ARTGUIDEEAST Albania
19 Bratislava 21 Riga 26 Bucharest 418 Bucharest 0 gms Sofia 35m2 Prague 3x3 Liberec A Panevėžys A.M.180 Prague acb Budapest Ad Astra Kuřim Agency Art Moscow Agra
Belarus
Ana Cristea Cluj – New York Anaid Bucharest Anca Poterasu Bucharest Andreiana Mihail Bucharest Ann Kiev Anna Nova Saint-Petersburg AnnArt Bucharest Arhipelag Cluj
Bosnia-Herzegovina Bulgaria Croatia
Art Warsaw Aidan Moscow Aiurart Bucharest Akademija VDA Vilnius AL Saint-Petersburg Alis Bucharest Alkatraz Ljubljana Alma Riga AMG Prague AMT Project Bratislava Arka Vladivostok Ars Aevi Sarajevo ARSkontakt Brno Art Depot Sarajevo Art Market Vilnius Art re.Flex Saint-Petersburg Art Today Plovdiv Art Yourself Bucharest Art4. ru Moscow ArtConsulting Prague – Brno ArtDepoo Tallin Artinbox Prague Artmark Bucharest Artnewscafe Plovdiv Artpro Prague ArtXpert Bucharest ASA Art Sarajevo Asymetria Warsaw Atelier35 Bucharest Aukso Pjüvis Kaunas AV17 Vilnius AVS Kiev Baltic Tallin Barbarian Zurich Baroti Klaipėda Barrel Zagreb Bazis Cluj – Berlin BB Kraków – Wroclaw Belart Minsk BlackBOX Sarajevo Bochenska Warsaw Boris Smoje Sarajevo Bottega Kiev Brucie Collections Kiev Bulart Varna BWA Warsaw Caesar Olomouc Calina Timisoara Cargo Děčín Ćarlama Depot Sarajevo Cin Cin Bratislava Collection Kiev Colors Bucharest – Paris CT Bratislava Cypriána Majerníka Bratislava Czarna
Czech Republic
Warsaw CZD Prague D137 Saint-Petersburg Dailininku mené Vilnius Dea Orh Prague Desa Modern Warsaw Desa Unicum Warsaw Diehl Moscow – Berlin DOM Warsaw
Estonia
Petersburg etc. Prague Faica Bratislava Faur Zsófi Budapest FF Lódz Fine Art Moscow Foksal Warsaw Fotograf Prague Fotografic Prague Fotografija Ljubljana Fotoloft
Hungary
Dovin Budapest DOX Prague Duplex/10m2 Sarajevo Dvorak Sec Prague Elena Vrublevskaya Moscow Enter Bratislava Entrance Prague Equrna Ljubljana Erarta SaintMoscow FPSW Warsaw Freta Warsaw Frolov Moscow Futura Centre Prague Galateea Bucharest Gandy Bratislava Garage Center Moscow Gary Tatintsian Moscow Gate Prague Gelos Moscow Gisich Saint Petersburg Glaz Moscow GMG Moscow Godot Budapest Goldart Bucharest Gregor Podnar Ljubljana – Berlin Grinberg Moscow Guelman
Kosovo
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Latvia
Kálmán Makláry Budapest Kapelica Ljubljana Kapsula Ljubljana Karas Kiev Karas Zagreb Karol Winiarczyk Vienna Karousel Bucharest Kauno Fotografijos Kaunas Kauno
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Lithuania
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Macedonia
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Moldova
Moscow Luxfer Prague M Kharkov M17 Kiev Madl’ Belgrade Magma Sf. Gheorghe Magnum Ars Moscow Marisall Zagreb Mastatstva Minsk Medium Bratislava MeetFactory
Montenegro
Budapest Leonid Lerner Moscow Leonid Shishkin Moscow Lessedra Sofia Leto Warsaw Lietuvos Aido Vilnius Little Yellow Bucharest Lokal30 Warsaw Lumiere Brothers Prague Meissner Prague Melenia Bucharest Meno Nisa Vilnius Menu Tiltas Vilnius Mihai Nicodim Bucharest - Los Angeles Millennium Prague Mironova Kiev Miroslav Kraljevic Zagreb Miroslava Kubíka Litomyšl Mission Art Budapest Mono Budapest Nadja Brykina Moscow – Zurich Nautilus Krakow Navrátil Prague Next Art Budapest NF Ústí nad Labem Nova Bratislava Open Moscow Open Bratislava Ostoya Warsaw P74 Ljubljana Pál Miercurea Ciuc PANEL contemporary Budapest Paperworks Moscow
Poland
Passage Ljubljana Pecka Prague Peles Empire Cluj Peron Prague Photon Ljubljana Piekary Poznan Pies Poznan Pinchuk Kiev Pintér Sonja Budapest Plan B Cluj – Berlin PM
Romania
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Serbia
Cluj Sam83 Třemošná Sariev Plovdiv Satelit Bratislava Simultan Timisoara SIZ Rijeka Školská 28 Prague Škuc Ljubljana Sofa Druskininkai Soga Bratislava Sovcom Moscow
Slovakia
The Chemistry Prague Tifana Riga Tobacco 001 Ljubljana TR3 Ljubljana Trafačka Prague Triumph Moscow Tsekh Kiev Új Kriterion Miercurea Ciuc Upper Town Minsk
Bucharest Regina Moscow – London Remont Belgrade Rempex Warsaw - Cracow – Sopot Rigas Riga Ring Zagreb Roman Petrovic Sarajevo RuArts Moscow S Prague Sabot
Slovenia Ukraine
Space Bratislava SPZ Prague Starmach Cracow Starter Warsaw Stella Art Moscow Stereo Poznan SVIT Prague T Bratislava Temnikova & Kasela Tallin Terra ecognita Vilnius Václava Špály Prague Vartai Vilnius Vernon Prague VIA Art Prague Victoria Samara Viltin Budapest Vintage Budapest Virág Judit Budapest Visconti Ljubljana Vltavin Prague Vostochnaya Moscow Wannieck Brno Winzavod Moscow X Bratislava XL Moscow XX Panevėžys XXL Louny „Y” Minsk Ya Dnipropetrovsk Ya Kiev Zacheta Warsaw Zak Branicka Berlin Zdeněk Sklenář Prague – Litomyšli Zderzak Cracow Zeta Tirana Zezula Brno Zona Zagreb Zorzini Bucharest ZPAF i S-ka Cracow Zvono Belgrade
VOL.2. Nov – Dec 2012 bi-monthly contemporary art guide of the CEE region by RadaR
Takashi Kuribayashi Forest from Forest, installation from 2010, japanese paper (Mediations Biennale 2012)
FREE
Curators Talk
nale, was aiming at deconstructing the no-
kinds of representations, especially in bien-
tries which play a rather problematic politi-
tion of knowledge or of a representation of
nials in which foreign policies are represent-
cal connection with them, such as artist from
Interview with Denise Carvalho,
knowledge in ways that are typically explored
ed through artists who are nationals in that
Ukraine or Georgia representing Russia, a
brazilian born curator
in biennials, with works represented by art-
country, which I think is very much about the
Venezuelan or Iranian artist representing the
ists from the countries that are representing
tendencies of today’s foreign policies, more
US, a North Korean artist representing South
„The structure of Mediations Biennale aimed
them. I was pleasantly surprised at the Ven-
centralized and harder on foreign expansion.
Korea, etc. This is the dialogical path of future
at a more open dialogue between distinct
ice Biennale in 2011, when I saw that the artist
I would think that the next Venice Biennale
biennales in my view, if they want to continue
sides of the world and their distinct and
representing Poland was Yael Bartana, from
or other major biennial should do exactly the
being the place for questioning the freedom
somewhat dialogical tendencies. The point
Israel. I thought: this is the way to go. My idea
opposite of what has become praxis in many
of the arts in a time of corrupt and centralized
was, The Unknown the theme of the bien-
would be to continue to decentralize these
biennials, let’s say artists representing coun-
partisanships.” – continued on page 3.
my printing company
with colour
heart
All-inclusive print services
PAUKER HOLDING 1047 Budapest, Baross utca 11-15. +36-1-272-2290 | www.pauker.hu
www.artguideeast.org
Contributors
Anna Keszeg was Born in 1981 in Judit Szalipszki studies Fine Art
Turda, Romania, she graduated with a
EDITH JEŘÁBKOVÁ studied Theory and
Theory at the Hungarian University of
Master degree in Culture and Civilisation
Vladimir Čajkovac is a freelance cu-
History of Art at The Philosophical Fac-
Fine Arts in Budapest. She is the secre-
at EHESS, Paris. She is a lecturer at the
rator who lives and works in Zagreb.
ulty of Palacky University in Olomouc
tary of VIVO | Watershed Visual Educa-
Babes-Bolyai University, Cluj-Napoca,
From 2008–2012 he worked as curator
and she works within the context of
tion Foundation, a not-for-profit orga-
Faculty of Political, Administrative and
of exhibition production in the Museum
contemporary art. She curated several
nization devoted to foster personality
Communication Sciences, Department
of Contemporary Art in Zagreb and as
shows with Jiří Kovanda and edited his
development through creative thinking
of Communication, Public Relations and
assistant curator in the Kožarić Atelier.
catalogue.
and the appreciative reception of art.
Advertising.
Gallery Event Guide NOV 2012 – FEB 2013 CROATIA Lauba
What: Dániel Karsai
Opening times:
When: 11. 01. 2013–22. 02. 2013
Mon–Fri 11 am–6 pm
IMPRESSUM Editorial and staff contributors
Web: www.starmach.eu
Where: Baruna Filipovića 23a,
Editor- in- chief: Zita Sárvári
10 000 Zagreb, Croatia
Faur Zsófi Gallery
What: Everything is Hanging by a Thread–
Correspondents: Dóra Pelczer,
Opening times:
Where: H–1114 Budapest,
Tadeusz Kantor
Beáta Mesterházi, Noémi Ferenczy
Mon–Fri , Sun 3 pm–11 pm, Sat 11 am–11 pm
25. Bartók Béla Road, Hungary
When: 10. 12. 2012–31. 1. 2013
Contributors: Anna Keszeg, Edith
Web: www.lauba.hr
Opening times:
What: Premiere of new art works
Web: www.galeriafaur.hu
by Lovro Artuković
Jeřábková, Emese Mucsi,
ROMANIA
Mon–Fri 12 am–6 pm, Sat 10 am–1pm
Judit Szalipszki, Vladimir Čajkovac Copy Editor: Izabella Fekete
Club Electroputere
Design: Ágnes Vas
When: 6. 11. 2012 – 6. 1. 2013
What:
Where: 16 Biserica Enei Street, District 1,
–
Fanatics of the deep – Ágnes Éva Molnár
Bucharest, Romania
Directors and publishing
What: Finalists 2012 – Lovro Artuković, Ivan
When: 9. 11. 2012–8. 12. 2012
Web: www.clubelectroputere.ro
Publisher: Pál Szilágyi, RadaR Public
Fijolić, Duje Jurić, Alem Korkut, Kristian Kožul,
–
Ines Matijević Cakić, Viktor Popović, Igor Ruf,
What: Közép–Közép / Middle – European
What: A Tour of Romania in 7 Days 1/2 –
European Art
Marko Tadić, Stipan Tadić, Zlatan Vehabović
Month of Photography – Arion Gábor Kudász
Mihai Barabancea, Tudor Bratu,
Managing director: Zsuzsa Fieszl
,Silvio Vujičić.
When: 8. 11. 2012–8. 12. 2012
Coate-Goale, Claudiu Cobilanschi,
Finance: Bálint Kovács
When: 6. 12. 2012–28. 1. 2013
–
Cristina David, Vlad Nanca
Address: Király utca 51,
–
What:
When: 23. 11. 2012–10. 1. 2013
1077-H Budapest, Hungary
What: Marko Tadic
Zero Visibility Possible – Gergely Szatmári
When: 22. 1. 2013–10. 3. 2013
When: 13. 12. 2012–5. 1. 2013
Muzeja Suvremene Umjetnosti /Museum Of Contemporary Art Where: Av. Dubrovnik 17,
Benefit Association for Contemporary
Web: www.artguideeast .org Contact : pr@artguideeast.org
–
Pavilion
What: „ez nem a piros szoknya” / „this is not
Where: Sos. Nicolae Titulescu nr. 1
Printed by Pauker Nyomda Kft.
the red skirt” – Flóra Pálhegyi
(Piata Victoriei), Bucurest,Romania
Baross utca 1 1–15, 1047 Budapest,
When: 14. 12. 2012–1. 1. 2013
Opening times:
Hungary
Tue–Thu 12 am–7 pm, Fri–Sun 3 pm–7 pm
Director: Gábor Vértes
Web: http://criticalbotox.com/
10000 Zagreb, Croatia
Ludwig Museum
Opening times:
Where: Művészetek Palotája, H–1098,
What: Critical Botox in times of 2.0 feudalism
Copyright RadaR – Public Benef
Tue–Sun 11 am–6 pm, Sat 11 am–8 pm
Budapest, Komor Marcel street 1. Hungary
When: 4. 10. 2012–6. 1. 2013
it Association for Contemporary
Web: www.msu.hr
Opening times: Tue–Sun 10am–6 pm
ISSN 2062-7580
What: Ideology of Beauty– Karim Rashid When: 20. 10. 2012–1. 1. 2013
CZECH REPUBLIC Drdova Gallery
European Art 2012
SERBIA
Web: www.ludwigmuseum.hu
ArtGuideEast is a bi-monthly contemporary art journal and professional
What: Workstation – Antal Lakner
Oktobarski salon
When: 21. 9. 2012–6. 1. 2013
Where: Knez Mihailova 6/I,
ern Europe. All the published data is
–
11000 Belgrade, Serbia
informational compiled and examined
What: The Freedom of Sound. John Cage
Opening times: Tue–Sun, 11 am – 8 pm
carefully.
behind the Iron Curtain
Web: www.kcb.org.rs / www.criee.org
ArtGuideEast, RadaR or any other
periodical focusing on Central East-
Where: Krizkovskeho 10,
When: 23. 11. 2012–17. 2. 2013
130 00 Prague, Czech Republic
–
What: A.C.T. Democ(k)racy – Two Lines
take responsibility for the correctness,
Opening times:
What: Selection from the Ludwig Museum’s
of Life or why a rabbit likes weeds– Radoš
topicality and completeness of informa-
Tue–Fri 1 pm–6 pm, Sat 2 pm–6 pm
Collection
Antonijević, Damir Avdić, Boogie, Uroš Đurić,
tion published in this issue.
Web: www.drdovagallery.com
When: 5. 12. 2012–17. 2. 2013
Vlatka Horvat, IRWIN, Aleksandar Jestrović
All rights of alternation and mistakes
Jamesdin, Aleksandar Maćašev i Stephen
reserved. Furthermore all rights
Gee, Vladimir Nikolić, Zoran Todorović, Raša
of alteration, updating, revision
Todosijević
or erasion of any data is reserved.
When: 18. 01. 2013–10. 03. 2013
All sorts of information and picture
POLAND
What: Vaclav Kopecky, Zenit Hotel When: 16. 11. 2012–12. 01. 2013
HUNGARY Dovin Gallery Where: H–1052, Budapest,
Raster Gallery
person contributed to this issue do not
Where: Wspolna 63, 00-687 Warsaw, Opening times: Tue–Sat, 12am–6pm Web: www.rastergallery.com
Galamb Str. 6, Hungary Opening times:
What: New Histories – Zbigniew Libera
Tue–Fri 12 am–6 pm, Sat 11 am–3 pm
When: 17. 11. 2012–12. 01. 2013
Web: www.dovin.hu
in ArtGuideEast is published
SLOVAKIA
Poland
with the approval and the permission of the holders
Slovenská Národná Galéria /Slovak National Gallery – Esterhazy Palace
of rights.
Where: Riečna 1, 815 13 Bratislava 1, Slovakia
What: Jana Želibská. No Touching
Opening times:
When: 29. 11. 2012–17. 03. 2013
Tue–Sun 10 am–6 pm, Thu 12 am–8 pm
–
What: The Stars Look Different Today– Mark
Starmach Gallery
Fridvalszki, Pavla Sceranková, Marko Tadić
Where: ul. Węgierska 5, 30-535 Krakow,
Web: www.sng.sk
What: Blood
When: 16. 11. 2012–5. 1. 2013
Poland
–
When: 13. 12. 2012–03. 2013
Curators talk
says it mediates this kind of country culture
much more absurd, very much „to the point”,
Do you think important collectors are inter-
specific representation. This was - I mean I
using absurdity and humour. I felt connected
ested in eastern european art?
continued from page 1.
am being Brasilian, living in New York - an-
to it. In 2010 I curated two exhibitions in New
other way of looking at myself. I think we
York showing Eastern European artists. One
I think once the work reaches a more visible
are living now in a time in which there is so
of them had people like Jirˇí Kovanda (Kiss-
arena it does not matter where you are, it
“The unknown exists with the same inten-
much pressure over the centrality of identity,
ing Through Glass) I felt kind of connected to
becomes really a commodity. I do not think
sity as the known or everything already
so this is an interesting time to blur more of
its absurdity and humour. I am interested in
that collectors matter whether the art is from
comprehended. Perhaps a better way of
these distinctions of where you are from, and
all the tendencies I can see all these Eastern
their own country or not, they are worrying
putting it is: what exists exists; what does
I like that.
European countries, as they are not very dif-
about their investment. It is money business
ferent from Brasilian art.
and they are going to buy art, because it is
not exist exists as well.” – Tomasz Wedland, director of Mediations Biennale
Who did you invite to represent at the Mediations Biennial 2012?
an investment for the future. I find it is good you are saying that there are many exhibi-
and bad. It is good because everybody has a
tions in the u.s. showing eastern european
chance on the market and it is bad because
lets start with the structure of the Media-
For MB 2012 I invited artists who were less
art and artists, though we cannot really
art work becomes just a commodity. I think
tions Biennial 2012…
known in Eastern Europe, or artists whose
“feel” or see the results, for example in Hun-
nowadays the art market is good for all kind
works were dealing with issues that I thought
gary. What do you think, why?
of art, so as long as you have visibility and
The structure of Mediations Biennale aimed at
were not very known in Eastern Europe, such
I think Central European art is very predict-
you start going out (fairs are good example of
a more open dialogue between distinct sides
as the killing of people in the border between
able, I mean I do not want to put down some
that) you will see many people are buying art
of the world and their distinct and somewhat
Mexico and the US in the work of Teresa Mar-
of the artists, but certainly they are more
for millions. My God, there is no logic! It is not
dialogical tendencies. The point was, “The
golles, for example, or a similar idea of dis-
predictable in Central Europe than in Eastern
like the stock market. To be honest my interest
Unknown,” the theme of the biennale, was
appearance in the drug cartels of Colombia
Europe. Eastern European artists are fresh,
is not to make art as a commodity, my interest
aiming at deconstructing the notion of knowl-
in the work of Oscar Munoz. I also wanted to
comparing to the artists coming from Central
is to show smart and interesting art that can
edge or of a representation of knowledge in
bring artists who would engage with histori-
Europe. I might have a lot of people hating me
take its own route into the economy, into the
ways that are typically explored in biennials,
cal issues experienced in Poland, from their
for saying this.
market, into the galleries and magazines.
with works represented by artists from the
very distinct perspectives, such as Fernando
countries that are representing them.
Prats’ installation and video, “We were dead
I hope not. What do you think what shall we
What are your future plans?
and we could breathe” (2012) was made es-
do to better show ourselves to the World?
Denise, you are a Brasilian curator, how
pecially for the Mediations Biennale of 2012.
come that you are curating americans? I am curating the Americas, to be precise,
I am intending to continue to work with CenYou have to make more shows, guys! More
tral and Eastern Europe, perhaps curating
What do you think about eastern european
young artists, or even established artists with
another biennial in the near future, or show-
art?
very fresh work. Shows in New York, shows in
ing Eastern European artists in New York and
Germany, shows here in Eastern and Central
elsewhere. I will be involved in several exhibi-
in Mediations Biennale I can represent several countries. This time the most important
I love Eastern European art! (she laughs) The
Europe. What you have to do is to promote
tions and projects in 2013, including in South
thing was to create a dialogue. What I did
first show that I curated was in Eastern Eu-
those exhibitions that are not the typical kind
Korea, Uruguay, and Argentina. I have been
was to bring several artists from different
rope, it was in the Czech Republic, in 1999.
of fashionable shows you always have to have
also talking with Izabella Gustowska to pos-
countries, “the Americas”, even people who
I came to the Czech Republic and I became
with big names, you know, because every-
sibly curate a major project of her work in
are Korean but living in New York, people
fascinated by their kind of work. I also had the
thing is now so much more orientated to
New York in 2013. I have also been consider-
from Columbia, from Spain. They are still not
opportunity to curate in Poland in 2001. From
budget, towards money, towards commercial
ing teaching a course at the Academy of Fine
defined as Americans, they can be living half
then on Eastern Europe had become like a
aspect of the production. I know that is dif-
Arts in Poznan in 2013 or 2014.
of the year in Korea and half of the year in
second region for me. From the beginning I
ficult. I know people who want to bring vision
New York. So I enjoy the concept of the Bi-
thought that Eastern European contempo-
to Eastern European art, so this is not some-
The longer interview with Denise can be downloaded
ennale, because the name (Mediations) itself
rary art is very smart because it was really
thing that is not expected in the close future.
from www.artguideeast.org
WoulD you MInD soMe CrItICal tInkerInG?
ate feedback and the beneficial and inspir-
the next edition of Curators’ network has
foment the interaction of the international
The central pillar of the Budapest meeting of
hand, their cooperativeness in connecting
arrived to Budapest
guests with local cultural institutions and
Curators’ Network was the series of personal
the artists with the relevant people from their
agents. All the international and local agents
portfolio reviews. Artists selected by the jury
scene and network and pieces of advice on
Curators’ Network, a cross-cultural collabora-
who are participating in the network have
(members were Áron Fenyvesi, Maja&Reuben
future collaboration.
tion-building project – as its title suggests – is
their own self-updatable English profile in the
Fowkes, Kati Simon and Eszter Steierhof-
Evaluation has become a sort of magic buz-
devoted to the enhancement of interaction
database of www.curators-network.eu in or-
fer) presented their works in the venues of
zword in the cultural field, although suc-
and the building of links between internation-
der to perpetuate and broaden the promotion
Ludwig Museum to the curators invited from
cess is something hardly defineable in an
al curators and local artists and art profes-
of the participants of the network. This aspect
France, England, Croatia, Germany, Turkey,
artistic context. Albeit there is no pressure
sionals of the five partner countries. As Sören
of the digital promotion becomes more and
Portugal, Poland, Romania, the Netherlands,
of a strictly defined output, still, Curators’
Meschede – one of the four people working
more important as the database is a perfect
Slovenia, the Czech Republic and from the
Network can already show off its positive
for the Madrid-based cultural association
tool for making the project sustainable.
partner countries. The Studio of Young Art-
achievements – so the strategy actually
Hablar en Arte that initiated and coordinates
Three partners are from the CEE region there-
ists’ Association (SYAA), an initiative with a
seems to work. Several artists reported the
Curators’ Network – tells in connection with
fore it may have seem intentional that some
membership of about 500 artists, art histori-
project partners that they have been con-
their newly established curatorial residency
of the countries involved have a post-socialist
ans and critics, the Hungarian member of the
tacted by people who became interested in
programme, sometimes they feel a bit like
background. Though, it was not a deliberate
network was responsible for the organization
their activities while browsing the database.
marriage brokers bringing together lonely
reason for collaborating with them.
of the event. SYAA acts as a vital local plat-
Several others have already started collabo-
souls, that is, the above mentioned foreign
form for contemporary art with an extensive
rations with art professionals they met dur-
curators and local stakeholders. Devising a
exhibition and project programme and it fos-
ing Curators’ Network. Two Spanish artists,
ing counselling of the curators. On the other
platform for the international exposure of art-
’We felt that knowledge about German,
ters the establishment of professional con-
Tamara Kuselmann and Daniel Jacoby, who
ists and a structure for the cultural agents for
Dutch, French, British artists is far more
tacts, the members’ presence at Hungarian
were participating in the review in Madrid are
sharing expertise therefore denotes a medi-
easy to obtain as these countries have a
and international exhibitions and residencies
now on show at Trafo Gallery in the exhibition
ating position.
very vivid and internationalized art scene,
and provides them with information and or-
entitled The Suspicion of Suspense curated
Five project partners are involved in Curators’
whereas other countries, more on the pe-
ganizational support.
by Áron Fenyvesi.
Network: Hablar en Arte, Madrid (Spain); the
riphery of the European Union, are quite
A table, their laptop, a wall surface and a
This first push of the project is just the be-
Foundation for Visual Arts, Krakow (Poland);
isolated. And we saw also, that especially
time interval of 20 minutes per meetings: this
ginning – the plan is that the final exhibition
the Brukenthal National Museum, Sibiu (Ro-
a bilateral exchange of knowledge be-
was the frame that the emerging and mid-
will be a symbolic starting point for a second
mania); the Kunsthalle Exnergasse, Vienna
tween the Mediterranean and the eastern
career artists could fill freely to (re)present
phase of Curators’ Network. Further aims
(Austria) and the Hungarian partner is the
countries of the EU could be really remu-
themselves and to evoke the interest of and
include expanding the network by organiz-
Budapest-based Studio of Young Artists’ As-
nerative, as there is very little exchange
to start discussion with the curators rotat-
ing gatherings in new countries (Hablar en
sociation. The methodology of the project is
right by now. But still, if one has a look at
ing between the artists’ spots. Explaining
Arte has contacts with Croatia, Portugal or
very simple: each of the five partners organ-
the history of all the countries s/he sees
and describing their practices for almost 20
Latin America), curatorial residencies and ex-
ize a meeting in its country. The host invites
that the Mediterrean and the East-Euro-
times is a seemingly boring and exhausting
changes. Enhancing the use of the database
around 20 national and international cultural
pean countries all share a recent totalitar-
process but it gives a later empowering rou-
is also a clear priority.
managers and curators to participate in a
ian or dictatorial past: Greece, Portugal,
tine of self-presentation. At the same time, it
Visit the website for the documentation of
portfolio review with 20 local artists that
Spain, Italy, Poland, Romania, Hungary.
is a more intimate and definitely less stress-
former meetings, browse the archive, check
have been selected by an independent jury.
One might deduce that this common
ful situation as opposed to introducing the
out the PDF versions of the catalogues and
Partners work autonomously deciding on the
historic pattern is influencing the social
works in front of a wider audience. Accord-
save the dates for future gatherings.
group of the invited curators, on the members
structure of those countries even today.’
ing to what artists reported, the two biggest
of the jury that selects participating artists,
– as Sören explaines their reasons that
powers of the meetings were, on one hand,
on the venues and modes of display. Besides
drove the building of partnerships.
the new stimuli from fresh perspectives from
READ THE FULL ARTICLE ON OUR WEBSITE:
outsiders of the scene, that is, the immedi-
www.artguideeast.org
the review, the host organizes activities that
judit szalipszki
www.artguideeast.org
3
E x h i b ition revie w s The Man with the Cabbage Hand
get you are an artist! Do not be discouraged; do not be afraid, you will make it! Create like a God, order like a king, work like a slave! I’m the self-killing God, the king who shits on his crown, the slave who looks for a master. What kind of identity could a young artist have with those quotations in his head and the cabbage-craftsmanship in his hands? Can these students build a successful life strategy in a money-governed art system based on a very modernist and historically old-fashioned geniality-concept? Is Brancusi a good example? Is Brancusi really Brancusi? Is Nea Aurica a good Brancusi-interpreter? Is Brancusi related to the cabbage? And speaking of cabbages, I remember Serge Gainsburg’s famous song about the man with the cabbage head -- half vegetable-half dude, a song about disorientation, about loss of control over our own life. The cabbage is very important for Gainsburgfans: on his tomb in the Montparnasse Cemetery we can always find a cabbage. Furthermore, there is the cabbage of nutritionists: the cabbage of the cabbage soup diet which promises miracle in only 7 days. There is the famous Sauerkraut obtained after a special process of fermentation, the sarmale, a Romanian and Transylvanian dish which in
Detail, Plan B Gallery, 2012
rococo poetics was the metaphor of a wellPlan B Gallery, Cluj-Napoca
etable with densely-leaved head, so impor-
ing women, professors, jobless and genial
written letter. Craftsmanship and disorienta-
Adriana Croitoru, Nu uita ca esti un artist /
tant in the Romanian gastronomy. The video
artists. With his gastronomic know-how he
tion: this is what the cabbage is about. And
Do not forget you are an artist!
tells the story of the artistic socialization
possesses a bizarre status in this community:
maybe about the isolation of the craftsman-
05. 10. – 10. 11. 2012
of students at the Bucharest University of
a know-how in everything, a know-how re-
ship too. Have You ever seen a craftsman
Arts, a socialization which is about a strange
lated to geniality, talent and art-making. The
who wasn’t convinced that he possesses the
The Adriana Croitoru exhibition at Plan B
craftsmanship. In the center of this micro-
film is about this Bucharest-type interpreta-
only operable know-how?
Cluj-Napoca made me think about the cul-
universe is Nea Aurica, the man with the cab-
tion of the artist. Without a critical attitude,
The exhibition is an important moment in the
tural interpretations of the cabbage. Ok, it is
bage hand, a technologist who organizes all
Croitoru tries only to show an academic pro-
life of Plan B Gallery: the inauguration of the
far from being an exhibition on the cabbage,
the parties, receptions and festivities of aca-
tocol with the technologist in the center. The
new gallery space on the ground floor of the
but the central visual element of Adriana
demic life. As the hub of a star network, he
ironic perspective of her gesture is given by
Paintbrush Factory.
Croitoru’s documentary is certainly this veg-
is connected to everyone: students, clean-
the following Brancusi-quotation: Do not for-
Anna Keszeg
Visual Art as Interpretive Philology
The French title requires a French expres-
Paul Branca, L’Origine de l’Espace Privée
field of philology than to that of art history.
practices represented by Branca in multiple
the problem of voyeurism. The origin of the
&&&
From this disciplinary perspective Branca’s
ways: paintings, collages, objects placed in
private sphere in the perspective of Manet’s
Sabot Gallery, Cluj-Napoca,
exhibition can be viewed as research on pri-
a Romanian context. The bourgeois hat is
work is a voyeurism-related topic. The vo-
05. 10 – 30. 11. 2012.
vate space in its relation to the concept of the
situated on a red-yellow-blue tricolor and the
yeur cannot see the whole «picture» since
artist - an entity with intentions, projects, per-
peephole has a rather post-communist apart-
he’s situated in a specific perspective: on
For the Paul Branca exhibition in Cluj-Napoca
sonal life, personal stuff, and personal story.
ment-feeling than a bourgeois one. The shoe,
one side of the peephole, behind the curtain.
the Sabot Gallery became a white space or-
In this reconstruction of a specific intention-
the key visual form of the exhibition is rep-
He could only see walls, shoes or hats. Never
ganized in an L-structure. In the first half of
ality of private space in a very-19th-century,
resented in three main formats (the artist’s
a figure. And those details are the important
the room there is a painted curtain in the mid-
very-bourgeois way, Branca is confronted
shoe, the model’s shoe, the shoe as a contour,
ones. The private sphere is about details.
dle – set as protection from and for nothing;
with the biggest question of the digital era:
as an abstraction), and it can be interpreted
And contemporary art is about historical in-
in the second half there are two framed col-
are we able to find content behind the sub-
as a metaphor for this three-leveled historical
tentionalism..
lages of a door’s peephole, viewed from both
ject? The answer in this case is Manet’s art-
investigation.
inside and outside. During my visit someone had left a grey plastic luggage in the small entrée of the exhibition-space,.Part of the exhibition? Certainly not, it would be quite an amateurish gesture, but my initial doubt on the function of this object illustrates Branca’s main question: is there a certain historic shift in the interpretation and in the content of «private»? If shoes and hats were once contents of the private, could luggage be a contemporary one? The first solo exhibition of Paul Branca in Romania at the Sabot Gallery in Cluj is a puzzle about a scientific concept: the private space and its origins. Branca picked up a historic concept and transformed it into the object of a visual investigation. For a historian this concept could be integrated in many scientific paradigms: in the history of mentalities, in the history of attitudes, in cultural history, in social history, in the history of ideas, etc. But as in the case of a historian, apart from an abstract concept, private space could only be interpreted on the ground zero of a specific case: for Branca this is the life and works of Édouard Manet. The forms and the contents are inspired by some visual elements of Manet’s work and passages of his letters. These types of sources are rather connected to the
Exhibition view, Sabot Gallery, 2012
sion as a synthesis of all these questions:
Anna Keszeg
ExhIbITION REVIEwS
a proposal for tHe MonuMent to tHe neW (Inter)natIonalIsM fokus grupa (Iva kovač and elvis krstulović) Galerija Miroslav kraljevic 12. 10. 2012. – 03. 11. 2012. The smallest, most basic unit of the installation by Fokus grupa (art and life partners Iva Kovač and Elvis Krstulović) at the Gallery Miroslav Kraljević, which provides the common title to the entire exhibition, is a sculpture. The work entitled A Proposal for the Monument to the New (Inter)Nationalism – is a faithful replica of an oak twig: a powerful tree that is at once a symbol of the numerous and diverse Indo-European identities, but also a historically marked economic resource and, historically, in some cases, a stronghold of national or regional economies. Seen symbolically, the frail twig, made out of polyester, is a tree substitute dedicated to the divine father, whose sanctuaries were often located on mountain tops or at least hills. A more contemporary version of such an altar is the Altar of the Homeland by Kuzma Kovačić, erected
Exhibition view, fokus groupa, 2012
in 1994 during the questionable restoration and reconstruction of the medieval fortress
only can be touched but sat on, reduced to its
in a landscape devoid of immediate markers
side any roles, revealing them only in their
Medvedgrad, located on the south slopes
basic form and some fundamental utilitarian
of civilization and historical sediment, even
physical presence. The internationalism in-
of Medvednica mountain which had roused
uses, like sitting on it while watching the film
in the form of ruins so dear to Romanticism.
troduced by the oak twig, a symbol of iden-
popular and literary imagination at the time of
projection.
Language, another stronghold of national
tity, an ancient basis of economy and also of
late Romanticism. Combining the location of
According to the authors, the starting point
identity, is performed in the film by a male
space created by man, is conveyed through
the pagan sanctuary dedicated to an altitude
of the film There Aren’t Words for What We
speaker, in international English seasoned
a public display of confessions and intimate
deity with the aggressive royalist tradition of
Do or How We Feel so We Have to Make
with a Slavic accent.
stories. Love is derived from the acceptance
the Altar of the Homeland, a monument was
Them Up and of the entire project present-
International English in written form appears
of the world through the division of differ-
designed that stands apart from the formal
ed at the Gallery is their foray into nature
in the recently published art book Perfect
ence, and that is the beginning of the uni-
lines of late minimalism thanks to a few de-
which had begun precisely at Medvedgrad.
Lovers (2002 – 2012). The very choice of lan-
versalist potential of each of these personal,
scriptive details which locate it in a specific
Their trips to Medvednica is a pilgrimage to
guage distances itself from the form of the
intimate stories, as Alain Badiou puts it in
historical context. In the gallery appropria-
the place that has in recent media reveilles
private, and the confessional character of
his book In Praise of Love. In the case of the
tion of the purified altar form, Iva Kovač and
become one of the new iconic images that
the real stories is blurred by the shifts and
work of Iva Kovač and Elvis Krstulović, that
Elvis Krstulović use a far more perishable and
affirm the identity of the inhabitants of “Our
overlaps of the protagonists’ identities. The
is, Fokus grupa, it is precisely love speech,
modest material than precious stone, utilizing
Beautiful.” The authors’ forays have resulted
text, short love croquis, are followed by the
as well as the risk of love seen through the
recycled discarded chipboard furniture for
from them, followed by a professional cam-
authors’ private photographs, thus physi-
prism of emphatic emotion which they are
creating the sculpture Behavioral Furniture.
era through national parks with the intention
cally exposing their intimacy, hidden behind
unreservedly given over to, that is the origin
Kovačić’s altar’s neutral cubes recreated by
of being openly exposed to the celebrated
words in the language performance and dis-
of the liberation of language, of landscape,
Fokus grupa direct the motion through the
landscape. Giving up the safety of the ironic
placed narration. The couple’s photographic
and finally the very medium of the safe cra-
Gallery Miroslav Kraljević, in a way almost be-
tradition and distance, Fokus grupa embarks
exposure takes place with separate protag-
dle of national culture.
coming gallery furniture, a sculpture that not
on a quest for the “genuine national identity”
onists, in moments of relaxation and out-
vladimir Čajkovac
BetarIX szÖrényI – katHarIna sevIC: oBjeCts of referenCe etc. gallery, prague
about Szörényi’s objects and drawings deal-
to refer to the Arts & Crafts Movement and
way into a very objective world of endless as-
Curator: tereza stejskalová
ing with straightforward allegories of social
the Ezermester, the Hungarian 80’s hobby
sociative strategies.
17. 11. 2012 – 16. 12. 2012
relations in the context of her previous work,
magazine. This signifies an urge for search-
The power to convince those who instantly
became fragmental in the show. The same is
ing alternative.
doubted and suspected the work of plain
The exhibition in etc. gallery prolongs the co-
valid for Šević’s object-text-performance-im-
And you know – you either leave the exhibition
speculation carries the nature of the dialog
operation between Szörényi and Šević. This
ages which polimize with political theories
before you take a seat in the trap sofa of im-
between the two artists. They are honestly
cooperation was initiated by curator Eszter
(just like in the series News from Nowhere
printed interpretations, satisfied by arrange-
asking the symptomatic questions without
Lázár (HU) and started in 2011 through the
based on the same title visionary novel by
ments of cute objects which are meaningful
showing off own intellectual acrobatics. Most
exhibition The Age of References in Buda-
William Morris, who himself was influenced
by themselves or you go to spend some time
of all, the awareness of lack of complexity de-
pest, which dealt with the motivations, proc-
by radical socialist utopias and soft science
with the book trying to follow some of the
fined by Szörényi at the end of the book is
esses and roles of making and thinking.
fiction. One might think: ‘bit of this and ‘bit
trajectories of Szörényi’s and Šević’s reasons.
truly convincing: “Man is the only animal that
of that. Dialectic watering can with double
Some of them deal with work, some with simi-
interprets”. Let this be the final statement or
spouts or object representation of a ruin in
larities in personal history such as immigra-
‘the ever green’ astonishment. Yet, we do not
katarina Šević studied at the Academy
high shellac.
tion, otherness etc. Not always a breathtaking
know how the apes would comment this.
of Fine Arts in Budapest. Her exhibitions
Nevertheless, looking at the map of the
plot. Subjective elements therefore find their
took place at Studio Gallery in Budapest,
show from the perspective of a hedonistic
Apexart in New York, Škuc Gallery in
visitor, enjoying the prominent lying posi-
Ljubljana and the Museum of Contempo-
tion on a sofa, you realize the importance
rary Art in Belgrade.
of the centre point of the exhibition – a rep-
Beatrix szörényi graduated from the
lica of LC4 Chaise Longue, designed by Le
Academy of Fine Arts in Budapest and
Corbusier, Pierre Jeanneret and Charlotte
is a recipient of the Klára Herzeg Award
Perriand, an antenna style rack and most of
for young artists. Her works have been
all a yellow yelling book. The artworks are
exhibited in Žilina-Zárečie in Slovakia,
then placed around as orbits and are meant
Bunkier Sztuki in Krakow, and a recent
to be observed. It is no coincidence or pure
show (in collaboration with Katarina
fashion inclination that there is Le Corbusi-
Šević) took place in Karton Gallery in
er in the middle – a modernist icon, object
Budapest.
par excellence, modernist denial of subjec-
edith jeřábková
tive weakness. This forestage is a parallel to Morris’s book – to collect bits from our lost Yet, you do not get series of derivatives group-
memories, to try to make some sense of it, to
ing on the walls; rather – if you know the work
make a new utopia or at least a new plan. In
of both artists – you feel a strange disconti-
such a world you have to create everything
nuity compared to their previous bodies and
yourself, from scratch with few references
series of work. What was repeatedly ironical
burned into your mind. This is a good reason
Exhibition view, etc. gallery, 2012
www.artguideeast.org
5
Photo One by One: Czech Photography as the Hunt Kastner Artworks sees IT
The Usti group, in particular, have been very active in recent years, opening the Fotograf Gallery in Prague, which exhibits a wide range of contemporary artists working in different media. They recently hosted the second an-
In our previous issue we started a dis-
nual month-long Fotograf Festival, which
course about the state of contemporary
took place in different public spaces around
photography in the CEE region. The first
Prague, and they publish the Fotograf Maga-
interview presented Hungarian contem-
zine that comes out about twice a year with
porary curator Sári Stenczer and her
theme-focused editions in both Czech and
thoughts on Hungarian photography.
English. FAMU – the Prague film school, also
Now, as the second part of the series we
has a well-known photography department
asked Czech-American Kacha Kastner
that puts out some very talented artists and
and Camille Hunt co-owners and co-di-
has been successful in attracting students
rectors of Hunt Kastner Artworks about
from abroad.
their concept on running a gallery and What do you think photography means in
its connection to Czech photography.
the Czech Republic today? KK: I think that photography is a medium that Both Kacha Kastner and Camille Hunt have
is increasingly favoured by a wide range of
been involved in the Czech art scene for the
artists and it has to great extent broken into
past 20 years. Before opening Hunt Kastner
the mainstream of contemporary art. Many
Artworks in 2005, Kacha worked at the Foun-
artists use photography in their work today
dation and Center for Contemporary Arts and
and thy use it in many different ways. There are still some people who think that pho-
at the Kampa Museum, while Camille worked as independent art consultant at the Futura
Both Kacha Kastner and Camille Hunt have been involved in the Czech art scene for the
tography continues to have a hard time be-
Center for Contemporary Art.
past 20 years. Before opening Hunt Kastner Artworks in 2005, Kacha worked at the
ing taken seriously in the contemporary art
Foundation and Center for Contemporary Arts and at the Kampa Museum, while Camille
scene, but I believe that the young genera-
worked as independent art consultant at the Futura Center for Contemporary Art.
tion of professionals are more focused on the
Camille, what is the focus of Hunt Kastner Artworks?
content and context of their work than on the
CH: Hunt Kastner Artworks was established
specific medium. That is not to say that public
in December 2005 and aims to exhibit and
independent curators to work on exhibitions
some people asked us if we were a photogra-
interest in photography, historical or contem-
promote local artists both at home and
with us. In January 2013 for example we are
phy gallery, or when people told us that “eve-
porary, has in any ways diminished. On the
abroad. People often ask us what the focus
organizing a group exhibition that will include
ryone knows” the best Czech artists work in
contrary, photography exhibits remain very
of the gallery is. We have a wide focus in
both Czech and international artists and will
photography. Maybe we had lived in Prague
popular and even controversial – such as the
terms of medium and approach, and given
be curated by Edith Jerabkova and Jiří Ko-
for so long that we lost perspective of how
exhibition Mutating Medium, curated by Pavel
the lack or representation of the mid-career
vanda. When we first opened the gallery, 7
the art scene was perceived from the outside,
Vancat at the Rudolfinum last year, which
and younger generation we focus on these
years ago, some people were not sure what
but it didn’t occur to us that there was one
charted the changes that the medium had un-
age groups. Furthermore,, of late, we have
‘slot’ to put us into; they seemed surprised
specific medium that defined Czech contem-
dergone in the Czech Republic over the past
been broadening our exhibition programme
that our programme was more like an inde-
porary art today.
two decades. The exhibition initiated quite a
in order to include more international art-
pendent non-profit space, but we presented
CH: It is true, however, that until relatively
lot of discussion and critique about what has
ists and start a dialogue with more estab-
ourselves as a commercial gallery; over the
recently the majority of Czech artists best
happened with photography as an art in the
lished artists. We plan to continue to do so
time they got used to the idea of private
known abroad have been photographers quite
Czech Republic.
as the gallery grows and as we gain further
gallery spaces hosting more experimental
limited to the avant-garde such as František
resources to accommodate these truly ambi-
projects.
Drtikol, Jaromír Funke, Josef Rossler, Karel
What do you think about the new pho-
tious goals.
CH: There are only a handful of commercial
Teige, Josef Sudek as well as more recent art-
to generation? Do they follow a specific
The idea of the gallery is simply to show art-
contemporary art galleries in Prague, but
ists such as Josef Koudelka and the outsider
school? Do they have something common
ists and projects we are interested in. We do
it is encouraging to see that 2 new spaces
artist Miroslav Tichý.
to say?
not have a strict concept. We show works in
opened in the past 6 months. We consider
all media and artists who have quite different
the rise of new galleries quite beneficial to
Could you tell me more about the role of
ied in the post-communist period have come
approaches and interests. I would say that the
our own gallery, ultimately bringing more
photography in the Czech Republic?
of age in a much more international world,
only difference from when we started is that
people to the contemporary art scene in
KK: Photography has a long, creative and well-
with access to a wide range of information
we are moving away from strictly solo pres-
Prague.
known tradition in the Czech Republic that is
that opened not only the physical borders
still highly valued today. One of the most im-
of the country, but the intellectual ones as
I am wondering, does the gallery have a
portant exhibition spaces for contemporary
well. This is true for artists working across all
Czech collector base; or rather foreigners
photography is Josef Sudek’s former atelier
media of course. Conceptual photography
are the ones who buy from you?
in Prague which hosts solo exhibitions of
is currently very strong among the younger
Running for 7 years now, how does the gal-
CH: When we began the gallery, our collec-
many young talented artists. In Prague alone,
generation of artists in the Czech Republic,
lery fit into the Prague art scene?
tors were mostly foreign but we have made
there are at least five galleries dedicated to
combining photography with installation, at-
KK: Hunt Kastner is well integrated into the
inroads with Czech collectors and we are
the medium of photography.
tempting to overcome the technical confines
Czech contemporary art scene, which is dom-
probably, at this point, evenly split between
There are many schools in the Czech Re-
of the given medium. Alena Kotzmannova
inated mostly by non-profit and artist-run-
foreign and Czech collectors.
public that have photography departments.
was already working with this when she was
At this time, the most interesting and active
at VSUP in the late 1990s, with her series of black and white canvas printed works, boxed
entations to include more dialogues between local artists and artists from abroad.
spaces. There are not many serious private
KK: The new generation of artists who stud-
commercial galleries in the Czech Republic
As foreigners, how do you think Western Eu-
students are coming out of VSUP (the Prague
(or collectors), and the main institutions are
rope sees Czech photography? Can you see
Academy of Applied Arts) from the studio of
in plastic, from the series Temporary Station.
largely dysfunctional, so we work primarily
Czech photography beyond the borders?
Hynek Alt and Saša Vajd, and the photogra-
Jiří Thýn, who graduated from VSUP in 2005,
with independent artists, curators and initia-
KK: When we started presenting abroad at in-
phy studio under Pavel Banka at J.E. Purkyne
also explored the space between 2 and 3 di-
tives in the Czech Republic. We often invite
ternational art fairs, we were surprised when
University in Usti nad Labem, North Bohemia.
mensional representations. Interestingly, he has recently been experimenting with the historical process of the analog photographic medium, reassessing and experimenting with the production and exhibition techniques heralded by modernism, while creating completely contemporary works. How do you think the situation of Czech photography might change in the future? KK: I think that photography has come of age as a medium and has become an integral part of the contemporary visual arts, both internationally and in the Czech Republic. We have the advantage of having excellent schools and teachers, and obviously also strong artists who will hopefully, continue to inspire future generations and enrich the
Michaela Thelenova
artistic scene.
Satelit-03 – from the series Satellite, 2002–3, colour photograph, 30 × 90 cm
Dóra Pelczer
Cee as a unIQue CuttInG eDGe
Furthermore, I know the city, where to go, what to study, what book to read and how to
Hegyi, Tomasz and I had lunch and we contin-
develop a unique work. Altogether living in
ued the conversation about the importance
New York, in the center of the Art world is of
of the Biennale as a “communication center“
course a great advantage.
for artists. The following day Tomasz called me that he looked at my web site (www.su-
year by year 3-4 cities are competing on the
zannecnagy.com) and he would like to have
art market to be called „City of art” (new
me in the Biennale with the Photosynthesis
york, london, paris and now shanghai).. Do
series of light boxes.
you think any eastern european city will ever
He said the Biennale is about The Unknown
be part of this list?
this year and the parallel of pollution and
No, Eastern Europe can’t compete with these
green energy is a big question for the future.
centers to become the “City of Art”, but this
Of course the international jurors still had to
region could represent a unique cutting edge,
approve my work.
a special point of view, a different intellectual challenge to the “City of Art”.
What did you think about Mediations Biennale?
What chance does an eastern european art-
The Mediation Biennale was a great surprise
suzanne C. nagy: Oil, 2012. C-Print-Collages,
ist stand when trying to build a name in the
Suzanne C. Nagy (Csikós-Nagy Zsuzsa),
for me. About 120 artists exhibited from all
3 × 5. from the series Photosynthesis
Big apple? Do you have any suggestions
American-Hungarian artist participated
over the world. There were 5 different loca-
© Suzanne C. Nagy
at Mediations Biennale in Poland this
tions; among these was the National Museum
year. Her works were selected by To-
where my work was exhibited. On the open-
When did you leave Hungary? Do you consid-
question. For any Eastern European artist the
masz Wedland, director and main cu-
ing night we had 500 visitors. It was great to
er yourself an american or a Hungarian artist?
chance to be noticed in New York strictly de-
rator of the Biennale. A.G.E. asked Su-
see how different artists from different coun-
I know it sounds a bit rude but if you say you
pends on whether his/her works “talk” about
zanne about her opinion on the Biennale
tries dealt with the same subject.
are an american artist, does this come with
large issues and are unique enough to be no-
and how easy it is to live and work in the
I think this Biennale is one of the most im-
any benefits in the art world of new york?
ticeable. The opportunity is a lot bigger now
U.S. as an Eastern-European artist.
portant contemporary art events in Europe.
I left Hungary in 1977. Originally I was an econ-
than it was before. Sources like the Internet
Every 2 years the organizers allow artists to
omist, but I gained a second degree when
opened lots of doors but the main issue re-
prepare specific works for the same subject,
Prof. Nemeskurty selected me for his Motion
mains weather the works are fresh and new,
tomasz Wedland, director of the Mediations
this time it was The Unknown in 2014 it will be
Picture writing and producing special class in
provoking and striking enough, or just copies of
Biennale selected your work as a part of
The Migration.
1976-1977. After I arrived I studied fine art in
already existing works the world knows about.
New York. In the mean time I also worked as
If I would have to start now, I would go to every
his concept for the unknown. What do you
how to start a carrier there? Well, this is not the first time I was asked this
think, why did he choose you?
Do you have any future plans either in eu-
a film producer.
International Fair in New York and I would pho-
Tomasz was in New York in the fall of 2011
rope or in the us after the biennial – or as a
I consider myself American-Hungarian, artist,
tograph great and unique works of art. I would
looking for new contacts, organizations and
result of the biennial?
curator and art professional. As an American
study and read a lot and I would try to come
artists. Marianne Wagner from Berlin (the di-
Yes, Europe is very important, as it used to
artist the benefit is not only the fact that I
up with something new: a new style or inde-
rector of Freise Museum) asked me to meet
be the main ‘hub’ for intellectuals and artists
have greater visual presence and visibility but
pendent point of view or a signature which can
Tomasz; she said we have a lot in common. In-
until the mid 20’th Century. The two World
I have greater international knowledge and in-
stand out from the crowd.
deed, we talked a lot about the international
Wars were the forces which developed differ-
formation as well. Also, collectors and galler-
Actually, this is what I did.. It is a long shot but
crises, Europe, depression, what the artist’s
ent styles and concepts. I keep coming back
ies can come to my studio and see the work
it will be worth it in the end.
role is in these hard times. Next day Lorand
and forth to use these energies.
in progress.
zsuzsi fieszl
ing Imageless thoughts you surely needed
perience characteristics of these locations
special knowledge for the implementation
through my manipulations.
process.
ok. so what is the meaning of the visit Home
mind. Hypothetically, it is enough just to hit the
The choice of technique or material is due to
series? Here you converted old furniture,
Pavla Sceranková’s art is constantly
base in the gallery little more and drama takes
the specifics of the theme I am working with.
vases, porcelain knick-knacks and so on?
changing. One minute she stops, the next
place in real time and space. This extreme case
Since the themes are diverse, I need different
The Visit Home is an open series of objects
minute she’s playing with the concept of
is destructive, but it shows how the statue is
materials. Before starting an object I create
which was made gradually, as if furnishing
perpetual motion. Her art is as exciting
essentially connected with the action.
several models from Styrofoam, or cardboard
an apartment, or, to be more precise, as if
to decide the form and proportions and I test
unveiling furniture in a house which has not
IMaGeless tHouGHts
as her personality. She is not just a sculptor, her portfolio contains video art and
please tell us more about your most recent
the technique I plan to use. It is always an
been inhabited for a long time. We recog-
installation as well. Her art is marked by a
work (Missing chapter, 2012), which was ex-
experiment. Despite all these preparations
nize the colours, though they are faded in
specifically. She intensely deals with the
hibited at the Drdova Gallery in prague.
I never know if it will work until I finish and
comparison to how we remember them and
reflection of human perception, memory
The title of the exhibition was “Missing chap-
“switch on the button”... But this is part of my
everything seems a little bit smaller too. In
and the individual experience of the sur-
ter”. It refers to my thesis “Mind without an
reasons to do it.
the dust, we recall situations which seem
rounding world.
Image”. This study focuses on perception,
banal, yet urgent. The feeling can be com-
primarily on the relation of perception to
the themes you choose are often socially
pared to that of a visitor. We are surprised
the perceived world and the experience of
engaging as well, like Garden Houses 2006–
by the fact that the implements seem famil-
Movement and motion is regularly displayed
the act of perception. It is based on several
2007 or the open Closed video works from
iar and some things can even be recognized
in your work. ( seen by air, 2004; I’m going ,
complementary viewpoints taken from the
2008.
clearly as if we returned to the place where
2009; observatory, 2011) Why is this motif
fields of philosophy, neurobiology, aesthetics
Social circumstances touch on authentic ex-
we came from.
so important to you? are you more interest-
and art. Here I formed a system of unusual
periences I had in particular places, at par-
noémi ferenczy
ed in static or dynamic motion?
relationships between the observed subject
ticular locations, and the visitor may re-ex-
For the full article please visit www.artguideeast.org
My projects move between sculpture, event
and the observer. The exhibition is the miss-
and video. Objects are subjected to undue
ing chapter of the thesis. It reviews the state
kinds of movements; then the action is frozen
of exploration impossible to define by means
at some of its stages. Work with inappropri-
of precise scientific language. One of the ob-
ate or impossible movement for example, led
jects entitled Imageless Thought has the form
me to a video and to its manipulation. In the
of a head. The shape is made of irregular ply-
virtual space of a video you are able to show
wood triangles which form a thin incrustation.
the potential energy of things, which, under
Its inner surface is covered with mirror reflex
normal circumstances remains hidden. The
tin foil, thus the empty negative of the object
action is not meant as a direct confrontation
may be filled with the reflexion of the visitor’s
towards the viewer, the video does not play
face looking inside. The work entitled Omni-
the role of a mediator. Video is a material for
focus is another head. Its surface is covered
sculpture. It has its own physical properties,
with 111 clocks. Each clock has metal squares
which are constantly changing and develop-
instead of watch-hands, and these squares are
ing with technology. In this imaginary space
constantly rotating in a one second rhythm.
object and performer become digital sculp-
Although the shape of the object, the head, is
ture – a video sculpture.
recognizable, in the same time its outlines are
A statue which invites you to act. It even im-
dissolving and it is impossible to grasp.
poses some kind of a threat that something will happen, although this expectation may
you always work with different kind of ma-
remain unfulfilled. We can walk by it without
terials and techniques. Is there a material or
pavla sceranková: Either or, 2010. From the series Visit home controlled collapse of a lamp
even noticing or it might take place in our
special technique you prefer? When creat-
with radio antennas. © Drdova Gallery, Prague
www.artguideeast.org
7
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