(Magyar) Spielzeuge
| 2017. Jun. 13. | 18:00 |
I feel that we only need to take care of each other now…
| 2017. Jun. 10. | 18:00 |
Works by: Zenkő Bogdán, Adorjáni Panna, Roland Korponovics, Sándor Márkus
I feel that we only need to take care of each other now and everything will be
2 Budapest Bottom Boys and 2 Romanian Boss-Ass Bitches
Zenkő:
All the marks, all the scars, all the clues with all the cues, anything that makes you feel alive. Body shop, soul market, thinking that you know, knowing that you think. Too much. Make a list, check it twice, find out whether you are naughty or nice.
#marks #scars #clues #alive #bodyshop#soulmarket #overthinking #spam #naughty
Panna:
Pictures of people. Things that belong to people. Collections of identities, words, faces. The urge of storytelling. The luxury of narrating yourself onto the white walls of the gallery. The personal story, the private space stubbornly fights its way in front of the public. The desire for a broader interpretation.
Sanyi:
If only I could openly talk about what I really want to discuss right now. But unfortunately it is impossible. My installation talks on my behalf. This hurts. This hurts. I’m ok.
Roland:
I am thinking about the four of us, who we are and which were those ratios and roundings in each other’s memories that became the common denominator of our intentions, both emotionally and professionally, to achieve this mutual exchange (to share knowledge, experience, secrets and values), through which we think about ourselves as a team.
Looking at the exhibited works, I unwillingly feel the pressure of the different contexts and narratives of contemporary art, while actually all these works are also simply torn pages from our personal survival strategy books. The desire to position ourselves both professionally and existentially within the necessity of a critical system – its solving formula nonetheless lies mostly in our common sense of humour also reflects upon the boarder generational dynamics of our stories.
UNIVERSAL PLEASURE FACTORY
www.universalpleasurefactory.tumblr.com
Támogató: NKA
Life Drawing #01
Life Drawing #01
2017. 06. 01. – 06.05.
The Exhibition of Máté Kovács
Curator: Ráhel Anna Molnár
Nude. The word „carries, in educated usage, no uncomfortable overtone. The vague image it projects into the mind is not of a huddled and defenseless body, but of a balanced, prosperous, and confident body: the body re-formed.” – Kenneth Clark points out in his essay The Nude: A Study in Ideal Form (1956). Today this „body-reformed”: the picture of a naked, still, idealized human is stuck to a notion of (mimetic) art which implies anatomical studies and the nudes themselves as the fundamental elements of it, together with a romantic, withered understanding of the role of the artist.
Models of traditional art education is still part of the curriculum of the Hungarian University of Fine Art. In the coursed based on anatomical studies nude models are being used – appearing as the remains of a former notion of the role of art and the artist. The aim of the university’s compulsory, eight semester course, Life Drawing is the examination of different spatial forms and the understanding of anatomical layers of the human body, from various viewpoints.
A regular practice, wishing to develop attention skills by the mapping and disassembly of the naked body. In this practice, nudes are samples of mimesis, the body is a point of reference – they appear as temporary, stationary and mute tools of the depiction of ideal forms, the practice of academic studies and anatomic attention.
In the work of Máté Kovács, from muscles, bones and joints this anatomic attention is transposed to the dissassembly, understanding and redistribution of personal, public and institutional bodies. Life Drawing #01 appears as the first section of a long-term project, examining the contemporary role of the nude from different perspectives. This exhibition shows the nude, as a „body-reformed” from the viewpoints of the nude models working in the Hungarian University of Fine Arts.
The documentary film presented in the exhibition poses questions regarding the relationship between the nude and the artist and the scope of possible roles through dialogues with the nudes themselves. In the process of the one year cooperation roles of the nudes and the artist getting switched – by the alteration of the focuspoint of attention mute bodies are replaced with autonomous stories of persons, through which a new, personal anatomy of the contemporary role of the nude is being drawn.
Supported by: NKA