With the occasion of the 2010 parliamentary elections, I sent an e-mail message to each of thecompeting political parties, asking permission to perform a live painting action on their vote countingevent. Since I only got a reply from the Jobbik, I chose to visit two events: theirs and the oneof the LMP, two organizations antagonizing each other. On election night, I performed a “plein-air”painting on these controversial events. I had several things in my mind: to reflect on painting as amedium (bringing up issues of role and representation); to hack the media; and to lay emphasis onthe hysteria surrounding the elections. This allowed me to notice a peculiarity of these vote countingevents: though two radically different parties, the supporters were in both cases carried away bythe same messianic ardor.
The letters to the parties:
I am contacting you apropos of the party event held on the day of the coming general elections, 11 April, 2010.
Both as a painter and a Hungarian citizen, I hold the elections to be a very important occurrence. I have decided to record this great event with my own means of expression—and thereby also revive the tradition of the nation’s great painters.
At every important occasion, photos are made for posterity. Why not any paintings? Painters have a variety of means of artistic expression at their disposal, and are thus capable of representing an event of this import in a fitting manner. Note, however, that I also consider the special tradition of plein-air very important, because the atmosphere of a place and the people present, the nobility of the moment, can only be experienced and recorded in reality.
I have thus decided to record in person the day of the election at your event, on a 70×100 cm canvas, so that posterity can remember the great moment. I hope you will find the idea compelling. We only need to establish the circumstances under which I can work. I only need a very small space where I can set up my easel.
I trust you can identify with the cause and acknowledge the significance of art, as well as the potentials of this work. I look forward to hearing from you soon.
Budapest, 24 March, 2010
Ejaculatum – and its squish – is the diamond of the aesthetics of porn, also its corroborant hallmark. This is the omega of the dramaturgy of millions of people’ fantasy: of an artificial and pornolized world. The rhetorics of the photo series “Fake” is the manner of making artificial, the replacement, the imitation.
Washable workshop at
University of Applied Sciences Potsdam
I was invited by Lisa Andergassen and Anika Meier to make a presentation, discussion and workshop on my works related to pornography at the Porn Studies Seminar at University of Applied Sciences Potsdam (Design Department).
The workshop was called “Washable”, and we made photos of personal objects/images brought by the students.
Lisa Andergassen, Anika Meier
Thao Tran, Pune Djalilehvand
Surveillance is the new voyeurism of the digital age.
All of us is observing and we are under surveillance since we gave our personal and physichal intimacy in exchange for the fruits of technology.
The dread of being without our smartphones – nomophobia – affects 40% of people (Psychology Today). The urge to be present in social media becomes soon equivalent to the level of homeostasis.
The new horror vacui directs now people to the great common pen through smart devices.
This is a neverending circle of production and consumption, 24/7, without being able to escape. However, there is a position within this omnipresence in the panopticon: the overproduction. Taking the categorical imperative of the ever-personal-data-circulation too seriously, to overproduce it means a strategy. This is called sousveillance.
“Hasan Elahi, a University of Maryland professor, has produced a sousveillance for his entire life, after being detained at an airport because he shares the same name as a person on the US terrorist watchlist. Some of his sousveillance activities include using his cell phone as a tracking device, and publicly posting debit card and other transactions that document his actions.” (Wikipedia)
Taking things too seriously doesn’t only mean overproduction, it also can realized by post-human activities, such as mechanical, machinelike behaviour. Using the camouflage of the machines seems like working in the opposite way: eliminates all personal aspects.
Consciousness is excluded from a great area of our private reality.
What does the body do during the sleeping hours? The urge of conscious control tries to extend the range of its attention towards to sleeping bodies.
This series of photographs are experiments to reveal the state of unconsciousness through map the physical conditions of the body.
(in collaboration with Dóri Budavári)
in collaboration with Tamara Zsófia Vadas and Márton Emil Tóth
The Peep Show Project
Consuming the visual products of everyday life means often to look with a ‘voyeur-gaze’. I painted a picture of a naked woman body, which is between the genre of nude and pornography. The painting is of different colors but the same tone, so a normal camera in black & white mode doesn’t see it, while in color mode it does. So people see the painting, and also the two same cameras, of which one doesn’t see the painting while the other does. This installation was built for the exhibition “Burka”, which is a cooperation of an austrian-hungarian art-group called “The New Monarchy”. The title “burqa” was to symbolize some issues of western societies like fobia & uncomprehension of other cultures, things in our society that peolpe would hide. With the help of this installation, visitors are able to take a photo of themselfes and the painting.
Familiar faces seen a thousand times on the pages of textbooks: exemplary persons – the pantheon of literary and historical canons. A hall of fame of our cultural heritage, where the identities of the characters seem exclusive, distant, and, above all, inaccessible. Is there anything new we can learn about these icons by recreating their static portraits?
The Flame-Hearts exhibition queries the accessibility of identity, looking at faces familiar from several decades or centuries away, probing and reading their expression, in order to elicit personal responses from the visitor. What stories do these mask-like, fixed portraits tell us?
A face, a portrait carries boundless information. The eye is the mirror of the soul, it is said; beside momentary emotional states, a person’s entire prehistory may be reflected in their eyes, their face. Psychologically, the relation of emotions and facial expressions can be decoded; with the codes in mind, anyone can read the faces of others. But is everything really written in the face? Or does it matter who or what is looking at it? After all, a psychologist looks at and reads rather different things than a commuter on the underground, or the face recognition algorithm of surveillance cameras.
In the clean ambience of János Brückner’s works, formerly commonplace identities take on new forms and hence new meanings. The works thus created are portraits of the prominent personages of Hungarian literature. The exhibition helps these fine role models that have been with us since our school years gain new qualities, reinforcing the long-established types of vates, contemporary, or even outstanding “trend sensibility.”
In this pantheon of textbook authors, face recognition is the new strategy helping us reinterpret the figures of past greatness in our own world.
Curated by: Péter Bencze I Everybody Needs Art
photos by Áron Wéber
Blinder: hipster partyglasses, with many tiny Greater-Hungary