OLGA KOCSI Budapest, 10.16.1987
Studies: 2013-2016 Moholy Nagy Art and Design University, Media Artist, DLA, Budapest 2012-2015 Moholy Nagy Art and Design University, Visual Art and Design Teacher, MA degree, Budapest 2011- 2013 Moholy Nagy Art and Design University, Media design, MA degree, Budapest 2011 Willem de Kooning Academy, Audio Visual department, Rotterdam 2008-2011 Moholy Nagy Art and Design University, Media design, BA degree, Budapest Scholarships, memberships: 2019 2018 2017 2013 2013 2013 2013 2012 2012 2011
Derkovits Gyula hungarian art scholarship Derkovits Gyula hungarian art scholarship Derkovits Gyula hungarian art scholarship Bridge Budapest Fellowship , San Francisco National grant for scholarship DLA studies Rector’s award, best diploma ESSL ART AWARD CEE, nominee Hungarian Republic scholarship FKSE Studio of Young Artists’ Foundation, membership Erasmus scholarship, Rotterdam
Solo exhibition: 2018 2017 2016 2015 2014 2012
Golden Rabbit, happening, Kolorado festival, Nagykovácsi VR LADA - Zhiguli on the rooftop - Küszöbfesztivál, AQB, Budapest Holy Olga: Let there be light, solo show, Lollipop gallery, Budapest House of Holy Olga - solo exhibiton, Csili, Pesterzsébet Rabbit dinner - happening, FKSE projekt room, Budapest Everyday Holyday - workshop installation at Sziget Fesztivál, Budapest Journey to Happiness - workshop installation at Sziget Festival, Budapest Almost nothing can be almost everything, Chak room Jurányi, Budapest Bed from the Cottage , solo exhibition, Casati Gallery, Budapest
+36204350661 kocsi.olga@gmail.com Group exhibition: 2019 Beton Lada, Derko 2019, group exhibition, Kunsthalle, Budapest 2018 Golden Rabbit at Debrecen, B24 gallery, Debrecen Golden Rabbit at Budapest, Capazine funzine, Capa központ, Budapest Happiness Time Gate installation, group exhibition, Bánkitó festival, Bánk New materials series, Derko 2018, group exhibition, Kunsthalle, Budapest 2017 VR LADA - Mélyvíz group exhibition, M21, PÉCS Borderlines - installation, On the Sex of Angels, group show, Galeria Nicodim, Bucharest One and three reality -installation , Node17, new media festival, Naxoshalle, Frankfurt 2016 Holy Mail installation - Gondok project, group exhibition, Budapest 2015 Gallery by Night I. FUTURE ART SALON ,FKSE, Budapest 2013 Cross Talk video festivall, group exhibition, Higgs Fields, Budapest DIPLOMA 2013, Ponton gallery, Budapest ESSL ART AWARD CEE 2013, Nominees’s Night, Mai Manó, Budapest The Rule of Perseverance - group exhibition, TransferLab MOME , A38, Budapest 28 / 31, FKSE new member exhibition, Studio Gallery, Budapest 2012 Happiness installation - Mezőszemere workshop exhibition at Egri Kis Zsinagóga FRESH 2012, group exhibition, KOGART, Budapest Cekl’Art, group exhibition, Gozsdu C, Budapest Holy Olga - LIVE SHOW performance - a38, Budapest 2011 New media and performance festival- group exhibition, Vajda Stúdió, Szentendre HOlgandia- Olga adventure of Hollandia, funzine, Rotterdam 2010 LoOp video and Signs installation,NextArt gallery, Budapest In my mind, we already happy together, 2.place, special award,, Arc billboard exhibition, Budapest Urban Traces project & exhibition, Design Transfer Gallery, Berlin 2009 Momemarathon - ERROR installation, Millenium park , Budapest Online portfolio: behance.net/nyulga www.nyulga.com
VR LADA We’re in the universe of emptiness and void, going along the paths of Möbius space in twisted reality. I transformed my mother’s blue LADA 1200 from 1987 into the virtual reality. One can get into the car, put on the VR glasses and they’ll be part of the hare-universe. The Lada can be controlled with the steering wheel and its gas- (go forward), transmission- (turn up) and brake pedals (turn down). Golden rabbits are floating around the VR Lada in an imaginary dimension while the sound of the Little house and the voice of my Mother fill the universe. The Lada itself is floating in an illusion where memories and time-travelling into the past are created. An endless wandering, the Little house is present but only in sound somewhere in the timeless void. This project wouldn’t have been realized without the involvement of these experts: Dávid Mórász at programming, Kálmán Tarr at microelectronics and Péter Faul at sound design. vThe original owner of the Lada: Dr. Sarolta Kovácsy, my mother. press: https://artportal.hu/magazin/aldott-ladakatmoma-ba/ exhibited: Mélyvíz, M21 Gallery, PÉCS, Hungary Küszöb fesztivál, AQB, Budapest, Hungary LADA 2101 CAR
MICRO ELECTRONIC
VR SET: OCOLUS RIFT COMPUTER LEAP MOTION
ARDUIONO SCREEN SENSORS
video documentation: 2’34” FullHD 2017
BETON LADA The LADA in which I grew up is shrink and changed material, expanded inside. It moves from digital to analog. BETON LADA and VR LADA are connected to each other in the space of sound. The inspiration was Kusama’s endless mirror spaces. I wanted to create the rabbit universe in reality. I wish to create my own world. I was interested in the inner space and outespace. Positioning of the viewer is very interesting to me and the a situation of the viewer. The inner world of BETON LADA comes to light when we interact with the action, immerse ourselves in the space, and get a completely different perspective. Covering the senses, image sound and body work at the same time, a multi-sensory experience. For me, the rabbit universe is the world of wonder as I see the LADA and in which I invite the viewer.
The inner space of the BETON LADA, 2019
House on the border House on the Border is a complex project include a video installation and a book. The video included the book and the book included the video. The timeline is mĂśbius. I made my own Taschen book and took it back to the shops. Documentation is more important than the reality. exhibited: I Future Salon, Studio Gallery, Budapest, Hungary Diploma show, Ponton Gallery, Budapest, Hungary
Screenshot from the video, I buy my own Taschen book.
VIDEO: 9� FullHD Book: 23x16 cm 2013
Golden Rabbit The basically tautological character of the Golden Rabbit flows from the simple fact that its means are simultaneously its ends. It is the sun which never sets over the empire of modern passivity. It covers the entire surface of the world and bathes endlessly in its own glory. The Golden Rabbit was first formed in 2013 as a 170 cm, golden-walled, paper-polygon-origami statue. Then, as part of an installation, he glanced at the diploma at the Moholy-Nagy University of Art. In 2014, and then in 2015, he appeared at the Sziget Festival in Budapest. In 2018, he grew into a human leg, walking out to the Colorado Festival in Nagykovåcs, where he began to make a fortune in his golden tent. The gate opened to the fourth dimension. The figure of the mysterious Golden Rabbit has been in Budapest since then and shines on the capital. He turns to places he finds exciting, meditates, enjoys sunshine, lounges in the sea of ​​triangles: under the Danube, over the Whale.
Golden Rabbit fortune telling at Kolorado, 2018
The town of Debrecen was also turn and then expropriated. Drawing a rabbit map, he redefined the space and scooped 19 points across the city. The rabbit is changing, always different. Anyone can be a Gold Rabbit. Sometimes a boy is sometimes a girl, goodnatured jumps.
Golden Rabbit as paper installation, 2013
Golden Rabbit in Budapest -CAPAZINE Funzine - 2018
Born of the Golden Rabbit, Capa 2018
Waiter Golden Rabbit in Debrecen
Golden Rabbit in Debrecen, B24 galĂŠria, 2018
Golden Rabbit with dog
Golden Rabbit with flower, Derbrecen, 2018
B24 gallery and the Golden Rabbit, 2018
Bed from the Cottage
Solo exhibition from the project: Borderlines. Casati Gallery 2012, Budapest
Bordelines I’ve been exploring the borderlines between the public and the private space. I used an ordained altar picture of Virgin Mary which is my family’s property. When I was a child, it was hanged in our room but later we moved it up to the attic and we moved from that house. Now I went back there and brought down the painting and tried to find out where does it really belong and how does it behave in certain situations. “The city really no longer contains distinct private and public spaces” Vilém Flusser / The City as Wave-Trough in the Image-Flood „ Public space (broadly defined) relates to all those parts of the built and natural environment, public and private, internal and external, urban and rural, where the public have free, although not necessarily unrestricted, access. It encompasses: all the streets, squares and other rights of way, whether predominantly in residential, commercial or community/civic uses; the open spaces and parks; the open countryside; the ‘public/private’ spaces both internal and Zoltán Váry Vojtovics with the painting external where public access is welcomed – if controlled – such as private shopping centres or rail and bus stations; and the interiors of key public and civic buildings such as libraries, churches, or town halls.“ Matthew Carmona – Caudio de MAGALHAES – Leo Hammond Public Space: The Management Dimension Text by my mother, Dr. Sarolta Kovácsy: “Zoltán Váry Vojtovics painted this painting in 1941. The painting shows Hungary’s patron, Maria standing on a globe which is interestingly in flames. He started to paint war-related pictures at that time. Váry entrusted Maria to help Hungary in the war. She holds the crown in her hands on a velvet pillow. This particular painting was made for an altar-piece in a church made by Migazzi in Veresegyház. In the 50s as there was no hammer and sickle emblem on it, they sold and delivered the painting to Mesztegnyő with a farm-wagon. It was used as an altar-piece there. When I became a medical student and later when I finished my studies, my mother and my grandmother always cried about how they’d lost their religious properties. I decided to write a letter signed as Dr. Kovácsy Sarolta so they thought I’m a lawyer and they immediately sent the painting back by train to Rákospalota. Later on the thieves couldn’t steal it because it’s such a huge piece it wouldn’t pass through a double-sided door either. The frame arrived highly damaged so we got a fair amount of money for it from the insurance company. It was a Blondel frame, around 40 cm wide. The painting was placed in our house, and it’s still there. We got lots of paintings stolen from there, we had several burglaries but the Maria painting is still there. Olga used to sleep underneath it when she was a little girl, and who thought she would eventually produce her degree work about this piece.” oil painting: 200 x 120cm
2 red flower carpet
photo on dibond:
1 orion tv
75x50cm x10 pieces
1 glass house with plastic roses and a ceramic rabbit
37,5 x 50 cm 1 pieces
1 rabbit headphone
photo on canvas 60 x 80 cm with vintage blondel frame
2 rabbit speakers
video: 2’40” 960x540 MOV
1 vintage red flower carpet chair 1 vintage red flower carpet bed
I used the video documentation of the shooting to make a short movie. It demonstrates how did Virgin Mary came to life in a small district of Budapest. For me the reaction from the people was the most interesting. Some responded to the picture and others ignored completely the fact that a two meters high Mary picture walked by them. Some made the sign of the cross but there were also some who made offers to buy the painting.
One photo from the series depicts a homeless man. While he was sleeping I placed the painting behind him. I would have been really sorry if he never knew this so later I printed the photo and delivered it to him.
video: 2 min 40 sec, 960 x 540 PAL, MOV, 2011.
Cabinet from the Cottage The installation consists of a modified beidermeier cabinet. In its side panels there are two small chambers, where the visitors can sit in and watch a short film. In the movie my mother speaks about the House, where I grew up. Her voice is over a slow motion video, what looks like a still image. In the middle of the cabinet there is a showcase for kitschy Holy Olga objects and pictures. They surround the real memories, known from the video: a key, some hair and a plastic soldier... The act of giving is important for me, so the visitors can take home some stickers and photos from the lowest drawer of the cabinet.
size: 208 x 186 x 64 cm weight: 60kg video: 6 min 57 sec, PAL year: 2012 mixed media installation my parents in the cabinet:
screenshot from the video
The story what my mother tells in the video: This house was built in 1933, and at the moment this is really old, because we are writing 2011. The curiosity of this house, that a 22 months old little boy was buried in the garden, which had blond curls. His name was Kálmánka. Whom was shooted into pieces in my mother’s arms in the back terrace of the house. The house near to be located to the railway and there were hand-tohand combats in the war. The Germans and the Russians are fights each other, how they just can. And of course they used the civil population too. Now then, the family at that time lived in a bunker near to Erdőkertes and Veresegyház villages. But they came home in Christmas time; to saw that somebody did not took away our furniture. What is it? Because they were saturation bombing in Rákospalota and they was curious for that. They came home, and we lived in the basement here too. My father was enlistment as a soldier. Ohh Me. My mother, me and my brother was in the basement in Rákospalota, the basement which was under our house. Somebody was knocked on our door. My mother came up, because at that time that was who don’t react to the door opening or don’t open the door, they might let in a salvo fire into us. They liquidated five pieces of people in the back terrace with a grenade, because the terrace was opened. Kalmanka took my mother’s skirt near to her. He was 22 months old. And his cerebellum and scruff was injured by the grenade. He was dying 28 or 24 hours in the Árpád Hospital. My mother brought him to there by sliding face down. And they said if he survived he would had problems with the walking, the going and the speaking because the tragedy was happened with his cerebellum. Problems would be. Consequently he would be a disabled person. His beautiful curly hair is kept. Namely it is prepared near to Philadelphia’s town key, near to the golden key put on blue velvet, which hair they cut off. They buried him into the garden. My father came home for the funeral. And we need to know, if he didn’t come home to his son’s funeral, where the whole street takes apart, he was fall down in the Chain Bridge. Because his squadron was perished there, when the Chain Bridge was fall down. So the Germans exploded the Chain Bridge when the soldiers were marched on it. And now, when Kálmanka was catafalque in a little tubby thing and they were digging his grave in the end of the garden. He was buried with toy soldiers what were given to his as a Christmas presents. My father was gone grey in 24 hours. I learned in physiology this is impossible, and nothing. They pull down the shutter in the evening, and in the morning when they pull up it, the kind of blondish, brownish haired man become a snow white haired human. Well, when he died at aged of 86 he had a wonderful beautiful big white hair, and he had white beard. My father was a kind of masculine ideal for me, because he was a pentathlonist. He was a beautiful man. We have got a
hart shaped red electronic meter. There are a lot of bruise of the sparkles of the shoots and the grenades on it, because of the war scrum which was happened near to the house. We had a dog. He was always sitting on Kálmánka’s grave. And practically the dog was faithful. He was died with the 22 months old little boy. The dog was died in his sorrow on the top of the grave. Well, you live in this kind of house. This has taken out a lot of from my parents’ life. My father was a factory hand in Csepel, although he was a graduated man. After he was work in the 15th district’s revenue office, previously it was called Rákospalota’s Council. My mother was a social worker too. And she worked for 16 years for the Mayor’s office of Rákospalota. Well, you are a child of an old girl. Because I was born in 1944 and well I gave birth you in 1987. But there was a forerunner in 1986, who is Sacika. Well, the pair of you were born in this hoopla. My father was died in age of 86 in 1989. My mother was died in 1994. And as a matter of fact I was very hard to bear to lose both of them. Meanwhile there was more burgle. The values we have had they nicely carry off. Because I went to work in night and day, that I can support you. And my mother and father were about in the edge of the existence and non existence for 15 years. Sometimes they were in consciousness, sometimes they didn’t. Then by all means, they weren’t whole valuable persons. They couldn’t ever get over what happened with themselves. That’s why I am a really heavy man of peace. I don’t like things like war and similar. I think I brought up both of you in honor, Saci and Olgi too. And I fell like Olgi bring the flame in herself, the fire. Because some kind of fine art skills I have too. And Olga’s point of view is showed on everything. There was an alley of jegenye trees in the garden; witch was bought in a World Exhibition from the doorman for 10 pengő (old Hungarian currency). We had almost ten big trees. The trees was huge, when they were cut off they were more than 70 years old. As good as it was a God’s miracle they don’t destroy the house. They were horrible tall. They were big cross sectional elevation. They were rally rude trees. A young blonde boy can cut them off so it was 5 centimeter to the wood was cracked in the fence, but they don’t hurt the house. It was like a bombing. They can feel the crackup of the huge threes in the end of the street. Here you live in a street which have sycamore tree alley with 100 trees in the street. There were you a blond curled little child. You were sitting under the purple locust trees greenery on a white bench. That was the circumstances you grow up. You have a little bunny too. Well, this is our life looks like. What can I tell you about that were? You were living in. You experienced it. We are not a common people. It was hard to endure the world like the kind it is, such as it is.
Change of Scale The famale ideal, the model was with us since we were kids, and created a sort of pressure, an urge to be just like them. The ideal we had as a child, the “what will I be when I grow up� and the realization. We try to become the impossible and I draw a parallel to it with myself. size: 5x50x50cm photo on woodboard year: 2009
Olga is essential to the world size: 50x70cm year: 2010 The hungarian parlament makes the new national confession statement. I used a black line to make my own sentence from the national confession statement. I found a kind message: “Olga nélkülözhetetlen a világnak“ which is mean: Olga is essential to the world It was exhibited on the 11th ARC billboard competition at Budapest.
Fülolaj 16 kilo lard. year: 2010 A hungarian rumour tells, about the word “Fülolaj”. In the 19th century theres was a poet meeting. The poets are try to compare the word “Love” in every language. They wanted to find the most beautiful word. A hungarian poet Kosztolányi was smart. He knows that “Szeretlek” isn’t sound nice. And knowbody knows the hungarian language because it is very hard.. He decided to say “FÜLOLAJ” for the
others as LOVE. This word is sound nice for the ear. Acttually meaning is nothing, something with ear and oil. Fül means Ear, and Olaj means oil..
Time sign photo series 4 pieces year: 2010
The time and the photo connection was the main theme. I’ve chosen The Battle of Cascina is an influential lost artwork by Michelangelo. I make a coreography from the painting. If you look at close the picture the poses feels like comes from each other. I also made a video when I dance the picture. The four photo was the same composition. The first one was created with one model, and take together by postproduction. I leave the space and the time, the original piricres was shoot in different time, and space.The other three on the right side ha no after work. They used the time to expose the film. The first pictures on the right was expose for 177 sec. I dance the whole choreography from the original painting. The picure is contains the time when I made the poses.The second on the right was shoot on completly dark I used flash the points where I was in the correct pose. In the second option you can not see the time on the picture surface. Just the correct pose are visible. The third picture on the right, was the most abstract paraphrase. I used lighting lines on my body, and make the same coreography like before. When I made the last picture, the poses are dissapear, and just the moving stayed on the top. It was very interesting, the four picure is the same, with the compostion and the moves, but it looks completly different.
Dream with a plane photo series 8 pieces year: 2010 The dream, as an altered state of consciousness, the border between reality and fiction. Journey in our subconscious. It is the exist between the life and death. One of the series was cover the spring 2012 Lettre Internaitnal Hungarian Issue, with my artworks, and an article from me.