Géza Perneczky by Chimera-Project

GÉZ A PERNECZK Y Artist Books, Fractal Graphics and String Pictures 1984–1995

Chimera- Projec t Galler y

Chimera-Project Gallery Klauzál tér 5. H-1072 Budapest Patrick Urwyler Director & Owner +36 30 768 29 47 patrick@chimera-project.com www.chimera-project.com

CONTENT Introduction

Artist Books

Fractal Graphics

String Pictures

Curriculum Vitae

Chimera-Project 54

INTRODUCTION

GÉZA PERNECZKY Ab out t he ar t is t

Géza Perneczky is an art historian, writer and fine artist. As since 1970 he lives and works in Cologne, he was an important mediator between the Hungarian/Eastern European and the international art scene. Perneczky is a protagonist of the Hungarian conceptual art, his early conceptual works

and also his publications had a catalyst role on the Hungarian neo-avantgard tendencies. On the

international scene he became known as one of the founder of the post-fluxus Mail Art movement, which also defined the character of his conceptual works (Stamp art, Artist books) and his later paintings (String pictures).

Géza Perneczky’s works can be found in the collection of MoMA, New York, Getty Institute, Centre Pompidou, Walker Art Center, Franklin Furnace Archive, Ludwig Museum Budapest,

Hungarian National Gallery, Museum of Fine Arts Budapest, National Gallery Prague etc. Géza Perneczky had several exhibitions internationally in MoMA, the Wiener Sezession, Kölner

Kunsthalle, Frankfurter Kunstverein, Museum of Contemporary Art Chicago, Museum of Concept

Art, San Francisco, Olmütz Museum of Art, In-Out Center and Stempelplaast in Amsterdam, and in

Hungarian Institutions as well, like Vasarely Museum in Budapest, Ludwig Museum, King St. Stephan Museum, Museum of Fine Arts, Budapest Gallery.

In 2006 he received the Great State Award (Széchenyi Price), which is a prize given by the Hungarian

State in recognition of those who have made an outstanding contribution to academic life in Hungary.

A RTIST BOOKS

T H E S TO RY O F T H E C O L OR F U L R IB B O N S 1987–1994

VOL. 68, 1988 2 plywood sheets of 40.5 x 28 cm, green ribbon

A RTIST BOOKS

T H E S TO RY O F T H E C O L OF U L RIBBONS I N T R O D U CT ION TO T H E 1 -24 VOLUM ES by G éz a P er ne c z k y

The Story of the Colourful Ribbons is a series of books designed differently from Gutenberg.

Instead of a text the course of various ribbons threaded through the book arranges the meaning. All

sheets of the individual volumes have been perforated like punch cards. The ribbons go through these

holes and run from page to page in the books. Their spatial starting position and their different colours

result in a structure that has a logically regulated construction like a spinning pattern. The sequence of these patterns stands for the “story” of these books.

Consequently this “story” is a time-based and rhythmically articulated manifestation like music. But it is silent. It is a question of an exclusively visual art having an old tradition. Namely, spinning and

weaving are very old techniques. Their comeback in the form of books now eliminates their earlier practical function. The structural logic and the time element of the work are the only things left.

However, not even this unpractical form is new at all. Many people know the children’s game with a

cord stretched between the fingers. This game also has combinations of various logical compulsions

and results in the feeling of surprise and pleasure. The infinite number of possible combinations in The Story of the Colourful Ribbons gives more: the feeling of freedom.

This combination of logical structures is reminiscent of the rules of polyphony, too. The freely chosen

movement of the first ribbon (the “theme”) engages some holes on the pages and permits exactitude for some other holes for the next ribbon (“counterpoint”). You can arrange this counterpoint in the

form of a reflected image of the theme, too, or in a crab-walk (“inversion”). All these variants inevitably lead to the fact that the successive ribbons describe the same pattern but in a phase-shifting way. This is the classical form of chain-singing (“canon”).

By way of these similarities I punched twelve holes on every sheet similarly to the twelve sounds of

the chromatic scale and I made twenty-four volumes for the first series of The Story of the Colourful

Ribbons like the twenty-four preludes and fugues in the first “Wohltem-periertes Klavier” series by J. S. Bach.

I wonder whether a book constructed by this logic can be classified in the family of artists’ books

epitomising the avant-garde or, rather, the post-modern epoch? It is not more modern in this sense and it does without the eclecticism of post-modern manifestations, too.

In my work these books mean the spatial form of art, the “Soft Geometry” of three dimen-sions, which I promised in my manifesto of 1985 – without doubt how it will look, to be sure.

I imagine that this book series is a glance back at the craftsman’s strictness and the rigour of Classical art and Baroque music. Nevertheless, without any sorrowful nostalgia; rather with the cheerful intermediary practice of past decades.

Maybe other people feel like me and will be motivated to create books with colourful ribbons. Cologne, 1987

Original text by Géza Perneczky, in: The Story of the Colorful Ribbons. 1987-1994, Soft Geometry , Cologne 2003, Page 2.

A RTIST BOOKS

T H E S TO RY O F T H E C O L OF U L RIBBONS AFTER 10 YEARS by G éz a P er ne c z k y

The Story of the Colourful Ribbons, a series of artists’ books that consisted of 24 volumes in its first conception and was sent to different people and institutions all over the world, was an attempt to construct an artists’ books network of imaginary dimensions.

I made and exhibited its first volume at the suggestion of Márta Kovalovszky, who invited me to

participate in an artists’ books exhibition at the King Stephen Museum, Székesfehérvár (Hungary),

in 1987, and I built my first attempt the same year into a whole series of 24 books (in the footsteps of such a classical example as J. S. Bach’s “Wohltemperiertes Klavier”). I also edited a special

“musical score volume” as the theoretical basis and documentation to this series and printed it in

200 copies. In this cover book I noted that each of the 24 original volumes was dedicated to “great

authorities” of the international network or art scene in the 80s, that is to say, to an artist or institution I had good contacts with those days, but I also devoted some volumes to imaginary friends (to “the

anonymous book collector,” or to “Saturday night jazz musicians,” etc.) as well as to such “classical representatives of polyphony and harmony” as Bach, Bartók, or Stravinsky. The first volume, a

“rainbow book,” was dedicated – of course – to John Cage, the absolute maestro of transcendental synchronicity throughout time and space.

Many of the addressees received their Story of the Colourful Ribbons via mail, some other volumes

with too fantastic dedications remain with me. One of the existing addressees, the G. & L. Silverman

Collection, didn’t receive their copy because it was changing its address just then. This volume came back to me and I thought that this circumstance was an omen which I had to respect in all cases. I kept this volume in my archive for ten years, until I bumped into its “true” addressee, the Visual

Studies Workshop in Rochester. It is another later change that the tenth volume found its way to Jiri Valoch, a visual poet living in Brno.

Clive Phillpot, who was the librarian and also the curator for samizdat-like publications of a Post-

Fluxus collection at the Library of the Museum of Modern Art in the New York of the 80s, replied to the

copy I sent him with a wonderful proposal. He wrote that he would like to collect all 24 volumes anew after ten years had passed and exhibit those – together with the story of their adventurous odysseys.

This seemed a rather unrealistic undertaking to my mind because of the very different and reasonably

irrational lifestyle of certain book owners. Not to mention the fact that Phillpot also left New York in the meantime.

Now, after ten years have passed, I can say that this series of books had a totally different odyssey than I had ever imagined. Since the first series, starting in the last years of the 80s, I have made a

number of books with wood-boards and colourful ribbons instead of paper – of course with different structures than that of the first 24. Besides these new works, a third series of books has been

created, too, mostly in the form that had been one of the sources of the whole idea, with a string

stretched between the fingers (I painted the hands onto the pages of these books). These and similar

experiments gradually led me to a newer and more current form of combinative polyphony technique; to iterated mathematics and its significant visual appearance: to fractal images. I wrote hund-reds

of new L-system fractal codes between 1990 and 1995 – a polyphony of lines raised to the power of four, five or an even higher number.

I also attempted to spin these fractals using textile ribbons and I created some books with this method, too. May 1997

Original text by Géza Perneczky, in: The Story of the Colorful Ribbons. 1987-1994, Soft Geometry , Cologne 2003, Page 4.

A RTIST BOOKS

VOL. 68, 1988 2 plywood sheets of 40.5 x 28 cm, green ribbon

VOL. 68, 1988 Details

A RTIST BOOKS

VOL. 59, 1988 2 plywood sheets of 48 x 42 and 48 x 33 cm in T-position, yellow ribbon

VOL. 59, 1988 Details

A RTIST BOOKS

VOL. 60, 1988 2 plywood sheets of 44 x 35 and 44 x 31 cm in T-position, brown & white ribbons

VOL. 60, 1988 Details

A RTIST BOOKS

VOL. 71, 1988 2 plywood sheets of 33.5 x 31.5 cm, beige ribbon

VOL. 71, 1988 Details

A RTIST BOOKS

VOL. 71, 1988 Detail

A RTIST BOOKS

VOL. 46. Waterfall, 1988 6 plywood-sheets of 31 x 47 cm with column of 128 cm, 4 red and 4 yellow ribbons

A RTIST BOOKS

Bible, 1988 4 plywood sheets in carousel position mounted on a rostrum, 4 yellow and 4 blue ribbons, 162 x 80 cm

F RACTAL GRAPH I CS

F R A C TA L G R A P H IC S 77 G ener at ed G ra p h i c s , 1 9 9 2 – 1 9 9 5

Perneczky’s fractal graphics can be traced back to the artists books.

Géza Perneczky

77 GENERATED GRAPHICS

written in L-system & realized by the software Fractint 1992-1995

Both are lead by the underlying interest to achieve complex and visually compelling

patterns by an iteration method, lacking any aesthetic considerations.

N = 5.

N = 1.

N = 2.

N = 3.

N = 4.

A3-Album No 78 / Title.

77 Generated Graphics, Written in L-system & realized by the software Fractint 1992-1995, Series of 77 DIN A3 Graphics

N = 3.

N = 1.

Pythagoras -11 © G. Perneczky, 1995

A3-Album No 47.

77 Generated Graphics, 1995 Graphic: Pythagoras -11

δ = 45° A=F––F F→ F +

N = 2.

––

+F––F+

––

N = 3.

(Fractint code:) Angle 8 Axiom F – – F F = F+ @Q2F – – F+ @iQ2F – – F+@Q2F – – F+ @iQ2F

F RACTAL GRAPH I CS

N = 6.

N =1.

Spiral - 12

77 Generated Graphics, 1994 Graphic: Spiral - 12

N = 2.

δ = 30° A=F F → FX – FX – FX – FX – FX – FX – F + F + F + F + F + FY | Y→ GX – GX – GX – GX – GX – GX – G + G + G + G + G + GZ | Z → GX GX GX GX GX GX G G G G G GY | ( | = try to turn 180°) X→++

N = 3.

N = 2.

N = 1.

Double 10 - 2 Rosette. Last N = 3 © G. Perneczky, 1994 A3-Album No 64.

77 Generated Graphics, 1994 Graphic: Double 10 -2

N = 3.

N = 2.

δ = 36° A=F F =! ++++ FV ++ FX – F + FXXV – – F ! F =! + FW – – FZ + F – FZZW ++ F !

X = ++ V=– Z=–– W= +

( ! = reverse directions: +, – )

S TRING PICTURES

ST R I N G PI C T U R E S 1984–1986

Red-Gold Density (C083), 1986 Acrylic on Canvas, 86 × 1000 cm (detail)

S TRING PICTURES

T H E P I C T UR E S F R O M T H E P OLL ( STRING PICTURES) by G éz a P er ne c z k y

In the present publication I am making the reader acquainted with my artistic works created in the

three-year period between 1984 and 1986. I call them works from Poll, because the studio where they came into existence is situated in a district of Cologne called Poll. Here I would like to add that I do not feel the word ’painting’ appropriate to describe my works. I prefer using the more general word

’picture’. The reason for this is that you usually mean pictures made with a brush when you mention paintings. The works created in the studio in Poll were mainly made with rubber rollers that are

suitable for printing ornamental patterns of optional length. Similar tools are used by decorators or

workshops producing colour textiles. Now I would like to outline how these tools became a ‘painter’s brush’ serving artistic purposes in my studio.

I came to Germany from Hungary in 1970. Since as an art historian I had been dealing with

contemporary art, after arriving I wanted to settle in the centre of avantgarde, either Düsseldorf or

Cologne. Eventually, I got a job as a teacher in Cologne. Besides teaching I regularly worked as an

artist, I made conceptual works for which I applied graphic genres as well as photography and filming.

These works were presented at the WDR festivals (Oeldorf, 1972-74) organised by Stockhausen circle, and exhibited in In-Out-Center gallery in Amsterdam by Ulises Carrión. In 1973 I started to experiment with the artistic use of rubber stamping also known from office work under the influence of my Czech friend, Jiri H. Kocman. Right in the following year the director of a Düsseldorf Fluxus gallery, Michael

Leaman held an exhibition of my stamp works. He encouraged me to go on making rubber stamp art

series and to publish them in the form of portfolios. In the ‘70s rubber stamp art became an important medium for me.

At that time this technique was discovered by the most diverse alternative trends such as Mail Art, but the works made by them kept their palm size, their miniature format appropriate for rubber stamps.

As for me, at the beginning of the ‘80s I started thinking about using this popular technique in ‘grande art’ and expand it to a ’monumental’ genre. Until then I had used the art rooms of the school as

an occasional studio, but now it was time to have an own atelier where I could work continuously.

It was 1983 and the cultural department of Cologne City decided to let the rooms of empty plants and offices to artists as studios. I also applied for a room and I attached a letter to my application as an emphasis.

Some time before I got a letter from the American president Ronald Reagen in praise of my work. Previously I had ordered rubber stamps for the word ‘secret’ in eight languages, and I printed

‘invisible’ stamps with white acryl paint on white paper (one word per page). I published it in the form of a booklet and I sent a copy to the heads of state of countries where eight languages are spoken.

This action was a sort of performance. Two of them thanked for the booklet, the king of Spain and the American president. The applications were considered by Doctor Gellner, one of the chief

administrative officers of the city. Although he thought that the reply I had received from Reagen was sheer chance, he said I usually had ’lucky chances’. Soon I got a studio from the city.

At that time it was the former engine parts factory under 60, Poller Kirchweg to let to artists. The offices facing the street were distributed among painters, the large assembly hall situated in the

factory yard was offered to sculptors. The whole complex was to be demolished but until then artists could use its empty rooms. I moved in the upstairs rooms at the beginning of 1984, and immediately I tried to make large rubber stamp works on big-sized sheets. The tiny stamps could almost not be

seen on them. A better solution was to experiment with cylindrical rubber rollers that decorators used in Hungary to paint the walls of flats with rolled patterns similar to those in wall paper. I bought some such paint rollers, and since the patterns of these rubber rollers were carved by hand, it seemed

possible to order several pieces according to my design from the craftsmen in Budapest. I needed

quite simple geometric patterns as well as one roller with a powerful, almost unforgettable repeated

motif. I realised that one octave from the keyboard of a piano can go onto the surface of a roller and it became my leitmotif. I was able to use the studio and the rubber rollers in it for three years. The

building standing on Poller Kirchweg had to be emptied at the beginning of 1987. Today there are apprentice workshops of a vocational school on the site.

Since the pattern created with the help of rubber stamp rollers is in fact a onedimension graphic work,

that is, the dominant feature of the works printed with the rollers is their length, which can theoretically be infinite, I soon realised that the most natural format of the pictures made with this technique is the

string. I wanted these paintings to be as long as possible. However, I did not make pictures more than

ten metres long with the rubber stamp rollers, mainly because the canvas and drawing paper available in the form of rolls in art stationery shops are at the longest ten metres.

S TRING PICTURES

In the same way, the different quality wall paper rolls that are suitable for printing string pictures on

their white back side are also ten metres long. Naturally, I was constantly attempting to make pictures close to the usual picture format with my rollers. Nevertheless, I was paid the biggest sum for a work of art of ‘absurd format’, a ten-metre-long string picture, which was bought by a museum.

It is possible to find a relationship between the one-dimension string pictures made in my Poll studio and the pieces of minimal music becoming popular in the 1980s. In fact I have had some visitors

who said my string pictures reminded them of György Ligeti’s ‘Continuum’ or of the micro-structure

of ‘acoustic carpets’ often heard in modern music. Probably, it is not only for the repeated keyboard motif on them that these paintings have music associations for an observer but they also make you feel that they were born in a decade when the format and genre of closed panels definitely broke up and disintegrated into the most diverse components experimenting with space and time. The dimension of music, time seems to belong to these components as well.

Original text by Géza Perneczky, in: The Pictures from the Poll, Soft Geometry, Cologne 2011, Page 3-5.

Winter evening in a street of Poll / Cologne with an early string picture. December 1984.

S TRING PICTURES

Red-Gold Density (C083), 1986 Acrylic on Canvas, 86 Ă&#x2014; 1000 cm (detail)

S TRING PICTURES

Red-Gold Density (C083), 1986 Acrylic on Canvas, 86 × 1000 cm (full view)

S TRING PICTURES

Inversion in Red, Violet, Black (C107), 1986 Acrylic on Canvas, 125 × 1000 cm (detail)

S TRING PICTURES

Soft Geometry in Fire Colours (P156), 1986 Acrylic on Paper, 105 × 305 cm (detail)

S TRING PICTURES

Fire (P161), 1986 Acrylic on Paper, 105 × 486 cm (detail)

Endless Keyboard with a Yellow “C” (C085), 1985 Acrylic on Canvas, 77 × 1000 cm (detail)

S TRING PICTURES

Large Score with Red Squares (C023), 1984 Acrylic on Canvas, 54 Ă&#x2014; 1045 cm (detail)

S TRING PICTURES

Postmodern Micky Mouse, I.,1984 Acrylic on Paper, 70 Ă&#x2014; 195 cm (detail)

C URRICULUM VITA E

GÉZA PERNECZKY *1936 in K es z t h e l y, H u n g a ry | l i v e s a n d w orks i n C ol ogne, Germany

STUDIES 1954 – 57 1957 – 62

Bartók Béla Music Art Academy Eötvös Loránd University, Faculty of Humanities, Budapest, HU

AWARDS & GRANTS 2006

Széchenyi-Prize, Hungarian State Prize, Budapest

WORKS IN COLLECTIONS MoMA, Museum of Modern Art, NY, USA Getty Institute, Los Angeles, USA Walker Art Center, Minnesota, USA Fine Art Museum, Budapest, HU Franklin Furnace Archive, NY, USA Hungarian National Gallery, Budapest, HU King St. Stephen Museum, Székesfehérvár, HU Ludwig Museum – Museum of Contemporary Art, Budapest, HU Museum of Art in Łódź, PL Museum of Modern Art in Niepołomice Muzeum umění Olomouc, CZ National Gallery, Prague, CZ The Sackner Archive of Visual and Concrete Poetry Staatsgalerie Stuttgart, DE Vasarely Museum, Budapest, HU Vintage Galéria, Budapest, HU

SOLO EXHIBITIONS (SELECTION) 2014 2012 1987 1986 1984 1982 1980 1977 1973

Tightrope Walk, with Adrián Kupcsik, Lőrinc Borsos, Chimera-Project Gallery, Budapest, HU Karton Gallery, Budapest, HU Budapest Gallery, Budapest, HU The story of the colourful ribbons. 25. Volume. ARTE VIDA (artist’s book) Liget Gallery, Budapest, HU De Media, Eeklo, Gent, BE Galerie St. Petri, Lund Museum of Concept Art, San Francisco, USA Verlag-G. Leaman, Düsseldorf, DE In Out-Center, Amsterdam, NL

GROUP EXHIBITIONS (SELECTION) 2015 2014 2012 2011 2010 2009 2008 2007 2003

Bookmarks - OFF, Off Biennale Budapest, Budapest, HU Bookmarks – Neo-Avantgarde und Postkonzeptualische Positionen in der Ungarischen Kunst der 1960er Jahre bis heute, Art Cologne, Cologne, D Analog Network: Mail Art, 1960–1999, MoMA, New York, USA LUDWIG 25. The Contemporary Collection, Ludwig Museum, Budapest, HU From Tizian to Warhol 1951-2011, Olomouc Museum of Art, Olmütz, CZ Chance as Strategy, Vasarely Museum, Budapest, HU Transparency – Looking Through, Vasarely Museum, Budapest ORNAMENT – SERIALITY. Historical and contemporary art, Vasarely Museum, Budapest, HU Olomouc Central European Forum III. Hungary | Hungarian Art from the Collections of the Olomouc Museum of Art, Olmütz, CZ Fleuves, Gandy Gallery, Bratislava, SK Turning Pages. Modern Book Culture in the Collections of the Olomouc Museum of Art, Olmütz, CZ Ad Absurdum. Energies of the Absurd from Modernism till Today, Marta Herford, Herford Outrageous I. Neoavantgard tendencies in Hungarian Photography 1965-1984. Budapest Gallery, Budapest, HU Portable I2 Museum – Pop Art, Conceptual Art and Actionism in Hungary of the Sixties (1956-1976), Dorottya Gallery, Budapest, HU Distant Proximity. Hungarian post-war Art from the Collections of King St. Stephan Museum, Székesfehérvár, HU Olomouc Museum of Art, Olmütz, CZ Artstamps, Museum of Fine Arts, Budapest, HU Das andere Land, Wilhelm Hack Museum, Ludwigshafen, DE

C URRICULUM VITA E

1987 1986 1985 1984 1983 1982 1980 1977 1974

Wer hat Angst vor Moholy-Nagy? Ungarische Künstler in Deutschland, IGNIS,

Osteuropäisches Kulturzentrum, Cologne, DE In quotation marks, King Saint Stephen Museum, Székesfehérvár, HU Die 60er Jahre/The 60’s, Kölnischer Kunstverein, Cologne, DE Modern graphics, Museum of Fine Arts, Budapest, HU Artist’s Book, Museum of Contemporary Art, Chicago, USA Mail Art International. Wiener Sezession, Vienna, A In quotation marks, King Saint Stephen Museum, Székesfehérvár, HU Mail Art Then and Now, Franklin Furnace, NY, USA Mail (art) stamps & treated stamps, Musé Postal, Brussels, BE Kunstenaarsboeken = Artist’s Books : From the Other Books & So Archive Amsterdam, Stedelijk Museum, Schiedam, NL Künstlerbücher, Frankfurter Kunstverein, Frankfurt, DE Artist’s Book, The Living Art Museum, Reykjavík, ISL Niet-Stempels (~, Burg, Jong, Armleder, Gibbs, Sosno) Stempeelplaats, Amsterdam, NL Hungria 74 en el Cayc, Buenos Aires, ARG Ungarische Kunst ’74, Oldenburger Kunstverein, Oldenburg, DE

PROFESSIONAL ACTIVITIES AS ART CRITIC 1962 – 1965 1962 – 1968 1968 1970

Hungary Art Publishing House Art Critic at Magyar Nemzet Newspaper Art Critic at Élet és Irodalom Art Periodical Hungarian Television Fine Art & Artpedagogical Programs Deutsche Welle extern contributor Deutschlandfunk Radio extern contributor

SELECTED PUBLICATIONS Perneczky, Géza. Mail Art – Opposition or Place of Refuge? In: Mail Art Congress-Dokumentation. Schwerin, 1997. Perneczky, Géza. Es lebe die Kulturpfuschi! Die Mail Art Bewegung in Ungarn. In: Mail Art – Osteuropa im internationalen Netzwerk, Schwerin, 1996. s./p. 35–55 (de, en). Perneczky, Géza. The Network (monography), Cologne, 1993. Perneczky, Géza. The Magazine Network, Assembling Magazines 1969-2000, 1993. Perneczky, Géza. How to use this catalogue? (Introduction to the catalouge of the Network/Mail Art NY.).

Perneczky, G. Network Atlas. Works and Publications by the People of the First Network. Volume 2: O-Z Volume 1 – A – N. A Historical Atlas for the Post-Fluxus Movements as Mail Art, Visual Poetry, Copy Art, Stamp Art & Other Relative Trends with Addresses, Projects, Publications & Exhibition Events (Unedited manuscript for letter size). Update: April 2003. Perneczky, Géza. Network Atlas. Works and Publications by the People of the First Network. Perneczky, Géza. Artist Books in European View. Perneczky, Géza. Mail Art Project MARX-TEST 1983.

GALL ERY

C H I M E R A - P R OJ E C T Ab out Us

The Chimera-Project is a program gallery, established in 2013 in Budapest. Our gallery program is built on curated, thematic exhibitions to generate a meaningful discourse in contemporary art around relevant artistic and social topics. Our gallery profile is reflecting the roots of Hungarian neo-avantgarde, conceptual art and includes recent conceptually grounded artistic practices from Hungary and Central Eastern Europe. Through its founders, Chimera-Project has a strong international orientation: Patrick Urwyler is a Swiss art historian and curator and Bogi Mittich is a Hungarian sociologist. We worked in several art institutions in Berlin (Kunstraum Kreuzberg Bethanien), Budapest (Traf贸, Videospace, Studio Gallery for Young Artists Association) and Berne (University of the Arts, Department of Culture, Biennale Berne). Based on our background our goal is to support international exchange. Our annual program consists of two interrelated sections of exhibitions: one section we realize in our own gallery space, showing local and international positions and the other abroad through various projects. We built up an international exchange program, based on bilateral exhibition series, called Inter Art. We established an international award, the Chimera Art Award and this year we launch our international artist and curator residency program.

Patrick Urwyler

Bogi Mittich

Director & Owner

Gallery Manager

+36 30 768 29 47

+36 30 682 32 79

patrick@chimera-project.com

bogi@chimera-project.com

www.chimera-project.com