re·cal·cu·late, to calculate again, especially for the purpose of finding an error or confirming a previous computation.

For several months, the artist-patient has been making cardboard structures, at first in his room and now, with permission, in an empty interview space within the Bethlem Royal Hospital.

The temporary cardboard structure, repeatedly modified, documents the endless process of adjustment which occurs as the individual calculates and recalibrates his relationship to the institution. The structure is simultaneously a form of escape, a hiding place, a filter, a second-skin – an alternative way of inhabiting the institution but also a reflection and a critique of its spaces and rules.
The structure has a specific use-value for the person who made it. Survival in any institution requires a series of recalibrations, moments when you conform and others when you resist. Making this structure is a response to the question: How do I make this space adapt to me when I am constantly being asked to adapt to it?

For the maker it is an opportunity and an invitation to occupy another space with its own rules – an autonomous zone – that both enables and protects.  There are windows so you can look out, but the random shouts and noises which reverberate off the cold, institutional surfaces outside, inside are muffled and softened.

The generic, modernist architecture of the institution is humanised by the structure’s presence. It is a stand-in for the human body (whose proportions it mimics). It has mimetic powers:  it blends in and conforms; from certain angles it looks like a reception desk or lift door, just another piece of institutional furniture.

It is like a DIY Trojan horse, an ambiguous gift, but what is it smuggling in and out through the locked doors of the institution? It is an object that slips between categories.
For the exhibition, a structure will be specially commissioned for the Triangle Space. It will either be constructed on site at the hospital or made directly in the exhibition space by technicians responding to the instructions of the artist.

The object will be shown alongside images documenting its making and installation in the spaces of the hospital.

Michaela Ross and Josip Lizatovic are artists who manage the art studios on site at Bethlem Royal Hospital. Bethlem Royal Hospital is the original 'Bedlam', one of the world's oldest hospitals for the treatment of mental illnesses. They are currently working together with the artist-patient in the medium secure unit of the hospital.


Exhibition proposal for Triangle Gallery

Floating Balconies
Video installation (sheets, fan, rope, 4 projected stills) 2011-2012

These balconies could be anywhere in Eastern-Central Europe, like in Miskolc,in Belgrade or in Bratislava. Balconies of these type of flats at the same time universal – still bear traces of the socialist dictatorship – however like the backyard gardens it has been characterized by owners.
I collected balconies with strange subjects in my travel of post socialists countries,than I projected the pictures of four balconies to sheets, which were slightly moved by a small fan.

Sugar Factory
Lenticular Print, mounted on extruded polystyrene, 70x100cm.
HD videoloop. 2010-2013

In 2008 in the town of Szerencs, the most important industry, the sugar and chocolate

factory closed. It was the city’s most famous face which had been working for over a hundred years, it has disappeared with the closure of the factory. Over a hundred workers were gradually fired, there were no demonstrations. Once a year the workers,after their morning routine, go to the factory, as if to go to work, they reach the gate which is now permanently closed. This film documents their gathering as a performance.

I asked people to stop for a moment and look into the gate of the factory, in the video then slowly fade in the gate, as they become part of it.

Above the clock of the gate, the original title ‘Sugar Factory’ has been changed to Happy New Year – Forever Living, which can be seen from different view in the lenticular photo.



1976, Debrecen (Hungary)

Qualifications, Memberships:
2009- Hungarian University of Fine Arts,
DLA programme,
2007-2009 University of Pécs, Hungary, DLA
2005 University of Pécs, Hungary, visual
education teacher, (MA)
2000 University of Szeged, geography - Szeged,
Hungary, (MSc)
2000 Gyula Juhász Teacher’s college, Szeged, (BA)
2008- member of Studio of Young Artists Association
2004 member of the Association of Hungarian
Creative Artists
Prizes, scholarships:
2010- “Gyula Derkovits” National Art Award
2010 Space Gallery, Bratislava
2009 National Cultural Fund of Hungary, Scholarship
2004 “Young Art” in Europe Award, Grand Prize,
Paderborn, Germany
Selected Solo Exhibitions:
Critical Aspects of Social co-Existence, Stúdió
Lajos Vajda, Szentendre – with Éva Ludman
Autodafe. Small Synagogue Contemporary
Gallery, Eger Hungary – with Attila Szabó
Breath, Public sound- and video installation,
MODEM, Debrecen –with Sándor Imreh
Monument & Denatural, Lajos Vajda
Studio, Szentendre – with Attila Szabó
Horizon , Medgyessy Museum and
Contemporary Gallery, Debrecen
Horizon, Magyar Műhely Galéria,
Budapest, curator: Erika Baglyas
Selected Group Exhibitions:
Good Sign - Gallery by Night, FKSE, Budapest,
curator: Balázs Beöthy, Luca Ménesi
Anatomy of Integration, Sculpture Quadrennial
Riga, curators: Aigars Bikše, Inese
Baranovska, Ivars Drulle
Crazycurators Biennale IIII
Bratislava, Slovakia,
curators: Juraj Čarný, Katarína Slaninová
Csepel Works. Univ. of Fine Arts and the Univ.
of the Arts London CCW, Labor, Budapest
Rezidens, Space Gallery, Bratislava, Slovakia,
curators: Juraj Čarný, Katarína Slaninová
Visible & Invisible, Artmill, Szentendre,
curator: Máté Csató
“Qui Vive?”
2nd Moscow International
Biennale for Young Art, Russia
curator: Daria Pyrkina
12th Nord Art, Büdelsdorf, Germany
curator: Wolfgang Gramm
1st Danubiana Biennale, Damubiana
Meulensteen Art Museum, Slovakia
Medgyessy Museum and
Contemporary Gallery, Debrecen
Blocked Disbursement,
acb Gallery,
Budapest, curator: Anna Lénárd
“Young Contemporary Statements”,
Zsolnay Manufactory, Pécs, curator: Sári Stenczer
Street ‘08, “Club Gödör”, Budapest,
curator: Anna Lénárd, Attila Szabó
Transmit and transparent
13th International
Biennial Print Exhibition, ROC, Taiwan, curators:
Pao-Hsia Hsueh, Ling-Hui Hung, Yu-Chin Huang
MODEM Centre for Modern
and Contemporary Arts, Debrecen
curator: Eike, Attila Szabó
Prix Ars Electronica, CyberArts, Linz, Austria
Athens Video Art Festival 07
Greece, curator: Hlias Chatzichristodoulou
Pouffee (public intervention) at the official
opening of the MODEM
4th International Graphic Biennial,
Novosibirsk State Art Museum, Russia,
curator: Vladimir Nazanckij


Journey After the Funeral (2007)

This work records part of a train journey between Belfast and Carrickfergus, capturing reflections of the light and passing landscape on a table surface. The journey was one, which I had taken many times as a child and young adult but on this occasion it was taken just after my mother’s funeral. The reflection of the passing landscape was not only a nostalgic revisiting of times past but also a prompt to consider how the world had changed; a reevaluation or recalculation. Given the contemplative nature of the work this piece deliberately has no audio.

Running time 17 mins.


A Sense of the World – the blind traveller (2007)

This work is a documentary travelogue which employs shadows in combination with ambient sounds to mediate the experience of the artist travelling through Thailand, Cambodia and Laos. The work draws from the journeys made by the celebrated 19th century ‘Blind Traveller’; James Holman, and was edited in line with the actual chronological order of the journey. Given that vision had been lost by both the artist and the historic character, the shadows and the sounds in the film are intended to prompt to the visual imagination into ‘colouring in’ what might be taking place.

Running time: 26mins.


Oppression test, 2012

Video installation

“Cobblestones: weapon of the people!” - Oppression Test. How can you connect a naked data collected from the compression test of a country's cobblestone with the political tolerance of that particular nation.

Paranoia Recycle, 2013

Analogue film performance with 8mm and 16mm projectors 

Propaganda film footages from the past and self shooting films to the future



Rudderless, 2010

30' 2010, B/W, video transfer from super 8


The artist duo Igor and Ivan Buharov (Kornél Szilágyi and Nándor Hevesi) have been working together since 1995 in the field of experimental film, music, and visual arts. Besides working on the edge of film and visual arts, they also collaborate with different groups beyond the visual art scene. Since 1994 they have played in the bands Labor 40, then Pop Ivan, and are co-authors in the collective Kaos Camping, presenting audiovisual performances. The Budapest-based artists met in the 1990s during their art pedagogical studies at Eger Pedagogical College; since then they have been making films and music together. Nándor is also a painter and free jazz musician, and Kornél studied at the Intermedia Department of the University of Fine Arts in Budapest where he is a DLA student.

The Buharovs shoot their films mainly with super 8 technique and combine elements of experimental filmmaking and narrative story-telling. The use of dreamlike imagery, poetical and philosophical texts, and self-written music give the specific atmosphere of their films. The world created by the Buharovs moves on the frontier of dream and reality, they capture archetypical experiences in surrealistic atmosphere. The protagonists are mostly friends and non-actors, who live outside of mainstream and elite culture, and often speak out poetic or philosophical dialogues given to them. The vision of freedom and its impossibility, the slow steps of the individual towards self-liberation are topics touched with melancholy and irony.

The film ‘Rudderless’ inspired by a 1971-poem with same title by Hungarian poet István Domonkos (1940). The poem is a modern epos, a self-reflection of a person living in minority status in Yugoslavia in the early 1970s, with relevance today: an individual forced into migration, and brought under uncontrollable circumstances in a globalized world. Without directly using the text, the film follows the poem in black and white images, accompanied mainly by their own music. We follow a journey which the protagonist starts from a forest passing through different lands and cities in solitude, then encountering different people, getting in short personal relations, finally ending up at his lonely caravan in the woods where he departed. The first 30-minute version of the film was finished and first presented at Manifesta 8 in Murcia, Spain. Among the images, textual material also appears: Domonkos’s poem, thoughts about power, governance, and freedom. Similarly to the poet, the artists are also skeptical about the positive effects of governance, and propose alternatives in anarcho-communist ideas, and quote, for instance, Errico Malatesta:

"With all this, the government does not change its nature. If it acts as regulator or guarantor of the rights and duties of each, it perverts the sentiments of justice. It justifies wrong and punishes every act that offends or menaces the privileges of the governors and proprietors. It declares just and legal the most atrocious exploitation of the miserable, which means a slow and continuous material and moral murder, perpetrated by those who have on those who have not.”

more information: http://www.buharov.hu/portfolio/


I'll go down to live under ground 2012 (Video installation)

The video based on a less known Hungarian folk song: "I'll go down to live under ground, so nobody will push me around. I'll have a house built that will have no window made."


Update 90 2013 (Found objects)

All ideological/political eras have their visual helplessness. Therefore after changes there are certain traits of the former era left behind in public places. This was the case also after the 1956 revolution and after the 1989 changes. The installation is a unconventional typography of the changes we made on the official coat of arms on state owned institutions. The „heraldic do it yourself“ is a typical moment in history, in which not only the two eras are represented but also the transition state that separates them, superposition.


Reward Morsel 2011

Multi media work

It is interesting that we have schools, places where we can pressure each other until we finally form a community. This fixing or formation is either successful or not. Succes depends largely on the rules. While the institution is a given, the rules keep changing with the time. This is especially bizarre, and has even been tragical in the course of history. They are obligatory and common. Compliance with the rules and adapting them to the individual require creativity. The school gown may be made of textile or nylon. The hat turned backward. I am concerned with rules and compliance with rules. How are all these manifested? How do they transform visually?

Painted objects related to the school and the kitchen. Nothing special at first sight, but gain different meanings when we see them in a painting. This work focusing on schools is linked to a field study that lasted several years. Even if we do not always work within the school premises, its rules are still present. We all have an obligatory relationship to the institution of the school. My works related to the theme of public catering and the school canteen. I installed the paintings in a kitchen built in the 1950s, in a tiled environment, using a hot-plate and an old, weathered sink. I consider the paintings to be painting objects that are part of the furniture. In the microwave I placed a video work. I sawed together used dishtowels with red and green ribbons. In this way I compiled a Hungarian kitchen. A uniform kitchen consisting of typical objects.



Sew As 2012 (interactive installation)

My recent installation plan is based on my former interest and research that connecting the meaning of sewing in the different fields. I found that the sewing is a typical penitently work, often used in prisons, in correction institutes, or even in schools.

My idea is based on an old English drawing, found in a book in London. This drawing shows a school-room, where girls sit in rows on a sewing lection. The teacher shows the correct movements and the girls follow her example.

Every lamp, tripod, wire is visible, neither of them hidden. The whole technical apparatus is arranged in order. The construction of the installation let the system visible, not only the installation’s, but may refer to the system of the institutes of the society.

To install my project i need the followings: no walls, 4m X 8m moderate dark place, one spotlight from the ceiling, electricity, a few meter channel cable protector.


The Checkered Doubt 2012

Black and white digital print on 12 sheet of paper,
each 21 x 29.5 cm

Kicsiny’s work crosses Time and Space, between 16th Century England and 20th Century Hungary. It is a chain of arbitrary interpretation, where coincidence has importance: a few hundred meters from Westminster Abbey, can be found the Grosvenor Estate with it’s checkered universe built in 1930s in London. Also becoming part of this paradoxical narrative the fact that former communist leader János Kádár’s had a passion for playing chess, as well as Gabriel Orozco’s checkered skull, which in Kicsiny’s artistic association relates to Kadar’s stolen skull from his tomb in 2006. The recent identity crises of the Hungarian political life is also juxtaposed with the Louis Vuitton’s fashion collection for the year 2013, where the checkered pattern will dominate.


Four hundred and fifteen years ago died the first victim of the chequered doubt; baron C. His dead body is preserved by the chequered sarcophagus. No representation of the deceased is found on the tomb. What is the reason of this worrying absence, this reverential abnormality? Maybe the sarcophagus is able to provide the answer to these questions, as to who baron C. was (black?) or who he was not (white?). Even Baron C. knew that this question is unanswerable and escaped from it into death.


Three hundred and forty eight years later the second victim of this strange disease died; L. the architect. He designed chequered houses. His master work, the G. estate, is by P. V. and R. Street.

Forty five years after the death of L. the destiny over K is about to be full-filled, the third victim of the chequered doubt. To hide his illness he pretended to be a chess player. Thus he met his death, while he gazed into the distant black and white wasteland.


Hardely eight years had passed, when the skeleton of K. was stolen from his tomb.The offender was G. the artist, the fourth vicitm of the chequered doubt. G. could not have known that the disease was infectious even after death. His illness coupled with his compulsive artistic activity. G. painted everything chequered which came to his fingertips. Even the skull of K. could not escape from this pathological manifestation of his artistic drive.

Two thousand meters from the tomb of K. sentence is passed on the fifth victim O. the convict. His prison is a chequered car, here he is unable to depart or to arrive. The solitude of O. is complete and definite, like the loneliness of the darkened lighthouse at the shore of personality disorder.


The sixth victim V, the fashion dictator displays next year’s new collection.


Apiary 2012 (Installation) 

In the spring of 2010 I had a dream in which I placed the Platonic bodies, the tetra-hexa-, octa-, dodeca- and ichozahedrons in beehives. Before I could find out what the bees did with the bodies, I woke up. During my wakefulness I applied the thoughts from my dream on a comb-press, this was how I could best transplant my ideas about the Platonic bodies into the world of bees. I wanted to understand as much as possible why the ideal geometry of work in the case of bees is the hexagonal comb building, closed by rhombuses. My idea was that instead of the level surface of the regular solids, the bees would be given combs on which I substitute the hexagonal cells with tri-, quadr- and pentangular ones. On the experimental combs the bees received three kinds of cells that were “worse”(tri-, quadr- and pentangular) than what they usually build, and one which is mathematically „better”, the hexagonal cell closed á la László Fejes Tóth. In the case of the equilateral triangles the bees took the crossings as starting points. They cut the sixth of a hexagonal cell from the peaks of the triangles, and thus they built the new cell and remade the triangular grid into a perfect hexagonal one. While in the case of the triangular cell grid it was possible to build the ideally sized hexagonal cells, the bees could be tolled with the quadrangular and pentangular comb grids. They started the building of the cells on the pentangular and quadrangular combs with the rounding of the form, and then they re-angled the cell again. Even though they managed to build hexagonal cells, the size of them significantly differed from the ideal. The most tangible result was that I could show a process regarding which we had only guesses until now. My goal was to collect as much information as possible about how the rebuilding was accomplished: to make an image of the experience.