OLGA KOCSI studies: 2021FREESZFE Performance and Theater department, Budapest 2018-2021 ÉSZC Csonka János Technical Vocational School, Auto body technicians, Szigetszentmiklós 2016-2018 Computer School vocational school, Electrician, Budapest 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: 2022 Budapest Gallery artist exchange program - Regensburg residency 2021 Life Long Burning Residency at ICI-CCN de Montpellier 2019 Budapest Portfolio review FUTURE talent, Capa Center 2019 Budapest Portfolio review MAGNUM workshop scholarship, Capa Center 2017-2019 Derkovits Gyula hungarian art scholarship 2013 Bridge Budapest Fellowship , San Francisco 2013 Hungarian National grant for scholarship DLA studies 2013 Rector’s award, best diploma at MOME 2013 ESSL ART AWARD CEE, nominee 2012 Hungarian Republic scholarship 2011 Erasmus scholarship, Rotterdam in public collection: mama Rose, installation, 2019, Modem-art collection, Debrecen Concrete-icon, pigmented concrete-print 2017, Museum Kiscell / Municipal Gallery, Budapest memberships 2015-2016 2015-2016 2012- 2010-2013 2010-2015
President of Doctoral Student Council at MOME Doctoral Student member of Senat of MOME FKSE Studio of Young Artists’ Foundation, membership Student Union at MOME Student member at Senat of MOME
solo exhibition: 2020 2019 2018 2017 2016 2015 2014 2012
Rákóczi Legendary, ISBN Gallery, Budapest House of Holy Olga - future telling installation, Ikon-day, Jurányi, Budapest Time print - FKSE studio Gallery, Budapest House near the lake - installation, happening, performance, Bánkitó festival, Bánk VR LADA - Zhiguli on the rooftop - Küszöb fesztivál, AQB, Budapest Holy Olga: Golden Rabbit, happening, Kolorado festival, Nagykovácsi Holy Olga: Let there be light, solo show, Lollipop gallery, Budapest House of Holy Olga - solo exhibition, 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
behance.net/nyulga www.nyulga.com
selected group exhibition: 2022 Public intervention, group exhibition, Osztrák forum, Budapest 2021 Leopold Bloom award shortlist exhibition, Q contemporary, Budapest Capazine Let’s Eat workshop exhibition and funzine, collaboration with Eszter Ágnes Szabó, Capa Center, Budapest MODEM ART UNBOXED- online és offline Debrecen 2021 Gyros in the pocket, pop up secret event, collaboration with 7térítő and Kristóf Kovács, Budapest Capazine Let’s Eat, group exhibition and funzine, collab with Ágnes Eszter Szabó, Capa Center, Budapes 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.
VR LADA (2017) 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-ladakat-moma-ba/ https://museum.photoireland.org/programme-2019/ museumtv/ exhibited: Mélyvíz, M21 Gallery, PÉCS, Hungary, 2017 Küszöb fesztivál, AQB, Budapest, Hungary, Museum TV, PhotoIrland, 2019, Ireland
2018
LADA 2101 CAR VR SET: OCOLUS RIFT COMPUTER LEAP MOTION video documentation: 2’34” FullHD
MICRO ELECTRONIC ARDUIONO SCREEN SENSORS
BETON LADA (2019) 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
size_ 60x50x30cm mixed media. sculpter + sound
The Patron Saint of Fallen morsels (2021-) Collaboration with Eszter Ágnes Szabó
Scientists have experimentally proven that food immediately becomes dirty as soon as it hits the ground, and microorganisms wait no time. If you drop a bun in water, it gets wet right away; if you drop it into mud, it’s instantly covered in mud. Why would it happen otherwise when it comes to dirt? In fact, we want to believe that food can be recovered. The five-second window is a sacral time while you process the loss and make a decision whether you want to save the food from premature decay or leave it to its doom. The five-second rule thus exists and does not exist at the same time. It is merely the product of the imagination, a transition between being and non-being, and a slot where you can intervene according to your beliefs. But those who consider consuming food from the ground will not be left to themselves, because IRMA5SECOND, the patron saint of fallen bites, will appear before the hesitant, support them in their belief, and transfigure their spoiled snack. It is her character that we are working on.
IRMA5SECOND installation
Let’s EAT exhibition CAPA CENTER, 2021.10. 01-16
Let’s EAT exhibition CAPA CENTER, 2021.10. 01-16
Rákóczi Legendarium (2020) The project is a continuation of the installation and event series at the RákóCity project room, which once operated on the corner of Rákóczi tér and Víg utca in 2019. During the exhibition last summer, Kocsi got to know the area’s residents and passers-by, collecting personal, sometimes funny, sometimes deeply touching and interesting stories from them. Polaroid and digital images of visitors and delinquents were also taken in a gold-covered massage chair as a central element of the installation. Making friends in the corner of Rákóczi Square, the development of relationships and enclosing all of this into a sparkling golden book. The exhibition in the ISBN book+gallery, which takes place a year later, draws on the legends collected last year, about the joint pancake baking and lemonade drinking on Víg utca, and presents the photo book compiled during the project. Visitors can sample the visual imprint gathered over the course of a year, view, listen to small but significant details of life stories, and meditate in the gold-plated massage chair.
ISBN GALLERY AND BOOKSHOP, 2020
1.Rákóczi Legendárium 2. MARYANN 3. ALEXINE 4. MARYANN 5. ANIMÁCIÓ - rádió interjú részlet 6. MASSZÁZS FOTEL 7-12. ARANY PORTRÉ 13. MARCSI
1.Rákóczi LegendArium 2. MARYANN 3. ALEXINE 4. MARYANN 5. ANIMMATION - radio interview 6. MASSAGE CHAIR 7-12. GOLDEN PORTRAIT 13. MARCSI
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MARYANN Well, I have had...Well, I think everyone likes to perceive they have had an interesting life. I guess mine has been one I’ve been happy with. I was a high level executive in health care where not many women were at that level. Azt hiszem, mindenki azt szeretné gondolni, hogy érdekes élete volt. Szerintem az enyémmel elégedett vagyok. Az egészségügyben vezető pozícióban dolgoztam, nem sok nő volt ilyen szinten.
And I did that for many years in America. And then I retired early. And then I became a master gardener. I was interested in horticulture and had a very big garden. It was all terraced, I did it all myself, and then my husband and I traveled a lot and we came to Hungary in 2007, the first time. And actually we came because we came for dental care and then we became associated with a dental clinic here. Évekig ezt csináltam Amerikában. És elég korán visszavonultam. Aztán képzett kertész lettem. Érdekelt a kertészet és nagyon nagy kertem volt. Teraszos volt, mindent magam csináltam, majd a férjemmel együtt sokat utaztunk, és először 2007-ben jöttünk Magyarországra. Valójában fogorvosi kezelésre érkeztünk, és akkor kapcsolatba kerültünk egy itteni fogászati klinikával.
But the first time, I admit when I came here, I didn’t like it at all because... I was not frightened, but it was not very welcoming. And this was before there were many tourists. And then as we got to know the Hungarian people more, we realized the guard that’s up. But it’s also very difficult for people from the West to understand the caution that people in the East have from communism. I mean, I feel that’s my outsider perspective, that there is still especially with older people, there’s a lot of that left over. De beismerem, amikor először idejöttem, egyáltalán nem tetszett, mert ... hát, nem voltam megijedve, de nem volt valami barátságos hely. És ez még a sok turista előtt volt. De amikor már jobban megismertük a magyar embereket, rájöttünk, hogy nagyon óvatosak. A nyugati emberek számára nagyon nehéz megérteni a kelet-európai emberek kommunizmusból eredő óvatosságát. Úgy értem, hogy így látom kívülállóként, és ez még mindig jellemző, különösen az idősebb emberekre.
And we’ve seen a lot of changes since we’ve been here. Of course, many good and some that are very concerning now politically in terms of the world and the influence of this government on the rest of the world. And yet I also see there is more of a renaissance of younger, politically active people here, which I think is very healthy. Of course, it’s in the city. Sok változást láttunk mióta itt vagyunk. Természetesen sok jót, de néhány aggasztót is, politikailag globális szinten, és a mostani kormánynak a hatását a világ többi részére. Ennek ellenére látom, hogy itt azért észlelhető a fiatal, politikailag aktív emberek reneszánsza, amely szerintem nagyon egészséges. Természetesen ez a városban van jelen.
And so those were the first few phases of my life. And now I’m transitioning to writing, and I have two books that I’m writing and I do technical writing. I’m in my 60s, but I feel the happiest and the healthiest I’ve ever been. But I think as women age, they feel a real sense, of course. Many feel that younger and explore themselves. The more you do (like you are) the more you understand who you are and your ability to evolve and explore new things. Ezek voltak az életem első szakaszai. És most írással foglalkozom, két könyvet írok, és technical writing-gal (műszaki szakszövegírással) is foglalkozom. A hatvanas éveimben járok, de boldogabbnak és egészségesebbnek érzem magam, mint valaha. De azt hiszem, hogy a nők az kor előrehaladtával megérzik az lényeget. Sokan ezt már fiatalabban érzik, és felfedezik saját magukat. Minél többet csinálod (mint Te), annál jobban megérted, hogy ki vagy, és képes vagy fejlődni és felfedezni új dolgokat.
Many women can’t, yet I believe as they get in their 40s, 50s and 60s, they become very, very powerful. I believe the future of the world is with women. I do. It’s true. Women are much more compassionate, negotiable. Their whole being is oriented to problemsolving, nurturing, building, growing. Certainly some of that has to do with the family. But I think that women, especially women artists, I have several friends that are women artists, tend to express themselves in very dramatic ways, maybe a little bit differently than men. Of course, men are like that. Of course, I’m drawn to women artists so anyway. Sok nő nem képes erre, mégis azt hiszem, hogy amikor elérik a 40, 50, 60 éves kort, nagyon erőssé válnak. Úgy gondolom, hogy a nőké a világ jövője. Tényleg. Ez igaz. A nők sokkal együttérzőbbek, kompromisszumkészebbek. Az egész létük a problémamegoldásra, gondoskodásra, építkezésre, növekedésre irányul. Természetesen ennek részben a családhoz van köze. De azt hiszem, hogy a nők, különösen a női művészek - több barátom van, aki női művész - drámaibb módon fejezik ki magukat, talán kissé másképp, mint a férfiak. Persze a férfiak is ilyenek, de természetesen a női művészek vonzanak igazán.
And being in Hungary is very exciting at this age for us to have made this change because it is a challenge to be older and to do this, to not speak the language. Though I’m trying. But I’m very, very happy here. But we do go back and forth and we live in a very beautiful area. It’s dramatic in terms of going to the mountains and then coming to the city. It allows a lot of contrast and provokes a lot of thinking and growing on my own part. And I’m happy to be in this district and to meet people like you because it gives me more confidence in the future and the city. So I’m happy to know you. I’m happy you’re doing this. Nagyon izgalmas pont ebben a korban Magyarországon lenni, hogy bevállaltuk ezt a változást, mert kihívás idősebben ezt megtenni, ha nem beszéljük a nyelvet. Bár próbálkozom. De nagyon, nagyon boldog vagyok itt. De sokat jövünk megyünk, és egy nagyon szép helyen élünk. Ami nagyon drámai különbség abból a szempontból, hogy az ember a hegyekbe megy, utána vissza a városba. Nagyon sok kontrasztot ad, és gondolkodásra, személyes fejlődésre ösztönöz. És örülök, hogy ebben a kerületben vagyok, és olyan emberekkel találkozhatok, mint te, mert ez nagyobb bizalmat ad nekem a jövővel és a várossal kapcsolatban. Örülök, hogy megismertelek. Örülök, hogy ezt csinálod.
ALEXINE So in Budapest we were living on József körut and it was so funny because all our hungarian friends were like nyolcadik kerület? De hol? What side of the körut? And we’re like, well, we’re on the other side. And they were like Ah az ok, az ok. And I was like miért? And they were like because, you know, the other side of the nyolcadik kerület is really bad. And I was like what? And so we stayed there for a year. Budapesten a József körúton éltünk, és annyira vicces volt, mert az összes magyar barátunk azt mondta, “Mi, a nyolcadik kerületben? De hol? A körút melyik oldalán?” És mi mondtuk, hogy a másik oldalán. És akkor mondták hogy “ah, az oké, az oké.” Kérdeztem, hogy miért? És azt válaszolták, “Mert, tudod, a nyolcadik kerület másik oldala nagyon rossz.” Kérdeztem, hogy miért? És ott maradtunk egy évig.
And then we actually bought a flat here on Rákóczi tér. And it was so beautiful. It was so amazing. And I just saw it from the street and a guy told me.. he was, whatever, it was all really funny, like really weird. We just met a guy on the street. I wanted to buy an X because I didn’t have very much money, and I had spotted one on Rákóczi tér. And he came out of the building and I asked him, where can I talk with the házas..házsas..or whatever. And he told me, no, no, you can’t. But I’m a real estate guy. And I was like yeah right! He was just really dodgy. And he said, you know, I know there’s a flat for sale right here. Végül itt vettünk egy lakást a Rákóczi téren. Olyan gyönyörű volt, olyan csodálatos. Az utcán megláttam, és a srác azt mondta nekem... mindegy, ez mind nagyon vicces volt, nagyon furcsa. Szóval találkoztunk egy sráccal az utcán. X-t akartam vásárolni, mert nem volt túl sok pénzem, és a Rákóczi téren találtam egyet. És ez a srác kijött az épületből, és megkérdeztem tőle magyarul, hogy beszélhetek-e a házassal..házsassal ... vagy mittudomén. És azt mondta, nem, nem, nem lehet. De én ingatlanügynök vagyok. Ja, persze! Nagyon gyanús volt. És azt is mondta, hogy van itt egy eladó lakás.
And then he showed me this beautiful art nouveau building and I walked in and there was a Roma family in it and they were practically laughing at me for wanting to buy that place. And yeah. I mean, I fell in love right away. It was like, ho ho ho. And then we moved in, to the horror of all my friends and everybody. But it was an excellent idea, it was so amazing Rákóczi tér csarnok you know, I knew everybody and there were all these bácsis and nénis Fridays and Saturdays that came in from the countryside bringing beautiful produce and flowers and things. Aztán megmutatott nekem egy gyönyörű szecessziós épületet, bementem, és ott volt egy roma család, és gyakorlatilag nevettek, hogy meg akarom venni ezt a lakást. És igen, azonnal beleszerettem. Olyan volt, ho ho ho. Aztán beköltöztünk, az összes barátom és mindenki megrökönyödésére. De kiváló ötlet volt, olyan csodálatos a Rákóczi téri csarnok, tudod, ismertem mindenkit, és ott voltak bácsik és nénik péntekenként és szombatonként, akik vidékről jöttek, és gyönyörű terményeket hoztak, virágokat és egyebeket.
And because I was pregnant, so they were giving me stuff all the time. And then, you know, I took pictures of almost everybody in the market because they knew me so well. And they knew I had a camera, and they didn’t mind. And so I have like pictures of everybody at the time. But I don’t know if they are still there, the Chinese shop, they were really unfriendly. They were not friendly. No, they were not friendly. And we had a theory. I think it was a I think it’s like a kind of I don’t know if I should say that, but I think it’s a mafia washing machine. Exactly. They’re always coming with Mercedes and there was nobody ever buying anything in that shop, you know. Everything is overpriced and ridiculous, you know, so. And they were not friendly. That’s a shame because, you know, I was so excited to have a Chinese shop right there. Mivel terhes voltam, állandóan mindenfélét ajándékoztak nekem. És akkor, tudod, szinte mindenkit lefényképeztem a piacon, mert annyira jól ismertek engem. Tudták, hogy van egy fényképezőgépem, és nem zavarta őket. Így van akkoriból mindenkiről képem. De.. nem tudom, hogy még mindig ott van-e a kínai üzlet, ők nagyon barátságtalanok voltak. Nem voltak barátságosak. Nem, nem voltak barátságosak. Volt egy elméletünk. Nem tudom, hogy ezt mondanom kellene-e, de szerintem ez egy pénzmosó maffia volt. Mindig Mercedesszel jöttek, és senki sem vásárolt semmit a boltban, minden nevetségesen drága volt. És nem voltak barátságosak. Ezt sajnálom, mert tudod, eleinte nagyon örültem, hogy volt ott egy kínai üzlet.
But yeah. I mean, what else..I can’t tell you much else. I mean, it was just. Yeah, I really loved living on Rákóczi tér a lot, and I moved after that to Népszíház utca and it was still fine. But I really missed being right on the square like it was so amazing, like the csarnok was my cornershop. I used to go there every day and it was fabulous, really fabulous. It’s a fabulous place to live, Rákóczi tér. It’s ARANY, arany Rákóczi tér. Ok I think I’m done, I’ve said everything I could tell. De igen. Szóval mi más van...Nem tudok mást mesélni. Igen, valóban nagyon szerettem a Rákóczi térnél élni. Utána a Népszínház utcába költöztem, és az is jó volt. De nagyon hiányzott, hogy közvetlen ott volt a tér, mert olyan csodálatos volt, a csarnok volt a sarki boltom. Minden nap mentem. Csodálatos, csodálatos hely a Rákóczi tér. ARANY, arany a Rákóczi tér. Oké, azt hiszem, ennyi, mindent elmondtam, amit tudtam.
[Olga] You tell about the prostitutes, what was the sentence? I really liked it. There were a lot of women here? They were really cute and something? [Olga] Mondtál valamit a prostituáltakról, mi volt az? Nagyon tetszett. Nagyon sok nő volt itt? Nagyon aranyosak voltak, vagy?
Yeah, we saw them arrive periodically and they always looked very fresh and beautiful and cute when they arrived. And within three months they looked really sick and it was really sad. But the nice thing, whether they were healthy or not healthy, that they were super friendly and...they’re just women, they’re women that have to work with their bodies you know, like and they were I mean, I never had any problems, on the contrary, they were nice. They were a good influence, I would say almost. I would say also like, I think we were particularly safe living on the Rakoczi ter because we were part of the environment, so to speak. You know, we’re part of the environment. And so nobody would have ever hurt us. You know what I mean, it was not at all unsafe, like my friends said, on the contrary, it was super nice. I never had any problems. Igen, láttuk, hogy időnként érkeznek, és mindig nagyon frissnek, gyönyörűnek és csinosnak tűntek, amikor megérkeztek. De három hónapon belül betegnek néztek ki, nagyon szomorú volt. De az jó, hogy akár egészségesek voltak, akár nem, mindig szuper barátságosak voltak és ... csak nők, nők, akiknek a testükkel kell dolgozniuk. Soha nem volt gond velük, éppen ellenkezőleg, kedvesek voltak. Majdnem azt mondanám, hogy jó befolyással voltak a környékre. Azt is mondanám, hogy szerintem mi különösen biztonságban éreztük magunkat a Rákóczi téren, mert úgymond a hely része voltunk. És így senki sem bántott volna bennünket. Tudod, hogy mire gondolok, egyáltalán nem volt veszélyes, mint a barátaim mondták, éppen ellenkezőleg, nagyon jó volt. Nem volt semmi gond.
MARYANN You know, it’s interesting, I grew up in the 60s, a time of great revolution, and my parents supported it. And I was fortunate for that. My mother was quite radical and she was a feminist before it was chic to be a feminist. And so I fortunately was raised under that. But it’s different now in that I think there was a period of decades where there just wasn’t enough radical behavior in the world. And now there will be, because I think you, your generation, as well as the young people, will just not accept certain things anymore. There is a line and no more. And that’s what there needs to be. It needs to be dramatic. Tudod, érdekes, én a 60-as években nőttem fel, nagy forradalmak idején, amit a szüleim is támogattak. És ebből a szempontból szerencsés voltam. Anyám meglehetősen radikális volt, és feminista volt, még azelőtt, hogy menő volt feministának lenni. Szerencsére ebben nőttem fel. De most más a helyzet. Szerintem volt egy időszak ami évtizedekig tartott, amikor a világban egyszerűen nem volt elég radikális viselkedés. És most lesz, mert azt hiszem, te, a te generációd, valamint a fiatalok, többé nem fognak bizonyos dolgokat elfogadni. Van egy határ. És erre szükség van. Megrázónak kell lennie.
But women, I can’t tell you enough how...I didn’t have children. I think a lot of women will say, well, they come into their own where they don’t need to say yes to everyone. And, you know, in my world, it was I didn’t say yes to all that. I didn’t have to say yes to all the men that were telling me what to do because they thought they knew better in business when in fact, I did. I did what I wanted anyway. But they knew I knew they couldn’t challenge me. Because I knew that they knew that I knew what I was doing. And they were frightened of my ability and my influence on the organization. But women just have so much of a strength in their soul. If they harness this the earlier, the better. But there’s no stopping you. None. My mother was a zero population growth person and she felt that the world was not suitable for children. And so I never even had any biological drive. Never. But I understand it. I think sometimes now I feel, you know, I don’t know. I’ve never regretted it. Ever, ever. De a nők, nem tudom jól kifejezni, hogyan ... nincs gyerekem. Szerintem sok nő azt fogja mondani, hogy akkor érvényesülnek, amikor nem kell mindenkinek igent mondani. És tudod, nálam meg az volt, hogy egyáltalán nem mondtam igent mindenre. Nem kellett igent mondanom azoknak a férfiaknak, akik megmondták nekem, mit kell tennem, mert azt hitték, hogy jobban értenek az üzlethez mint én, amikor valójában én értettem hozzá jobban. Azt csináltam, amit akartam. De tudták, hogy tudtam, hogy nem tudnak versenyezni velem. Mert tudtam, hogy tudják, hogy tudom, hogy mit csinálok. És féltek a tudásomtól és a befolyásomtól a cégnél. De a nőknek nagy lelki erejük van. Minél korábban felfedezik, annál jobb. Nem lehet megállítani téged. Anyám a zéró népességnövekedésben hitt, és úgy érezte, hogy a világ nem jó hely a gyerekeknek. Így soha nem volt semmilyen biológiai késztetésem. Soha. De megértem. Néha azt hiszem, úgy érzem, tudod...nem tudom. Soha nem bántam meg. Soha.
ISBN GALLERY AND BOOKSHOP, 2020
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. Nóra 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
üveg objekt felülete
üveg objekt vetett árnyéka a padlón
16-24.10.2019. FKSE Studió Gallery Budapest
Curator: Abigél Végh
negatives from Mama Rose life (2019) I got a chance to join the MAGNUM photo workshop, organized by the CAPA center. I could work on new materials during this tight and intensive one-week program. I decided to make some changes to the initial concept: I started to pay even more attention to Mama Rose focusing less on the hospital setting. The outcome was a photo-booklet and an installation with the photo-negatives about the 94 years-old lady. I brought her dream to life: The walk of the sinister cat. I created both digital and analog materials (latter was done mostly with Instax cartridges), which then I glued in a small black booklet, and I added some text beside them. Mama Rose took care of me and my sister a lot when I was a kid. Previous year she’s got hospitalized on Easter, and she hasn’t recovered since. I visit her frequently.
One day Pop-UP exhibition at CAPA Center. 2019
Bed from the Cottage (2011)
Solo exhibition from the project: Borderlines. Casati Gallery 2012, Budapest
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
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.
2017, exhibited Sex of the angel, Nicodim Gallery, Bucharest
solo exhibition , Borderlines. Casati Gallery 2012, Budapest
video: 2 min 40 sec, 960 x 540 PAL, MOV, 2011.
Change of Scale (2009) 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
Cabinet from the Cottage (2012) 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
screenshot from the video
takeaway art from a drawer
the first floor of the middle vitrine
the second floor of the middle vitrine
the third floor of the middle vitrine
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-to-hand 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.
House on the border (2013) 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 möbius. 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, 2015 Diploma show, Ponton Gallery, Budapest, Hungary, 2013
Screenshot from the video, I buy my own Taschen book.
VIDEO: 9” FullHD Book: 23x16 cm 2013
mama ROSE (2019)
1. mirror; 2. florariums; 3. glass table with dreamt exhibition; 4. projector bunny; 5. viewer’s position; 6.beautiful well-kept pencils 7. muddy sock; 8. there was no lard, they grabbed all; 9. golden tooth and house; 10. men’s clothing and 4kg lard and flour 11. every hand reached for it; 12. calories money; 13. one grain wheat for export to Switzerland
Rózsa Mama is the dreamer of my exhibition and she’s 94 years old. She took care of us a lot (me and my sister) in my childhood because our own grandparents died when we were younger. My mother was a local dentist and Rózsa Mama was one of her patient. She lives alone as her son and her husband have passed away a long time ago. She was a sort of substitute grandmother for us. Since couple of years I’ve been visitting her more often, one time she told me that she was on a new exhibition I made in her dream. I’ve been intrigued by her dream and I’ve started to visit her weekly to talk about it. During these conversations she told me various experiences and stories from her life. Often she was speaking with strong visual imagery which appeared as visions for her. I found interesting what stays from 94 years. All the objects here connect Rózsa Mama, my Mother and me together. The mirror is a gate and an imaginary timeline. The images radiating from it are my visual adaptations of the stories of Rózsa Mama. The Projector Bunny projects a story I emphasized onto the viewer if they stand on the markings in front of the mirror. The animation, which gets displayed on the body of the recipient, is an entire life’s lesson. That story encapsulates the history of the XX. Century from a personal perspective, and the viewer will be its carrier medium. Originally the mirror was owned by Rózsa Mama. However we bought that mirror because her son needed money for a construction. This monumental object was significant part of our childhood home. My exhibition dreamt up by Mama Rozsa appears on the glass table, which was the equipment of my mom’s dental office. There were three sections in her dream exhibition: past, present and future. In the three spaces, household items and plants appear. Originally, the three special glass structures - the florarium - that were in my mom’s dental surgery had flowers. The exhibit included objects received from Rózsa mama.
MAMA ROSE installation at Family Reasons Exhibition at MODEM17.08-03.11.2019. curator: Tamás Don
dream glass miniature exhibition detail: Present
dream glass miniature exhibition : past-present-future parts
dream glass miniature exhibition detail: Past
dream glass miniature exhibition detail: Past
dream glass miniature exhibition detail: Future
glass vision pictures 30 x 30 cm iridescent film printing aluminum strip frame
glass vision pictures 30 x 30 cm iridescent film printing aluminum strip frame
9. gold tooth and house MAMA ROSE mom took out her golden teeth when they were made to buy a house with her husband. In doing so, she contributed financially to the young couple’s common beginning in life.
MAMA ROSE story in the sound and the animation is projected on the viewer length: 12 minutes hungarian video: https://youtu.be/oPdJTObE8XA english video: https://youtu.be/RQd4NnN1IPM
12 minute animation MAMA ROSE from life lesson story
Objects from MAMA ROSE in the glass florarium
hand sling and embroidered pillow with monogram on it
an unknown relative her preserved the first owner of the mirror
hand sling nightgown belonged to MAMA ROSE’s mom
Olga is essential to the world (2010) 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 (2010) 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..
Golden Rabbit (2018) 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 Nagykovács, 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. 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, good-natured jumps.
Golden Rabbit with flowers, Derbrecen, 2018
Debrecen Rabbit map, polaroid spactra, 2018
waiter bunny, Debrecen, 2018
Rabbit camera, 1987 expired color dia positiv, 2018
Debrecen Rabbit map, polaroid spactra, 2018
Golden Rabbit in Debrecen installation Kunsthalle, 2019
Golden Rabbit at Debrecenben, B24 gallery, 2018
Born of the Godlen Rabbit installation, CAPA Center, 2018
Beton icon, pigmented concrete, UV-print, 2018
Beton icon, pigmented concrete, UV-print, 2018