OLGA KOCSI PORTFOLIO 2020

2016-2018 C ​ omputer School​vocational 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 János​Technical Vocational School, Auto body technicians, Szigetszentmiklós 2019 Budapest Portfolio review FUTURE talent, Capa Center 2016-2018 C ​ omputer School​vocational 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 AWARD​CEE, ​nominee Chaos Communication Camp, Numberwang village, pancake participant, B ​ erlin 2012 Hungarian Republic scholarship FUTURE TALENT online tutoring with​PhotoIrland ​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 with​PhotoIrland ​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

behance.net/nyulga www.nyulga.com

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.

VR LADA We’re in the universe of emptiness and void, going along the paths of Möbius space in twisted reality. I transformed my mother’s blue LADA 1200 from 1987 into the virtual reality.

One can get into the car, put on the VR glasses and they’ll be part of the hare-universe. The Lada can be controlled with the steering wheel and its gas- (go forward), transmission(turn up) and brake pedals (turn down). Golden rabbits are floating around the VR Lada in an imaginary dimension while the sound of the Little house and the voice of my Mother fill the universe. The Lada itself is floating in an illusion where memories and time-travelling into the past are created. An endless wandering, the Little house is present but only in sound somewhere in the timeless void.

This project wouldn’t have been realized without the involvement of these experts: Dávid Mórász at programming, Kálmán Tarr at microelectronics and Péter Faul at sound design. vThe original owner of the Lada: Dr. Sarolta Kovácsy, my mother. press: https://artportal.hu/magazin/aldott-ladakat-moma-ba/ exhibited: Mélyvíz, M21 Gallery, PÉCS, Hungary, 2017 Küszöb fesztivál, AQB, Budapest, Hungary, 2018

LADA 2101 CAR VR SET: OCOLUS RIFT COMPUTER LEAP MOTION video documentation: 2’34” FullHD

MICRO ELECTRONIC ARDUIONO SCREEN SENSORS

BETON LADA The LADA in which I grew up is shrink and changed material, expanded inside. It moves from digital to analog. BETON LADA and VR LADA are connected to each other in the space of sound. The inspiration was Kusama’s endless mirror spaces.

I wanted to create the rabbit universe in reality. I wish to create my own world. I was interested in the inner space and outespace. Positioning of the viewer is very interesting to me and the a situation of the viewer. The inner world of BETON LADA comes to light when we interact with the action, immerse ourselves in the space, and get a completely different perspective. Covering the senses, image sound and body work at the same time, a multi-sensory experience. For me, the rabbit universe is the world of wonder as I see the LADA and in which I invite the viewer.

The inner space of the BETON LADA, 2019

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

negatives from Mama Rose life 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

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.

video: 2 min 40 sec, 960 x 540 PAL, MOV, 2011.

Change of Scale The famale ideal, the model was with us since we were kids, and created a sort of pressure, an urge to be just like them. The ideal we had as a child, the “what will I be when I grow up� and the realization. We try to become the impossible and I draw a parallel to it with myself. size: 5x50x50cm photo on woodboard

Cabinet from the Cottage The installation consists of a modified beidermeier cabinet. In its side panels there are two small chambers, where the visitors can sit in and watch a short film. In the movie my mother speaks about the House, where I grew up. Her voice is over a slow motion video, what looks like a still image. In the middle of the cabinet there is a showcase for kitschy Holy Olga objects and pictures. They surround the real memories, known from the video: a key, some hair and a plastic soldier... The act of giving is important for me, so the visitors can take home some stickers and photos from the lowest drawer of the cabinet.

size: 208 x 186 x 64 cm weight: 60kg video: 6 min 57 sec, PAL year: 2012 mixed media installation

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 House on the Border is a complex project include a video installation and a book.

The video included the book and the book included the video. The timeline is mĂśbius.

I made my own Taschen book and took it back to the shops. Documentation is more important than the reality. exhibited: I Future Salon, Studio Gallery, Budapest, Hungary, 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

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: Tamรกs 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 https://youtu.be/IdTdrr9a5gI

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 size: 50x70cm year: 2010 The hungarian parlament makes the new national confession statement. I used a black line to make my own sentence from the national confession statement. I found a kind message: “Olga nélkülözhetetlen a világnak“ which is mean: Olga is essential to the world It was exhibited on the 11th ARC billboard competition at Budapest.

FÜLOLAJ 16 kilo lard. year: 2010 A hungarian rumour tells, about the word “Fülolaj”. In the 19th century theres was a poet meeting. The poets are try to compare the word “Love” in every language. They wanted to find the most beautiful word. A hungarian poet Kosztolányi was smart. He knows that “Szeretlek” isn’t sound nice. And knowbody knows the hungarian language because it is very hard.. He decided to say “FÜLOLAJ” for the others as LOVE. This word is sound nice for the ear. Acttually meaning is nothing, something with ear and oil.

Fül means Ear, and Olaj means oil..

Golden Rabbit The basically tautological character of the Golden Rabbit flows from the simple fact that its means are simultaneously its ends. It is the sun which never sets over the empire of modern passivity. It covers the entire surface of the world and bathes endlessly in its own glory.

The Golden Rabbit was first formed in 2013 as a 170 cm, golden-walled, paper-polygon-origami statue. Then, as part of an installation, he glanced at the diploma at the Moholy-Nagy University of Art. In 2014, and then in 2015, he appeared at the Sziget Festival in Budapest.

In 2018, he grew into a human leg, walking out to the Colorado Festival in NagykovĂĄcs, 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 and CAPAZINE Funzine cards, CAPA Center, 2018