can be seen and heard through a complex platform of a fanzine, a website and audio-plaques as urban interventions. Under Reconstruction functions as an ephemeral memorial and presents the New Inhabitants along unceasingly woven threads. The other keyword of the project is reconstruction. We have thoroughly rethought the approaches and exhibition making strategies concentrating on the means of reconstruction to learn how to overcome the spatial and temporal distance separating the materials displayed in the spaces of the Flórián cinema from the lively existence of the New Inhabitants.
Under Reconstruction is a diploma project of bachelor students in Fine Art Theory, Hungarian University of Fine Arts.
The graduating students organising the event: Gábor Hegedűs, Anna Juhász, Viola Lukács, Emese Mucsi, Júlia Salamon, Judit Szalipszki
Project leader: József Mélyi
Contributing artists and groups: Unrated (Besorolás Alatt) – Kaos Camping, Réka Harsányi, Zsuzsanna Simon, Studio Nomad, Attila Zérczi
Graphic design: Balázs Sipos
Web: Victor Maria Lima
Sponsors: Balázs Bús – Major of Óbuda-Békásmegyer, C3 Center for Culture and Communication Foundation, Irokéz Collection, Hungarian University of Fine Arts, PLACCC Festival
Media partner: Artmagazin
Documentary film project based on the ’89 exhibition series of the same title.
premiere: Toldi Cinema
The starting point of the curatorial project Ventil is an exhibition series from the 1989 which were a series of exhibition opening events for a week with the participation of twelve artist: Ádám Zoltán, Bullás József, Kelemen László, Komoróczky Tamás, Mészöly Suzy, Nemes Csaba, Pálos Miklós, Szarka Péter, Szépfalvi Ágnes (Uray Ágnes), Szilágyi László, Szűcs Attila és Veress Zsolt voltak.
We created a documentary based on our research of these events for which we chose keywords in order to reinterpret why these event were important. Te keywords used for making the documentary were: music, remix, collective work, new sensibility, and revolution at the Hungarian University of Arts.
Place: Toldi Cinema, Budapest, Bajcsy-Zsilinszky út 36-38.
curator: : Cifka Fruzsina, Istvánkó Bea, Kozma Eszter, Szuromi Eliza
consultatnt: : Szoboszlai János
UNPLANNED ROUTES -- An exhibition dealing with the practice of urban walks
2012, Labor Gallery
Walking has several artistic and everyday form: from unconsciuos wondering to demonstrative walks in favour of certain political claims. Our degree project aims to show walking as a form of research and interpretation. Unplanned routes gives a proposal for technioques of the observation and analysis of the city. We will base the project on three smaller ones.
Group Tökmag ( Pumpkin seed) will present a newly discovered archeological finding and will organize a walk in Újlipótváros (13th district). The second part With your Own Eyes asks participants to take photos during the walks, which we will exhibit with the participants. The third is Audible Absence wiil create an audi guide around Kálvin Square about the displaced monuments, memorials or art works.
We organized a roundtable with experts who lead alternative city guides. And we edit a cataloguewith the most important theoretical texts on the cultural history of walking. során készült fényképeket a látogatókkal közösen installáljuk a Labor kiállítóterében.
curators: Kangiszer Dóra, Kis Veronika Edit, Sparing Stefánia
consultant: Lázár Eszter,
participants: : Gruppo Tökmag valamint Bojár Iván András, Kis Varsó, Kovách Gergely, Pataki Ágnes és a Téreltérítés Munkacsoport
Roundtable participants: Budapest Underguide, Imagine Budapest, BudapestScenes, Unique Budapest, BUPAP, Kortárs Építészeti Központ
VÁRKONYI 100 – Sensible Balance
Memorial exhibition for ZoltánVárkonyi
2012, in collaboration with Vígszínház, University of Theatre and Film Arts
The exhibition is an hommage to Várkonyi , one of the most influential actor, director, teacher. His films are on television even today, his influence is still palpable at the Víg Theatre, and at the University of Theater and Film. The exhibition presents past and presence, showing thecontext and structure of a certain eoch in which he created his works. The exhibition presents films, photos, documents, from the archives and from his family’s personal heritage. There are screenings from parts of his films and their remake by a recognised young director Ferenc Török.
curators: : Csiszár Mátyás, Hermann Júlia, Pacsika Márton, Tihanyi Lajos
consultatnt and contribuors: Jákfalvi Magdolna, Kovács Krisztina, Mélyi József, Szegedy-Maszák Zoltán, Török Ferenc architect: : Batisz Miklós
Graphic design: Eperjesi Ágnes, Szöllősi Géza