OLGA KOCSI : PROJECT PLAN
The topic of reality and simulation has been very interesting for me in recent years. In my work, Time Imprint, I use the camera as a tool for imaging reality. Movement leaves a mark on the light-sensitive surface. We can see how the image is abstracted by changing the light source through a composition. I was interested in the proliferation of bodies in the composition found in A sketch of Michelangelo’s Battle of Cascinai which he made for a fresco. . It appeared as if it wasn’t a group picture, but a series of movements of a single figure. Dividing the image from shape to shape, I arrive to a point where I completely focus on the variety of poses and the mapping of the movement, completely ignoring the original theme. I look at the fresco sketch as a single, clockwise, circular movement, a quasi-dance. It captures time, body, and space moment by moment. It moves the still image captured by the photo, describing the entire choreography within an image. In the video (the temporal extension of the image) is fixed in its reality. In Contrast the entire flow is condensed in the photo, forming an imprint.. The composition is summarized and put together step by step into a single connected and inextricable set. I mainly engaged in digital and analog photography tools documenting processes. I would like to work on the subject of body, movement, space and time during the scholarship period. Mixed technical experimentation, photo paper, instant materials, digital virtual space (VR) promising exciting results. Photography can be transferred to a virtual space, where you can create compositions, not only in a frame, but using the entire virtual world. In my research, the main focus would be on mixing simulation, virtual reality, digital photography, and analog processes. In my work, the viewer’s perspective on how the observer interacts with the work is important. Glass as a carrier of photography can be both archaic (glass negatives) and modern (UV-print). The photographic objects made during the scholarship are created by layering materials. Photos come to life on a variety of media. I plan to place the photos in an unconventional installation. The project involves the live city, urban spaces and the people as moving bodies can cross and join the composition.
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research images with kinect and VVVV
IMPRINT OF TIME (2009-2019) Michelangelo’s Battle of Cascina is the sketch for a never-completed large-scale fresco. The artist was not interested in showing the fight between Florence and Pisa, but rather in studying human flesh and body. The surge of muscular, dramatically twisted heroic men, as well as their elaborate movements and gestures inspired Olga Kocsi to examine and further interpret the composition of the Renaissance master. The image unfolds from shape to shape, through which Michelanelo succeeds in placing the emphasis on mapping movement and a variety of poses, completely ignoring the original theme. He sees the mural sketch as a single, clockwise circular movement, a quasi-dance. As if it were just capturing snapshots of a figure and the phases of its movement. Since Merce Cunnigham, and with the advent of postmodern dance, we can more strongly consider any movement of the body as dance. Dance is no longer the privilege of professional performing artists, it no longer requires classical training or other qualifications. This is emphasised in the two videos in which the artist herself dances Michelangelo’s poses. The first video captures the movements and body of the twenty-two-year-old woman, and the second those of the now thirty-two-year-old woman. She reflects on her younger self, and puts her past and present self side by side. A source of inspiration in the creation of the second video was Yvonne Rainer’s iconic 1965 work entitled Trio A. Presented in many versions and interpretations, the common and most important feature of these works was that they were created by rethinking previous works.
Using the tools of photography, the gesture is abstracted in four steps. Moment to moment, it records time, body and space. It moves the still images captured by the photograph, illustrating the entire choreography within one image. The temporal dimension in the video is captured in its own reality, condensed into the photographs, forming an imprint. Gradually washed into one, the composition is summed up in a single coherent and unbreakable set. Powerful masculinity is replaced by the female body. In Kocsi’s interpretation, the traditionally masculine game of battle is fought by women. Femininity demands and is awarded space. Kocsi does not proclaim to make feminist art, nevertheless the female voice is increasingly intensified. Born from an inward urge, she draws on her relationship with herself with unquestionable naturalness, in order to experience femininity. The installation is a good example of varied and experimental use of material, characteristic of Kocsi’s work. Stacked on top of each other, the photos on the glass create spatial depth and an interesting playful transition, offering different perspectives to the audience. The exhibittion presents the current status of the ongoing project, which began 10 years ago.
Abigél Végh
detail of the glass composition
art concept From change in light to the influence of the environment, all processes in space leave a mark. We consider photography as a medium for snapshots. With cameras we can cut out slices of time from reality and preserve it on a photosensitive surface. When we step out of the “proper use” of photography as a means of recording or capturing, and look at it as a receptive surface, that’s where the really exciting things begin for me. If we perceive the light-sensitive surface as timesensitive too, we are faced with the fact that not only our environment, but time is also captured. With a long exposure, it’s not only the environment that leaves a mark on the image, but time as well. In a series of movements, a person walking in front of a camera not only changes position, but travels in time and space. If the camera is exposing during this process, this phenomenon can be recorded. If you flash during exposure, a sharp gesture will remain. Or, with the aid of a stroboscope, the whole movement can be presented as a sequence. The result is like a sequence cut from a video, compressed into a single image. This technique allows you to examine photography from a completely different angle. When space and time are separated, we can talk about multiple exposure. Multiple exposure removes space and time from a photosensitive surface. When I do not execute a series of motions sequentially in front of a mounted camera, but instead capture myself with multiple flashes in several stationery positions, we can talk about multiple dimensions and space-time leaps in the context of photography. On such a photo we appear in multiple locations at the same time. Because the photo is still, it captures the event as a timeless medium. However, we can also conceive of this photograph as a time-enclosing unit. The exposure took place in a time interval in which I was in several places. Continuing this line of thought leads us to question the different ways in which a simple movement can be captured. Take, for example, a simple stroll in the dark, taken with a row of light bulbs wrapped around us. It soon becomes apparent how different the imprint of the movement is to the movement we experience.
The movement in front of the lens - which we see as a human movement is displayed by the camera as an interesting abstract stripe, when using a long exposure. Because of the continuous movement, the light itself does not appear as a dot, but rather shows the walk as a moving composition.
During the shots, when the camera is adjusted to be out of focus, the light of the bulbs turn into regular circles. With this technique, the movement of shape has almost migrated from the analogue to the digital world. The well-known use of motion-capture in animation reproduces human motion using balls, which are observed by the computer as animators drag their movements onto the puppets.
In this setting, the same footage as the one you took before appears quite different. Thin, firm lines appear as blurry, soft waves.
The photograph documents the action and the space in which the action took place, in a single cube as a time capsule. The photograph begins to exist as a still video. For such recordings, time is assumed. The same cannot really be said for paintings anymore. I have chosen a Michelangelo image to help me explore this topic. The fresco sketch of the Battle of Cascina shows twenty figures. A multitude of naked male bodies proliferate in the picture.
The similarity of the figures on the image and its monochrome nature made it easier for me to imagine the creation of this work using a single figure, coupled with time and space. The movement of the men floated in front of me like a dance. Dancing a composition, recreating its movements, bringing it to life, promised to be an exciting task. The creation of the image closely involved the use of the processes mentioned.
I printed a digitally assembled photograph onto layers of glass. The figures present the composition through twenty layers of glass stacked on top of each other, in the order of the movement. Twenty sheets of glass measuring 3mm per layer turn into a 6cm object.
I performed and recorded a choreography based on the painting in a studio for a total of 177 seconds. In the picture, my figure appears as a ghost in the composition of the painting. The camera captured the entire process of me retracing the path of the figures in the composition. The condensation of temporality is recorded.
In the studio, I also used flash to re-enact the painting, and during the choreography I flashed at the appropriate points so that my figure would remain a slice in space along with other slices of time.
In the course of these experiments, I encountered a more abstract result during the reworking of the image, this time using a body twisted in a row of light bulbs going through the same series of movements. In this case, a completely different composition emerged from the shapes and forms of the image. Here, the photosensitive surface captured the sequence of the motions. From the coordinated movement of the arms and legs, only longitudinal stripes and trembling lines remain.
The composition of the section is the sequence of movements, the poses are still the same, but we see a very different result. When sharpness disappears, the lines turn into circular spots. Motion creates a completely abstract image from the composition.
The original movement test video was made in 2009. I went through the poses of the composition. I danced in the studio.
In 2019, I recorded again the movement test video between the gallery walls. The movements were repeated from the forest sketch and not the video, so the two movements are different.
performance
For the exhibition I asked a contemporary dancer to create a dance based on the original composition, incorporating poses from the image in the choreography. Nรณra Barna and I have just started working together, and we are looking forward to collaborating on more projects in the future. There are plans to involve a contemporary composer in future, with whom a composition will be created also based on movement, bringing light and sound together.
glass photography
glass object from below view
glass object drop shadow on floor
Ăźveg objekt felĂźlete
üveg objekt vetett árnyéka a padlón
16-24.10.2019. FKSE Studiรณ Gallery Budapest
Curator: Abigél Végh
2016-2018 C omputer Schoolvocational school, Electrician, Budapest 2013-2016 M oholy Nagy Art and Design University, Media Artist, DLA, Budapest 2012-2015 M oholy Nagy Art and Design University, Visual Art and Design Teacher, MA degree, Budapest 2011- 2013 M oholy Nagy Art and Design University,Media design, MA degree, Budapest Olga +36204350661 2011Kocsi W illem dewww.nyulga.com Kooning Academy, Audio Visual department, Rotterdam kocsi.olga@gmail.com
OLGA KOCSI
2008-2011 M oholy Nagy Art and Design University, Media design, BA degree, Budapest studies: scholarships, memberships: 2018-2021 É SZC Csonka JánosTechnical Vocational School, Auto body technicians, Szigetszentmiklós 2019 Budapest Portfolio review FUTURE talent, Capa Center 2016-2018 C omputer Schoolvocational school, Electrician, Budapest 2019 Budapest Portfolio review MAGNUM workshop scholarship, Capa Center 2013-2016 M oholy Nagy Art and Design University, Media Artist, DLA, Budapest 2017-2019 Derkovits Gyula hungarian art scholarship 2012-2015 M oholy Nagy Art and Design University, Visual Art and Design Teacher, MA degree, Budapest 2013 Bridge Budapest Fellowship ,San Francisco 2011- 2013 M oholy Nagy Art and Design University,Media design, MA degree, Budapest 2013 Hungarian National grant for scholarship DLA studies 2011 W illem de Kooning Academy, Audio Visual department, Rotterdam 2013M Rector's best M diploma at MOME 2008-2011 oholy Nagy Art and Designaward, University, edia design, BA degree, Budapest 2013 ESSL ART AWARD CEE, n ominee 2012 memberships: Hungarian Republic scholarship scholarships, 2012 FKSE Studio of Young Artists’ Foundation, membership 2011 Erasmus scholarship, R otterdam 2019 Budapest Portfolio review FUTURE talent, Capa Center 2019 Budapest Portfolio review MAGNUM workshop scholarship, Capa Center workshops: 2017-2019 Derkovits Gyula hungarian art scholarship 2013 Bridge Budapest Fellowship ,San Francisco 2020 Live Coding Camp, Zipernowsky Stúdió, Budapest 2013 Hungarian National grant for scholarship DLA studies 2019 MAGNUM PHOTO, C APA központ, B udapest 2013 Rector's award, best diploma at MOME KÖZKEMP, E rdőbénye 2013 ESSL ART AWARDCEE, nominee Chaos Communication Camp, Numberwang village, pancake participant, B erlin 2012 Hungarian Republic scholarship FUTURE TALENT online tutoring withPhotoIrland with Ángel Luis González 2012 FKSE Studio of Young Artists’ Foundation, membership 2011 Erasmus scholarship, R otterdam in public collection: workshops: mama Rose,installation, 2019,Modem-art collection, Debrecen 2020 Live Coding Camp, Zipernowsky Stúdió, Budapest Concrete-icon, pigmented concrete-print 2017,Museum Kiscell / Municipal Gallery, Budapest 2019 MAGNUM PHOTO,CAPA központ, B udapest KÖZKEMP, E rdőbénye solo exhibition: Chaos Communication Camp, Numberwang village, pancake participant, B erlin FUTURE TALENT online tutoring withPhotoIrland with Ángel Luis González 2020 House of Holy Olga - future telling installation, Ikon-day, Jurányi, Budapest 2019 Time print - FKSE studio Gallery, Budapest near the lake - installation, happening, performance, Bánkitó festival, Bánk in public House collection: 2018 VR LADA - Zhiguli on the rooftop - Küszöb fesztivál, AQB, Budapest mama Rose,installation, 2019,Modem-art collection, Debrecen Holy Olga: Golden Rabbit, happening, Kolorado festival, Nagykovácsi Concrete-icon, pigmented concrete-print 2017,Museum Kiscell / Municipal Gallery, Budapest 2017 Holy Olga: Let there be light, solo show, Lollipop gallery, Budapest 2016 House of Holy Olga - solo exhibition, Csili, Pesterzsébet 2015 Rabbit dinner - happening, FKSE projekt room, Budapest solo exhibition: Everyday Holyday - workshop installation at Sziget Fesztivál, Budapest 2014 Journey to Happiness - workshop installation at Sziget Festival, Budapest 2020 House of Holy Olga - future telling installation, Ikon-day, Jurányi, Budapest Almost nothing can be almost everything, Chak room Jurányi, Budapest 2019 Time print - FKSE studio Gallery, Budapest 2012 Bed from the Cottage , solo exhibition, Casati Gallery, Budapest House near the lake - installation, happening, performance, Bánkitó festival, Bánk 2018 VR LADA - Zhiguli on the rooftop - Küszöb fesztivál, AQB, Budapest Holy Olga: Golden Rabbit, happening, Kolorado festival, Nagykovácsi
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selected group exhibition: 2019 Magnum workshop, POP-up exhibition, Capa center, Budapest Time print, Derko 2019 group exhibition, M21, Pécs Futures' platform and talents screening, The Photo Vogue Festival, Base Milano's programme House on the border (2012), Holy Olga (2010-2019), Future Talents, Unseen photo festival, Amsterdam Birthday exhibition , group exhibition, 4room gallery, Budapest mama Rose, Family group exhibition, Modem, Debrecen 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 Gate of Happiness, Bankitó festival, Bánk New materials series, Derko 2018, group exhibition, Kunsthalle, Budapest 2017 VR LADA - installation - 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
Olga Kocsi (1987) is a multimedia artist based in Budapest, working with photography and video installations. She creates multisensorial experiences relating to topics that lie in the cross-section of various scientific fields, such as the relation between reality and virtual reality and its potential evolution in the future, pushing and mapping the borders between private and public spheres. Her work seeks to actively involve the spectator by creating unorthodox situations for them.