Bogyó Virág b. 1987. 04. 11. Budapest, Hungary 2016-18 – board member of Studio of Young Artists’ Association, Budapest Studies 2016 – DLA Hungarian University of Fine Arts, Budapest 2013 – Media Design MA, Moholy-Nagy University of Arts and Design, Budapest 2011 – Erasmus Scholarship, UdK, Berlin 2010 – Graphic Design BA, Moholy-Nagy University of Arts and Design, Budapest Residencies 2019 – Pardubice, Offcity 2017 – Vienna, MuseumsQuartier (Artists-in-Residence programme of tranzit and ERSTE Foundation) 2015 – Munich, Lothringer13_florida 2015 – Cluj-Napoca, transit.ro/cluj 2013 – Prague, Skolska 28 (VARP residency) List of exhibitions, projects 2019 Fictive Lines, Telep, Budapest Changing Places II., Centrul de interes, Cluj-Napoca Sissi Quartier, Kunsthalle LAB, Bratislava 2017 Stopover – Ways of Temporary Exchange, frei_raum Q21 exhibition space, Vienna Book friendship, OFF Biennale Budapest, Vasas Headquarters, Budapest Vacation, OFF Biennale Budapest, Patyolat, Budapest I Wanna Give You Devotion, PLATFORM, Munich Imagining Conceptual Art – László Beke’s 1971 collection within an international context, tranzitdisplay, Prague 2016 DLADLA100 – group exhibition of the doctoral school, Hungarian University of Fine Arts, Budapest First Mobile Gentrification Conference, VirágJudit Galeri, Budapest Our Heart is a Different Country, group exhibition, FKSE, Budapest Conceptual kitchen, No Play – Feminist Training Camp, NGBK Berlin 2015 Library of the Chosen Ones – public art project and exhibition, transit.ro/cluj, Cluj The Survivor’s Shadow – The Life And Works of El Kazovsky, Exhibition Design (Punk Room), Hungarian National Gallery, Budapest Till death do us part, artist residency project, Lothringer13_florida, Munich 2014 Abortourism, reproductive rights campaign Art under a Dangerous Star – The Responsibilty of Art, event and exhibition series organized by tranzit.hu, Budapest 2013 Flowershop, participatory project, Budapest 2012 Liberagility, participatory project, supported by tranzit.hu, at Bánkitó Festival, Hungary Le réseau de la Jeune Création Européenn, participating artist. Klaïpeda/Klaipeda Exhibition Hall, Hamburg/ Kunsthaus Hamburg, Bratislava/GMB, Pécs/Art Exhibition Hall, Salzburg/Galerie im Traklaus, Montrouge/La Fabrique 2011 Expus/Exposed, group exhibition, Bucharest Prostitution, group exhibition, Demo Gallery, Budapest Family warm - No One Belongs Here More Than You at Kunsthalle, Budapest
PLAYGROUND RESEARCH After my child’s birth I started to investigate the topic
of ‘child and the city’. How cities are designed? Are the children and their families taken into account in certain decision-making processes? Soon my focus shifted particularly towards ‘playgrounds’ – the politics behind the public space designed especially for the small ones. For children growing up in the cities, playgrounds have an extremly important role, mostly these are the only areas in the public space, where they can play (and experiment). Playground architecture is always an imprint of the current era, how we (and urban planners, politicians) think about our children, how do we want to raise the forthcoming generation, what are our priorities in this? Safety standards? The market? Creative education? Experiencing freedom? After the WWII, in the time of post-war reconstruction all over Europe (and in the US) playgrounds started to spread like mushrooms and many revolutionary thinkers, landscape architects, artists joined the movement. Just to mention a few names: Aldo van Eyck, Carl Theodor Sørensen, Lady Allen of Hurtwood, Isamu Noguchi, Egon Møller-Nielsen, M. Paul Friedberg, etc. The history of playground concepts – from unrealized plans through implemented ideas to the afterlife of certain projects – is pretty well-researched, but most of the examples are from the West.
ongoing In the future I would like to research the lesser known experimental projects from Central and Eastern Europe. For the forthcoming months I am planning to do research on Hungarian examples, with special focus on the post-war period. On the other hand, I am strongly interested to have a physical outcome. My long-term plan is to develop site-specific, experimental playgrounds together with local communities.
images: ©Virág Bogyó, ©Marcell Esterházy, ©Márton Kristóf and from the book Gabriela Burkhalter: The Playground Project
Death Did Us Part
Death Did Us Part My doctoral research deals with the problematics of the dissolution of art/ curatorial groups. During this research I foster connections with relevant actors of the art life, with people who were members of formerly existing groups. I make interviews about their personal experiences, memories, traumas. Focus group: – formerly existing art/curatorial groups – not more former members than 3 – very strong collaboration – the group’s own identity had an important role, it had its own name, maybe it was a third entity – the collaboration was based on friendship – it was existing/active for a longer period of time (5 years minimum)
Working method: 1st phase: get in touch with the interviewees, explaining the project and the methodology 2nd phase: life story interviews (with each former member separately), recorded with microphone 3rd phase: analyzing the interviews 4th phase: in-depth interviews with the directed questions (the same ones to each participant), based on the life story interviews, recorded on camera End format: 2-channel video installations (e.g. Dominic Hislop and Miklรณs Erhardt)
stills from the interview made with Dominic Hislop and Miklรณs Erhardt (formerly Big Hope), 2018
Sissi Quartier Sissi Quartier is a fictional investment “megaproject” created by Polygon Creative Empire (Virág Bogyó, Orsolya Bajusz, Ágnes Patakfalvi-Czirják and Kinga Lendeczki) for the exhibition Stopover – Ways of Temporary Exchange, frei_raum Q21 exhibition space, Museumsquartier, Vienna, 2017. In conceiving the project, the authors have followed the logic and strategies of large companies which attempt, on the basis of a subjective decision and the demands of a constantly developing capitalism, to artificially create and build up a new “region”. Without regard for local culture, history or tradition, in the first instance this territory is supposed to serve for the generation of further profit, which will make its way back into the investors’ pockets. The artists explore how capital currently involves itself in the transformation of geographical spaces, and which economic mechanisms or sociocultural elements are necessary for the emergence of these “nonhistorical” regions. The concept of Sissi Quartier likewise reflects the ubiquitous necessity of building the brand, for which local historical sources serve only as decorations. Such “local colour” may make the given zone attractive for further potential investments, but it is far removed from the lived reality of the local population. The Polygon Creative Empire’s survey has resulted in a proposal for potential development of the existing region sprawled on the territory of three states between Vienna, Bratislava and Győr, which economists also call “the golden triangle” on account of its favourable geographical position and potential for cross-border cooperation.
Installation viewsof the exhibition in Vienna MQ ART BOX, MuseumsQuartier 10. 22. – 11. 25. 2017.
The project simultaneously criticises the practices of investors distinguished by their building of “non-places”. These localities are not planned primarily for the local inhabitants, but rather for the visitors who pass through the given territory, or use it for shortterm stays. Apart from hotels or entertainment centres, they need to have transit zones, roads, waiting rooms and car parks built for them: all essentially necessary, but they do not bring the region any cultural added value. Imitating this strategy, Polygon Creative Empire have decided that their investment plan will not include permanent accommodation or spaces for the development of local communities, but only opportunities for work, commerce and tourism. Using the ubiquitous Sissi icon, they have planned buildings and “institutions” which together seek to create an attractive look, that of a pleasant destination offering its visitors diverse services. Furthermore, they have enhanced the entire spatial installation with advertising banners sporting catchy slogans, which in language and visuals conform to the promo-activities of investment firms.
One of the region’s dominants is the Nova Terra health centre, located right on the borders, so as to be able to exploit the legislative loopholes of the individual lands. Hungary joyfully offers highquality dental care, Slovakia financially accessible plastic surgery, and Austria non-invasive abortions. Also part of the complex is a relaxation zone: the Rajka sculpture park with its abstract grey bulks, which recall gates or boundary stones. [...] The Empress Sissi adored horse-riding, and so a further important building is the hippodrome. [...] In the spatial visualisation we find, among other things, a diverse range of tourist attractions, for example a viewing tower, a rock face with the carved countenance of Sissi, and an English park, new cycle tracks, and hiking paths. A progressive magnetic high-speed train guarantees a comfortable link between the individual places in the golden triangle. Polygon Creative Empire, however, has not overlooked the fact that certain border regions have for long been regarded as “grey zones”, no-man’s-land, where illegal activities are conducted. It is not only the smuggling trade that “flourishes” in such places, not only the laundering of money; there is even the white slave trade, and the gambling industry. And hence, [...] Sissi Quartier also envisages enterprises “supporting” these activities, since they have the potential to generate no small amount of profit. Accordingly, in this more easterly part of the region we find Kreuzer Kasino, nightclubs, and Motel Princess, offering light entertainment.
text by Barbora Komarová
Installation views of the exhibition in Bratislava Kunsthalle LAB 02. 15. - 04. 14. 2019.
FIRST MOBILE GENTRIFICATION CONFERENCE
FIRST MOBILE GENTRIFICATION CONFERENCE © VIRAGJUDIT GALERI (VIRÁG BOGYÓ, JUDIT FISCHER) ON 1ST OF SEPTEMBER 2016, VIRAGJUDIT GALERI ORGANIZED THE FIRST MOBILE GENTRIFICATION CONFERENCE. THE PARTICIPANTS OF THE EVENT – ACTORS1, ANALYSTS AND CRITICAL OBSERVERS OF THE TRANSFORMING BUDAPEST – WERE RIDING AND DISCUSSING CURRENT ISSUES ON A BEERBIKE2 ON THE STREETS OF JÓZSEFVÁROS3. THE CONFERENCE WAS LIVE AIRED BY TILOS RÁDIÓ BUDAPEST. 1 PUB OWNERS, HOUSING ACTIVISTS 2 A PARTY BIKE, FIETSCAFÉ, BIERFIETS, PEDAL CRAWLER, PEDAL PUB, BEER BIKE OR BIERBIKE IS A MULTI-PASSENGER HUMAN POWERED VEHICLE. (...) PARTY BIKES ARE OFTEN USED FOR STAFF PARTIES AND BACHELOR OR BACHELORETTE PARTIES. THEY ARE OFTEN AVAILABLE AT TOURIST ATTRACTIONS WHERE THEY ARE RENTED BY THE HOUR OR DAY AND OFTEN SERVE AS A ROLLING REFRESHMENT STAND. WHEN USED IN CONJUNCTION WITH ALCOHOL, A PARTY BIKE USUALLY IS HIRED WITH A DRIVER 3 DISTRICT OF BUDAPEST, MOSTLY EFFECTED SCENE OF THE EXTREMELY HARSH GENTRIFICATION PROCESS OF THE LAST YEARS
No Play - Feminist Training Camp May 21 - June 24, 2016 In nGbK, Berlin „Wake up! This is station 2016 on your dial. If you can’t find it then you’re in trouble, sister.” – Born in Flames, 1983 A message from the future is warning us that time is running out. In the past years Europe’s colonial continuities and deeply rooted fascist practices have come to the fore in ever more frightening ways. Resistance is now crucial. We urgently need to revive old and develop new feminist and anti-fascist strategies of resistance and survival. What training do we need? No play proposes a structure, a temporal, spatial and social architecture that turns the exhibition space of nGbK into a resource, a site of activity and exchange in the shape of a Feminist Training Camp.
The Training Camp stems from a queer understanding of feminism with a strong emphasis on grassroots models of collective organization, knowledges based in lived experience and the handling of daily oppressions. A space for disagreement and negotiation that can create a situated public considered political. For this, an intersectional understanding of how categories such as gender, race, class, ability, and sexual orientation are intertwined in oppressive power structures is necessary.
text from: https://archiv.ngbk.de/en/projekte/no-play/
No Play Project Group The series of events was preceded by a four-day long preparatory workshop where we (VirĂĄg BogyĂł and Dominika Trapp) were responsible for the catering. We were given a free hand in compiling the menu and the related catering installation, which was aligned to the militant concept of the camp: the four stages (training, battle, defeat, victory) of a fictional war inspired the thematic days. Accordingly, on the first, training day we dressed as queer training officers; on the second, battle day, as sexy female soldiers; on the third day (day of the losers), as conservative wives; and on the fourth day (day of the winners) as urbantribal sister â&#x20AC;&#x201C; thus we provided not only meals, but a constantly changing, multi-layered performance piece.
Till Death Do Us Part
Till Death Do Us Part This project from 2015 was the starting point of my later doctoral research. Back then, during our residency – in Lothringer13_florida, Munich with my fellow artist Csilla Hódi – we started to talk about stopping to work together under the aegis of P.R. group. As the last project of our 6 year long collaboration, Till Death Do Us Part dealt with the dissolution of groups. During our stay in Munich we invited people who worked in different collaborations in their pasts. We talked about their personal experiences, memories, and traumas during the events we organized. Some of the questions we raised: Is there a time limit to the group? What is the point of working together longterm, is there a need for longterm projects? What happens if members leave the group? What happens after the group falls apart? What kind of trauma-resolving strategies are in place for dealing with this? What happens to the accumulated knowledge and any of its physical manifestations? How can this knowledge be preserved? Is there life after death?
On the first event with the help of the 'Sectretary of Death' participants could write their own groups last testament/ death report. At the other table with the contribution of the forever young 'Peter Pan' they could form their cenotaph from playdough.
At the end we collectively prepared a potion to evoke the 'Spirit of Collectivity'. Participants were asked to put the three most important ingredients of collective working and being.
The second event was a funeral meal and magazine (Till Death Do Us Part, 1st issue) release party. We served thematic food; such us edible earth, bacon rose bucket, marble eggs, black sesame tombstones, drinkable ash, algee crosses, moving black jelly, etc.
of the Chosen Ones
Library of the Chosen Ones © Predestinati pentru Rai 29 November 2015 – 28 February 2016 The Library of the Chosen Ones was a travelling collection of various printed matters which has the expression ‘the chosen one(s)’ in their title. Within this nomadic, transnational research project, the artists tried to collect and distribute all the possible public comments, statements, images, which already exist in this topic. By collecting and juxtaposing written texts and other media the p.r. group proposed to create a platform for comparison and interconnection of the varied fields, disciplines represented by these publications. The exclusive gathering space for all the chosen ones gives the possibility to make the plurality of these privileged groups visible. The Library of the Chosen Ones thus revealed the self-contradictory nature of groups that imagine themselves as chosen ones and questions the assumption of a transcendental power that shapes history, identity and attitude towards the so called others.
text by Attila Tordai
The Library was travelling on a wooden chariot few days in the city of Cluj, then was visible and open to the public at tranzit.ro/ Cluj until the middle of February 2016. The additional event started with Ágnes Patakfalvi-Czirják antropologist's talk about the cult of dead bodies, followed by Márió Z. Nemes poet and art criticist's lecture about sci-fi literature and movies, ended with a film screening and discussion led and moderated by Beáta Makai production manager. library-of-the-chosen-ones.tumblr.com www.librarything.com/catalog/bibl_electorum artguideeast.com/main-news-stream/2016/03/ 29/chosenones-tranzit
I beg your Prague
silver homeless pantomime
I was hungry...
silver homeless pantomime
golden homeless pantomime
beggar hat sale
beggar with a long list
beggar with a long list
silver homeless pantomime
illegal street seller sells from an umbrella
beggar hat sale
everything is 50 CENT
begging for funeral expenses
I beg your Prague, 2013 In 2013 we (Virรกg Bogyรณ, Csilla Hรณdi) got a residency opportunity in Skolska28 Gallery, Prague. During the 3 month of the residency, we were investigating the possibilities of public presence and communication strategies. By the end of this process, our main focus became the figure of the beggar. Our research was based on literary, culture historical resources and real-time public observation.
We organized workshops and together with the local people we developed street actions and performances. Our intention was neither caritative nor ironic. We wanted to create street scenes to disrupt the passer-bies for a moment or a few. ÂŠ <3PRG, www.i-beg-your-prague.tumblr.com
“There’s a tiny palace at the corner of Bajza street” – is a line from a song that was sung by an old man standing in front of a tiny, green kiosk at the meeting point of Bajza street and Városligeti Fasor in Budapest. That was the place that gave home to workshops, actions and certain kind of events throughout the summer of 2013. The stall that was empty for years was temporarily revitalized by Virág Bogyó, whose diploma project was based on renting, inhabiting and rethinking this place and on giving a new life to it. The renewed Flowershop was functioning as a puppet-show, mini art gallery, orgon and music box, information office, free shop and most importantly a meeting point for friends and locals. It was opened on the birthday of the artist. www.viragbolt.tumblr.com
text by Gyula Muskovics
The kiosk was demolished in 2015.
Rainbow tours, 2011 Budapest This series of actions is intended for breaching the perimeter of embassies with a dotted ball painted to the colors of the rainbow. International laws regarding diplomacy state that the territory of embassies officially belongs to their respective mother countries. Towers of outplacement in the war of bureaucracy. What if something trivial happens, an event unforeseen and ungoverned by any paragraph, like a dotted ball bounces over the fence and into the garden of an embassy? It is a bug in the system that can be amended in a single way; by throwing the ball back outside, without showing a hint of suspicion. Thus, by this moment, the hallmarks of power within our surveillance-based society fall victim to flippancy for a few minutes.