tag:blogger.com,1999:blog-32037853435288930292024-03-12T17:14:50.531-07:00Thames DanubeA collaboration between CCW Graduate School, University of the Arts London, and the Hungarian University of Fine Arts, Doctorate SchoolUnknownnoreply@blogger.comBlogger29125tag:blogger.com,1999:blog-3203785343528893029.post-55756202238209404042013-05-08T08:19:00.000-07:002013-05-08T08:19:27.589-07:00CONTEXTUALISING RECALCULATING SEMINAR SCHEDULE<br />
<br />THURSDAY 25TH APRIL 2013<br />Title: Contextualising Recalculating<br />Location: ALG15a & ALG15b, Chelsea College of Art and Design<br /><br /><br /><span style="font-family: Times, Times New Roman, serif;">9:30 Arrival and coffee<br />10:15 The CCW-Budapest collaboration: the road to Recalculating (Stephen Scrivener. CCW)<br />10:30 Utilitarianism and the art school in nineteenth-century Britain (Malcolm Quinn, CCW)<br />11:15 Chastisement, correction, cure or confinement? Historical perspective from Bridewell and Bethlem Hospitals (Colin Gale, Bethlem Royal Hospital)</span><div>
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<span style="font-family: Times, Times New Roman, serif;">12:00 Art in Bethlem Royal Hospital (Michaela Ross and Josip Lizatovic, Bethlem Royal Hospital)<br />12.45 Discussion session<br />13.15 Lunch<br />14:15 Introduction (Balàzs Kicsiny, Academy of Art, Budapest)<br />14:20 Short PechaKucha-style artists talks*<br />15.30 Tea and coffee<br />15:40 Short PechaKucha-style artists talks*<br />17.10 Question and answer session <br />17.30 Close</span><br /><br />This one day event accompanies the Recalculating exhibition (Triangle Space, Chelsea College of Art and Design, 24th and 27th April 2013) which arises out of an on-going collaboration between CCW Graduate School and the Doctoral School, Academy of Art, Budapest. The collaboration has been sustained by a series of workshops in Budapest and London focussed on sites of historical and contemporary interest. In Budapest, the site of interest was the Csepel Island industrial region of city, which up until the late 1980s was the city’s industrial powerhouse, but has since undergone a period of decline and renewal. This workshop resulted in an exhibition entitled Csepel Works at the Labor Gallery in Budapest, May 2011. In July 2011, a second workshop took place in London that focussed on the institutional legacy, i.e., penal, medical and artistic, of the Millbank site and the Recalculating exhibition is an outcome both of this workshop and the legacy of the collaboration. <br /><br /><br />The morning session of invited presentations introduces new material into the project that addresses policy change in 19th century regarding art education and mental health and the contemporary function of artistic activity in the Royal Bethlem Hospital. The afternoon session comprises short presentations by the Recalculating artists addressing their contributions to the exhibition.<br /><br /><br />* PechaKucha 20x20 is a presentation format where the speaker presents 20 images, each for 20 seconds. Where possible, the images advance automatically.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-19594742263950361552013-04-18T15:15:00.000-07:002013-05-12T11:20:21.348-07:00MRES RESPONSE<h3 class="MsoNormal" style="margin: 0cm 0cm 0pt;">
<span style="font-family: "Courier New", Courier, monospace;">Creative writing in response to <em>Recalculating</em>: </span></h3>
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<span style="font-family: "Courier New", Courier, monospace;">Aesthetics of the written word, in contradistinction to artwork and exhibition.</span> </div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-4442898002709551032013-04-16T07:45:00.000-07:002013-04-16T07:45:30.595-07:00FLΔG COLLECTIVE<h3>
Recalculating the Triangle: FLΔG<br /></h3>
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FLΔG is a group formed at Chelsea College of Art and Design in 2010, comprising of artists, students, former students, staff and researchers. We explore the relationship between art practices, art education, and pedagogy, looking at forms of knowledge production and dissemination in the art school and beyond. FLΔG continues where the ‘educational turn’ in the art world left of, bringing re-examined art/ pedagogy dynamics back into the discursive arena and physical space of the art school, but also by engaging with galleries and related art spaces. FL∆G was named after the room code of the Triangle gallery space, FLG01, with the A of FL∆G being substituted by a triangle, to reference the shape of the Triangle Gallery. <br /><br />Understanding the Triangle as a very particular physical and discursive site was a key part of beginning to explore the relationship between art educational practices within the academy and the educational turn outside the academy. Site-specific art works, (responding either to the physical site of the Triangle Gallery, to the institutional site of Chelsea or to the discursive site of pedagogy as art) was a fundamental aspect of this project. Both as a way to discursively explore reflection within art practice, as well as an opportunity to explore ideas around the pedagogy of physical, material, artworks in relation to pedagogic theory. <br /><br />The Triangle gallery is one of the few spaces at Chelsea that the general public has access to. It operates as an educational space, a space for student shows and as an open public space. It is linked through a pathway to the parade ground, adjacent to Tate Britain and we were interested drawing on the public potential of the Triangle as it mediates between the academy and society. <br /><br />For RECALCULATE FLΔG proposes to show documentation of the re-adjustment of the Triangle Gallery through the inaugural FLΔG project in 2010, as a reflection on this event and to set up a reflexive site, where members of FLΔG will intermittently be present to discuss their work past and present. <br /><br />FLΔG: Kiki Claxton, Hannah Clayden, Mario D’Agostino, Katrine Hjelde and Michaela Ross. <br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-24726899630666482812013-04-16T02:58:00.000-07:002013-04-16T02:59:10.871-07:00EXCHANGING ARTISTIC RESEARCH SEMINAR SCHEDULE<h4>
<br />FRIDAY 26TH APRIL 2013<br /><br />Title: Budapest-London: Exchanging artistic research<br /><br />Location: The Red Room, Chelsea College of Art and Design</h4>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 8pt;">09.30<span style="mso-tab-count: 1;"> </span>Arrival and coffee<o:p></o:p></span></b></div>
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<span style="font-size: 8pt;">10.30<span style="mso-tab-count: 1;"> </span>Artistic doctorate in the UK<span style="mso-tab-count: 1;"> </span>Stephen Scrivener (CCW)<o:p></o:p></span></div>
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<span style="font-size: 8pt;">11.00 <span style="mso-tab-count: 1;"> </span>Artistic doctorate in Hungary<span style="mso-tab-count: 1;"> </span>Balàzs Kicsiny (HUFA Doctoral School)<o:p></o:p></span></div>
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<span style="font-size: 8pt;">11.30<span style="mso-tab-count: 1;"> </span>Discussion<span style="mso-tab-count: 1;"> </span>(Chairs) Kicsiny and Scrivener <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 8pt;">12.00<span style="mso-tab-count: 1;"> </span>Lunch<o:p></o:p></span></b></div>
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<span style="font-size: 8pt;">13.00<span style="mso-tab-count: 1;"> </span>Doctoral presentation 1 <span style="mso-tab-count: 1;"> </span>Nemere Kerezsi (HUFA Doctoral School)<o:p></o:p></span></div>
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<span style="font-size: 8pt;">13.30<span style="mso-tab-count: 1;"> </span>Doctoral presentation 2 <span style="mso-tab-count: 1;"> </span>Aaron McPeake (CCW)<o:p></o:p></span></div>
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<span style="font-size: 8pt;">14.00<span style="mso-tab-count: 1;"> </span>Doctoral presentation 3 <span style="mso-tab-count: 1;"> </span>Kata Soós (HUFA Doctoral School)<o:p></o:p></span></div>
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<span style="font-size: 8pt;">14.30<span style="mso-tab-count: 1;"> </span>Doctoral presentation 4<span style="mso-tab-count: 1;"> </span>Katrine Hjelde (CCW)<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 8pt;">15.00<span style="mso-tab-count: 1;"> </span>Tea/coffee break<o:p></o:p></span></b></div>
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<span style="font-size: 8pt;">15.30<span style="mso-tab-count: 1;"> </span>Doctoral presentation 5 <span style="mso-tab-count: 1;"> </span>Szabolcs Süli-Zakar (HUFA Doctoral School)<o:p></o:p></span></div>
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<span style="font-size: 8pt;">16.00<span style="mso-tab-count: 1;"> </span>Doctoral presentation 6 <span style="mso-tab-count: 1;"> </span>Michaela Ross (CCW)<o:p></o:p></span></div>
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<span style="font-size: 8pt;">16.30<span style="mso-tab-count: 1;"> </span>Discussion and close<span style="mso-tab-count: 1;"> </span>(Chairs) Kicsiny and Scrivener<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 8pt;">Close<span style="mso-tab-count: 1;"> </span><o:p></o:p></span></b></div>
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</span>Since the early nineteen nineties a vigorous international discourse has been underway about the purpose and nature of artistic research. In Britain, this has been accompanied by the widespread introduction into academe of doctoral degrees in art. Whilst, the scope of artistic research is international, many countries have yet to establish doctoral programmes, whilst in others their inception predates the nineteen nineties. Thus approaches to and experiences of doctoral education in art vary markedly between one country and another. The occasion of the Recalcuting* exhibition, which arises out of collaboration between the Hungarian University of Fine Arts, Doctoral School, Budapest, and CCW Graduate School, University of the Arts London, provides an opportunity to celebrate the work of artistic researchers who have successfully completed their degrees, whilst also exploring the affordances and constraints of the institutional regulatory frameworks within which their research was undertaken. <br /><br />The morning session will contextualise the afternoon session by describing and discussing the frameworks regulating doctoral research doctoral degree programmes at each of the participating institutions. After lunch, recent doctoral degree holders from each school will talk about the research they undertook during their doctoral degrees.<br /><br />*Recalculating, Triangle Space, Chelsea College of Art and Design, 16 John Islip St., London, SW1P 4JU, April 24th-27th 2013.<span style="font-family: Courier New;">
</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-42459928459481577562013-04-16T01:53:00.001-07:002013-05-08T08:00:23.068-07:00POSTERS FOR THE RECALCULATING EXHBITION AND EVENTS<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-41175471534681311512013-04-13T08:03:00.000-07:002013-04-17T08:33:54.349-07:00STEPHEN SCRIVENER<h3>
Redactions 1:1 - 1:2</h3>
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A1 poster and A6 book</h4>
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In a circular letter to the governors of Her Majesty’s Gaols, dated December 1854 and entitled <i style="mso-bidi-font-style: normal;">Photography as an aid to the administration of criminal justice</i>, James Anthony Gardiner, then Governor of Her Majesty’s Gaol, Bristol, argued for the advantages of the use of photography in the administration of criminal justice. The problem, as he saw it, was that there was no way of knowing whether an offender presented to his gaol for the first time had committed a previous crime elsewhere in the United Kingdom. The solution that appealed to Gardiner, and which he recommended to his fellow governors for “general adoption throughout the kingdom”, was the use of photography, because, “I might in scores of cases, even without the knowledge of the prisoner, procure his likeness, a very icon of himself, of which, being capable of multiplication to any extent, I might transmit a copy to wherever it might promise to lead to useful results.” <span style="mso-spacerun: yes;"> </span>He went on to describe how, after twelve months of operation, he had perfected a system of photographing prisoners, reporting that by its means he had brought to justice several hardened offenders, who “being unknown in my neighbourhood, would otherwise have escaped with inadequate punishment.”<span style="font-size: 10pt;"> </span>He had achieved these successes by forwarding images of prisoners who had come into his charge to “several places”, thereby obtaining information of their previous convictions elsewhere.<span style="mso-spacerun: yes;"> </span>As far as Gardiner was concerned, the photograph provided a means of attaching a set of criminal records to a single offender.<span style="font-size: 10pt;"><o:p></o:p></span></div>
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In an article under the heading <i style="mso-bidi-font-style: normal;">Photographing prisoners</i> in The Photographic News: A Weekly Record of the Progress of Photography, Volume 10, November 2<sup>nd</sup> 1866, 524-525, the unidentified author acknowledges the photograph's “literal fidelity in rendering facts” and Gardiner’s ambition “to secure sun drawings of his enforced guests,” solely for the purposes of identification, but then proceeds to read example photographs in terms of what they have to tell us about the individuals photographed: “Not all brutalized, or besotted, or sinister; not all with the forehead villanous low, the square jaw, the coarse mouth, or the eye of wild beast; but in more cases a weak and weary, or a craven and humbled look. Some of the faces remind us painfully of another series of portraits, taken by Dr. Hugh Diamond, of insane persons, and suggest to us the connection between diseased morals and diseased minds, between crime and insanity. Physiognomy, to the careful observer, may often, doubtless, indicate tendencies of character, and suggest phases of mental history. None of the portraits before us look intellectual, or suggest culture; they are mostly of a low type; but there is nothing to suggest the dogged, resisting, vindictive beings, with overhanging felon-brow and sunken cruel eyes, which sensation writers at times attribute to the criminal classes. They are rather examples of God's image degraded and enfeebled by neglect; plants which resemble weeds, because left without culture. The only portrait marked as that of a murderer is that of a weak but not imbecile-looking old man, the mildest in expression amongst a score of criminals."</div>
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Whilst Gardiner’s plan was not immediately adopted nationally, enactments were made in the Prevention of Crimes Act, 1871, Chapter 112, 34 and 35 Vict, with a view to the photographing of criminals as a means of facilitating their identification. Many of the thousands of prison photographs demanded under the Act are now held in the British National Archives and have already been copied and uploaded onto web sites, such as Ancestry.co.uk, thus adding to the already large number of mugshot web galleries, blogs, etc., and newspaper articles dealing with the subject. Often the power of this material seems to be what it suggests about the characters of the depicted individuals and/or the times in which they lived.</div>
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Redactions 1:1 – 1:2 is a work in two parts that plays with the two ways of reading outlined above: Redactions 1:,1, a poster, invites the viewer to participate in a process of identification (in the gallery space the poster is further redacted such as to present an additional problem to the viewer); Redactions 1:2, a book, plays on the suggestive potential of the juxtaposition of text and image.<br />
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<tr><td class="tr-caption" style="text-align: center;">Redactions 1:1 poster </td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Front cover of Redactions 1:2</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">A double-spread from Redactions 1:2</td></tr>
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<span style="font-size: x-small;">Images by courtesy of Tyne & Wear Archives, document TWAM ref PR.NC/6/1.</span><span style="font-size: small;"> </span><br />
<a href="http://www.flickr.com/photos/twm_news/sets/72157625464218629/"><span style="font-size: x-small;">http://www.flickr.com/photos/twm_news/sets/72157625464218629/</span></a><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-77375815428744499482013-04-05T08:20:00.002-07:002013-04-05T08:20:20.032-07:00ANNE LYDIAT<h3>
<br /><br />Recalculating</h3>
<br />I live and work as an artist on an old converted Medway Coaster moored on the River Thames. In this hypothetical space of marginality and transgression I am regarded as ‘living outside the urban edge’, what Michel Foucault calls ‘other spaces’ or ‘counter sites’; …heterotopias which simultaneously represent, compete and challenge, as well as turn upside down actual places… 1 <br /><br /><br />In the final paragraph of a lecture Foucault gave to a group of architects in 1967 entitled ‘Of Other Spaces: Utopias and Heterotopias’ (Des espaces autres), he describes the boat or ship as ‘the greatest reserve of the imagination, the heterotopia par excellence’. He states …as a moving entity, a boat exists outside mainstream society, and therefore embodies a kind of liberty… 2<br /><br /><br />As a process of mapping the lived experience of being on board ship I have made a series of indexical ink drawings (I am not claiming the drawings are heterotopic - they are traces of emotional and somatic experiences on the ship as a heterotopic space). By suspending a pen from the roof in the hold, I have captured moments of presence now lost, the fleeting, transient rolling of the ship in relation to the wind, and the tide on the female body. Charts that locate my emotional and somatic relationship to a space and place on the river that can never be navigated.<br /><br /><br />Similar drawings have been made by other female artists despite each being unaware of the drawings of the other. Could there be a link in these artworks that would indicate a gender aware art practice that relates to ‘feminine’ gendered narratives. If so, how might they inform the discourses in relation to the ship as a transgressive space used, occupied and ‘experienced’ by women? <br />
<br />1. F o u c a u l t, Michel 1997. Of Other Spaces: Utopias and Heterotopias. – Rethinking <br />Architecture. A Reader in Cultural Theory. Ed. Neil Leach. London, New York: Routledge, pp. 350–356 <br /><br />2. Foucault, M. (1986) [1967] (Trans. Jay Miskowiec) ‘Of Other Spaces’, Diacritics, Vol. 16. No. 1. pp. 22-27. Johns Hopkins University Press.<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-88309802537561659012013-04-04T02:39:00.000-07:002013-04-04T02:39:25.265-07:00ALISON GOODYEAR<h3>
Move me No.1 Septych, 2013</h3>
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Oil on wood panels: each panel: 10cm(h) x 40cm(w) x 3.5cm(d); combined dimension: 10cm(h) x 280cm(w) x 3.5cm(d)</h4>
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This work firstly is a painting. It has a sense of abstracted space relating to landscape painted on seven wood panels. Secondly, it is an experiment designed to ask the beholder to recalculate the work. In an “explicit invitation to exercise choice” (Eco, p.1, 1989) the beholder is invited to physically rearrange the seven wood panels horizontally along a shelf. Each choice is one of 5040 horizontal permutations (see 4 permutations of the seven panels exampled above).
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Rather than a passive viewing, it is designed to encourage the beholder to reflect on their own aesthetic type experiences and re-position the piece till it answers their requirements, their judgments, simply put, how it suits them best. This piece could be seen as ‘open’, always in flux, often ambiguous, drawing on our natural urge to make sense of the world around us. It attempts to collapse the conventional relationship of beholder/artist, where there is only one acceptable version of aesthetic in the artwork. That there could be many versions, as acceptable, brings the beholder to re-assess their understanding of themselves in that world. <br />
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I would hope the non-artist beholder gain greater confidence in their artistic convictions, a personal aesthetic brought about through an autodidactic journey, self-learning prompted by interaction with the piece. On painter to painting relationships, Michael Fried suggests the artist Chardin, through his process found “a natural correlative for his own engrossment in the act of painting and a proleptic mirroring of what he trusted would be the absorption of the beholder before the finished work” (p.51, 1980). He also states that “art degenerates as it approaches the condition of theatre” (p.164, 1998 [1967]), when an artwork acknowledges the beholder before it. Therefore can this work become an anti-theatrical alternative by creating “work(s) which acknowledge their own literality and thereby construct a beholder capable of acknowledging his own literal presence” Mulhall (p.12, 2001). Can the beholder still lose themselves, and become absorbed?<br />
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With this experimental work I am interested in how it could develop through and with the beholder. Will all 5040 horizontal possibilities be explored? Will the way this piece is painted (an original order of connecting imagery) result in a dominant order? Will the traditionally forbidden act of touching an artwork (to maneuver elements of this painting) be overcome? Will it engage a ‘critical agency’ (Foucault)? In asking the beholder to aid in the entropy of the artwork and then its potential rebirth through the shared, temporary language individual to this piece, does the relationship between artist/beholder not become something else? Artist/beholder-artist?<br />
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References<br />
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Eco, U. (1989) <em>The Open Work</em> Cambridge: Harvard University Press.<br />
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Fried, M. (1980) <em>Absorption and theatricality: painting and beholder in the age of Diderot</em> Berkeley and London: University of California.<br />
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Fried, M. (1998) <em>Art and Objecthood, Essays and Reviews</em> Chicago and London: The University of Chicago Press.<br />
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Mulhall, S. (2001) Crimes and Deeds of Glory: Michael Fried’s Modernism British Journal of Aesthetics, Vol. 41, No. 1, January 2001.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-28410728290807634512013-03-30T02:16:00.002-07:002013-04-04T02:08:47.819-07:00MICHAELA ROSS AND JOSIP LIZATOVIC (CURATORS)<span style="color: black; font-family: Courier New;"></span><br />
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "Courier New", Courier, monospace;"><strong>re·cal·cu·late</strong>, to calculate again, especially for the purpose of finding an error or confirming a previous computation. </span></span><br />
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "Courier New", Courier, monospace;">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.<o:p></o:p></span></span><br />
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "Courier New", Courier, monospace;">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. <o:p></o:p></span></span></div>
<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "Courier New", Courier, monospace;">The structure has a specific use-value for the person who made it. Survival in any institution requires a series of re</span><a href="http://www.blogger.com/null" name="_GoBack"></a><span style="font-family: "Courier New", Courier, monospace;">calibrations, 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 <b style="mso-bidi-font-weight: normal;">me</b> when I am constantly being asked to adapt to <b style="mso-bidi-font-weight: normal;">it</b>?</span></span><br />
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "Courier New", Courier, monospace;">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.<span style="mso-spacerun: yes;"> </span>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. <o:p></o:p></span></span></div>
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: Calibri;"><span style="font-family: "Courier New", Courier, monospace;">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:<span style="mso-spacerun: yes;"> </span>it blends in and conforms; from certain angles it looks like a reception desk or lift door, just another piece of</span> </span><span style="font-family: "Courier New", Courier, monospace;">institutional furniture.<o:p></o:p></span></span><br />
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: Calibri;"><span style="font-family: "Courier New", Courier, monospace;">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.</span> </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf7vGDzmyw4bZKLoRYywFeQve54rYHs8rJ2z3TKqeS1Ci7FMEWmsWIYfr2fRGRGLGrYxzCvJ0QPX5QbO8E_Kzs8B0nMtkHmLcAVXzC5srklhgXn06zO27JWmW5I9P37qqD22gLWVGZPDoC/s1600/The+Box+(1)_Page_6.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf7vGDzmyw4bZKLoRYywFeQve54rYHs8rJ2z3TKqeS1Ci7FMEWmsWIYfr2fRGRGLGrYxzCvJ0QPX5QbO8E_Kzs8B0nMtkHmLcAVXzC5srklhgXn06zO27JWmW5I9P37qqD22gLWVGZPDoC/s320/The+Box+(1)_Page_6.jpg" width="226" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvBrd_x4syyGTaTDPEMXBU5DZMkAF_zMGU2H1f4TN5jmQjONiofOEuvny8sByT9G2_X-xqLeZ0jJpCw9KV-nF2RliEFGeUm9hNw5Z57bQBeaiJXTdFA12OzS1dgT1jvznN0e58926j2ipF/s1600/The+Box+(1)_Page_5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvBrd_x4syyGTaTDPEMXBU5DZMkAF_zMGU2H1f4TN5jmQjONiofOEuvny8sByT9G2_X-xqLeZ0jJpCw9KV-nF2RliEFGeUm9hNw5Z57bQBeaiJXTdFA12OzS1dgT1jvznN0e58926j2ipF/s320/The+Box+(1)_Page_5.jpg" width="226" /></a></div>
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<span style="font-family: "Courier New", Courier, monospace;"><b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; line-height: 115%;">For the exhibition</span></i></b><span style="font-size: 12pt; line-height: 115%;">, 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. <o:p></o:p></span></span><br />
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<span style="font-size: 12pt; line-height: 115%;"><span style="font-family: "Courier New", Courier, monospace;">The object will be shown alongside images documenting its making and installation in the spaces of the hospital.<o:p></o:p></span></span><br />
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<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: 12pt; line-height: 115%;">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.</span><span class="education1"><span style="font-family: "Calibri","sans-serif"; font-size: 12pt; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><span style="color: #0066ff;"> </span></span></span><span style="font-size: 12pt; line-height: 115%;">They are currently working together with the artist-patient in the medium secure unit of the hospital.<o:p></o:p></span></span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-20672909718014408422013-03-25T11:50:00.000-07:002013-04-04T02:13:15.701-07:00SZABOLCS SULI-ZAKER<span style="color: #4d4d4d; font-family: Batang; font-size: large;"></span><br />
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<img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAonTRLakmCGPMRxASp_iCf5tKYWUOpG6p4qrHctxmIg0S0hQFxdXEFs_0csomaFR_0o6xVqrWi7QA4yV_w5K5OYI-9AdN86hdN7jLNGvKLFY9gSiR6Xvot-8s0kuSgUIuExgjGIFidunO/s400/suli_zakar_szabolcs+(1)_Page_05.jpg" width="362" /></div>
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<strong><span style="font-family: Courier;">Floating Balconies</span></strong><span style="font-family: Courier;"><br />Video installation (sheets, fan, rope, 4 projected stills) 2011-2012</span></div>
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<span style="font-family: Courier;"><br />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.</span></div>
<span style="font-family: Courier;">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.</span><br />
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<span style="font-family: Courier;"><strong>Sugar Factory</strong></span><br />
<span style="font-family: Courier;"><span style="font-family: Courier;">Lenticular Print, mounted on extruded polystyrene, </span><span style="font-family: Courier;">70x100cm. </span></span><br />
<span style="font-family: Courier;"><span style="font-family: Courier;">HD videoloop. </span><span style="font-family: Courier;">2010-2013<o:p></o:p></span><br /><span style="font-family: Times New Roman;"></span><br /><span style="font-family: Courier;">In 2008 in the town of Szerencs, the most important industry, the sugar and chocolate</span><br /><span style="font-family: Times New Roman;"><u1:p></u1:p></span><br /><span style="font-family: Courier;">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.</span><br /><span style="font-family: Times New Roman;"><u1:p></u1:p></span><br /><span style="font-family: Courier;">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.</span><br /><span style="font-family: Times New Roman;"><u1:p></u1:p></span><br /><span style="font-family: Courier;">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. </span></span><br />
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<span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif"; font-size: 7.5pt;"><span style="font-family: "Courier New", Courier, monospace;">CV<o:p></o:p></span></span></div>
<span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif"; font-size: 7.5pt;"><span style="font-family: "Courier New", Courier, monospace;">1976, Debrecen (Hungary)<o:p></o:p></span></span><br />
<span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif"; font-size: 7.5pt;"><a href="http://www.suli-zakart.com/"><span style="font-family: "Courier New", Courier, monospace;">www.suli-zakart.com</span></a><o:p></o:p></span><br />
<span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif"; font-size: 7.5pt;"><a href="mailto:szabolcs@suli-zakar.com"><span style="font-family: "Courier New", Courier, monospace;">szabolcs@suli-zakar.com</span></a><o:p></o:p></span><br />
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<i><span style="color: grey; font-family: "ZapfHumanist601_PFL-Italic","serif";"><span style="font-size: xx-small;"><span style="font-family: "Courier New", Courier, monospace;">Qualifications, Memberships:<o:p></o:p></span></span></span></i><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2009- Hungarian University of Fine Arts,<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">DLA programme,<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2007-2009 University of Pécs, Hungary, DLA<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2005 University of Pécs, Hungary, visual<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">education teacher, (MA)<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2000 University of Szeged, geography - Szeged,<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Hungary, (MSc)<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2000 Gyula Juhász Teacher’s college, Szeged, (BA)<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2008- member of Studio of Young Artists Association<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2004 member of the Association of Hungarian<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Creative Artists<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-Italic","serif";"><span style="font-size: xx-small;">Prizes, scholarships:<o:p></o:p></span></span></i></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2010- “Gyula Derkovits” National Art Award<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2010 Space Gallery, Bratislava<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2009 National Cultural Fund of Hungary, Scholarship<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2004 “Young Art” in Europe Award, Grand Prize,<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Paderborn, Germany<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">Selected Solo Exhibitions:<o:p></o:p></span></span></i></b></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2012 <o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="font-size: xx-small;"><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";">Critical Aspects of Social co-Existence, </span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";">Stúdió</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Lajos Vajda, Szentendre – with Éva Ludman<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2011 <o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="font-size: xx-small;"><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";">Autodafe</span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";">. Small Synagogue Contemporary</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Gallery, Eger Hungary – with Attila Szabó<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">Breath</span></span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">, Public sound- and video installation,</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">MODEM, Debrecen –with Sándor Imreh<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2009 <o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="font-size: xx-small;"><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";">Monument & Denatural</span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";">, Lajos Vajda</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Studio, Szentendre – with Attila Szabó<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">Horizon </span></span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">, Medgyessy Museum and</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Contemporary Gallery, Debrecen<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2008 <o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="font-size: xx-small;"><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";">Horizon</span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";">, Magyar Műhely Galéria,</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Budapest, curator: Erika Baglyas<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-Italic","serif";"><span style="font-size: xx-small;">Selected Group Exhibitions:<o:p></o:p></span></span></i></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2012 <o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span></span><span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";">Good Sign - Gallery by Night</span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";">, FKSE, Budapest,</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">curator: Balázs Beöthy, Luca Ménesi<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">Anatomy of Integration</span></span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">, Sculpture Quadrennial</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Riga, curators: Aigars Bikše, Inese<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Baranovska, Ivars Drulle<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">Crazycurators Biennale IIII<o:p></o:p></span></span></i></b></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Bratislava, Slovakia,</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">curators: Juraj Čarný, Katarína Slaninová<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2011 <o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="font-size: xx-small;"><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";">Csepel Works</span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";">. Univ. of Fine Arts and the Univ.</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">of the Arts London CCW, Labor, Budapest<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">Rezidens</span></span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">, Space Gallery, Bratislava, Slovakia,</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">curators: Juraj Čarný, Katarína Slaninová<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2010 <o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="font-size: xx-small;"><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";">Visible & Invisible</span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";">, Artmill, Szentendre,</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">curator: Máté Csató<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">“Qui Vive?” <o:p></o:p></span></span></i></b></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2nd Moscow International</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Biennale for Young Art, Russia<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">curator: Daria Pyrkina<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">12</span></span></i></b><b><i><span style="font-size: xx-small;"><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";">th Nord Art</span></span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">, Büdelsdorf, Germany</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">curator: Wolfgang Gramm<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2009 <o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="font-size: xx-small;"><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";">1st Danubiana Biennale</span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";">, Damubiana</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Meulensteen Art Museum, Slovakia<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">1+1+1+14,<o:p></o:p></span></span></i></b></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Medgyessy Museum and</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Contemporary Gallery, Debrecen<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">Blocked Disbursement,<o:p></o:p></span></span></i></b></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">acb Gallery,</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span></span><span style="font-family: "Courier New", Courier, monospace;"><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Budapest, curator: Anna Lénárd<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">“Young Contemporary Statements”,<o:p></o:p></span></span></i></b></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Zsolnay </span></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Manufactory, Pécs, curator: Sári Stenczer<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2008 <o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="font-size: xx-small;"><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";">Street ‘08</span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";">, “Club Gödör”, Budapest,</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">curator: Anna Lénárd, Attila Szabó<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">Transmit and transparent<o:p></o:p></span></span></i></b></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">13th International</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Biennial Print Exhibition, ROC, Taiwan, curators:<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Pao-Hsia Hsueh, Ling-Hui Hung, Yu-Chin Huang<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">Partition_<o:p></o:p></span></span></i></b></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">MODEM Centre for Modern</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">and Contemporary Arts, Debrecen<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">curator: Eike, Attila Szabó<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2007 <o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="font-size: xx-small;"><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";">Prix Ars Electronica</span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";">, CyberArts, Linz, Austria</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";"><span style="font-size: xx-small;">Athens Video Art Festival 07<o:p></o:p></span></span></i></b></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Athens,</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Greece, curator: Hlias Chatzichristodoulou<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2006 <o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="font-size: xx-small;"><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";">Pouffee </span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";">(public intervention) at the official</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">opening of the MODEM<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">2005 <o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="font-size: xx-small;"><b><i><span style="color: grey; font-family: "ZapfHumanist601_PFL-BoldItalic","serif";">4th International Graphic Biennial</span></i></b><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";">,</span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif";"><span style="font-size: xx-small;">Novosibirsk State Art Museum, Russia,<o:p></o:p></span></span></span><br />
<span style="font-family: "Courier New", Courier, monospace;"><span style="font-size: xx-small;"></span><span style="color: grey; font-family: "ZapfHumanist601_PFL-Normal","serif"; font-size: 7.5pt;"><span style="font-size: xx-small;">curator: Vladimir Nazanckij<o:p></o:p></span></span></span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-35246651785896710512013-03-24T09:07:00.003-07:002013-03-24T09:07:46.983-07:00AARON MCPEAKE<h3>
Journey After the Funeral (2007)</h3>
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<span style="font-family: inherit;">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.</span></div>
<span style="font-family: inherit;"><br />Running time 17 mins.<br />
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A Sense of the World – the blind traveller (2007)</h3>
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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. </div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-46801648027219273592013-03-23T03:20:00.001-07:002013-03-23T03:20:32.507-07:00VÁNDOR, SZILÁGYI KORNÉL, SZOLNOKI JÓZSEF <br />
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Oppression test, 2012</h3>
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Video installation</h4>
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“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.<br />
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Paranoia Recycle, 2013</h3>
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Analogue film performance with 8mm and 16mm projectors </h4>
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Propaganda film footages from the past and self shooting films to the future<br />
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http://kaoscamping.blogspot.hu/2009/07/6fkse-2008.html<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-21781129694465804752013-03-22T07:59:00.002-07:002013-03-23T02:52:48.418-07:00KORNÉL SZILÁGYI, NÁNDOR HEVESI (AKA IGOR AND IVAN BUHAROV)<div class="separator" style="clear: both; text-align: center;">
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<h3>
Rudderless, 2010</h3>
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30' 2010, B/W, video transfer from super 8</h4>
<a href="http://www.youtube.com/watch?v=Essm9jyR0sA">http://www.youtube.com/watch?v=Essm9jyR0sA</a><br /><a href="http://www.blogger.com/blogger.g?blogID=3203785343528893029"></a><a href="http://www.blogger.com/blogger.g?blogID=3203785343528893029"></a><a href="http://www.blogger.com/blogger.g?blogID=3203785343528893029"></a><br />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.<div>
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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.<br /><div>
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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:<br /><br />"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.”<br /><br />more information: <a href="http://www.buharov.hu/portfolio/">http://www.buharov.hu/portfolio/</a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-45694346118657155252013-03-22T07:44:00.001-07:002013-03-23T03:02:08.382-07:00CSABA VÁNDOR<h3>
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I'll go down to live under ground 2012 (Video installation)</h3>
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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."<div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-67170011309462147952013-03-22T06:23:00.002-07:002013-03-23T02:32:30.693-07:00JÓZSEF SNOLNOKI<h3 style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
Update 90 2013 (Found objects) </h3>
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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.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-21813414268302722082013-03-22T06:18:00.003-07:002013-03-22T10:32:53.229-07:00KATA SOÓS<h3 style="border-bottom: medium none; border-left: medium none; border-right: medium none; border-top: medium none;">
Reward Morsel 2011</h3>
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Multi media work</h4>
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<a href="http://www.blogger.com/blogger.g?blogID=3203785343528893029" imageanchor="1" style="clear: right; cssfloat: right; float: right; margin-bottom: 1em; margin-left: 1em;"></a>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?<br /><br />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.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-79848648012331526022013-03-22T06:11:00.002-07:002013-03-23T03:21:57.315-07:00LAURA SOMOGYI<span lang="HU" style="font-family: 'Calibri','sans-serif'; font-size: 11pt; letter-spacing: 0pt; line-height: 115%; mso-ansi-language: HU; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin; mso-text-raise: 0pt; position: relative; top: 0pt;"><span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt; line-height: 115%;"></span></span><br />
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Sew As 2012 (interactive installation)</h3>
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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. <br />
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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. <br />
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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.<br />
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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.<br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-35633144248195544162013-03-22T04:01:00.001-07:002013-03-22T10:12:40.583-07:00BALÁZS KICSINY<span lang="HU" style="font-family: 'Calibri','sans-serif'; font-size: 11pt; letter-spacing: 0pt; line-height: 115%; mso-ansi-language: HU; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin; mso-text-raise: 0pt; position: relative; top: 0pt;"><span style="font-family: 'Tahoma','sans-serif'; font-size: 10pt; line-height: 115%;"></span></span><br />
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The Checkered Doubt 2012</h3>
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<br />Black and white digital print on 12 sheet of paper,<br />each 21 x 29.5 cm</h4>
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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.</div>
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<br />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.</div>
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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.</div>
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<br />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.</div>
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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.<span class="Apple-style-span" style="font-size: 13px; line-height: 14px;"><span class="Apple-style-span" style="font-family: 'Courier New'; font-size: small;"><br /></span></span></div>
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<br />V.</div>
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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.</div>
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<br /><br />Epilogue<br /><br />The sixth victim V, the fashion dictator displays next year’s new collection.<span class="Apple-style-span" style="font-size: 13px; line-height: 14px;"><span class="Apple-style-span" style="font-family: 'Courier New'; font-size: small;"></span></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-76355319340528750122013-03-21T11:02:00.002-07:002013-03-22T09:43:21.059-07:00NEMERE KEREZSI<h3 class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt; text-align: left;">
Apiary 2012 (Installation) </h3>
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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. <br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-32291047605355643742013-03-21T10:19:00.001-07:002013-03-21T10:19:20.165-07:00BUDAPEST-LONDON: EXCHANGING ARTISTIC RESEARCH<h4>
<span style="font-family: Courier New, Courier, monospace;">Red Room,</span><span style="font-family: 'Courier New', Courier, monospace;"> Chelsea College of Art and Design, 16 John Islip Street, London, SW1P 4JU, Friday 26th April 2013</span></h4>
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Since the early nineteen nineties a vigorous international discourse has been underway about the purpose and nature of artistic research. In Britain, this has been accompanied by the widespread introduction into academe of doctoral degrees in art. Whilst, the scope of artistic research is international, many countries have yet to establish doctoral programmes, whilst in others their inception predates the nineteen nineties. Thus approaches to and experiences of doctoral education in art vary markedly between one country and another. The occasion of the <i>Recalculating*</i> exhibition, which arises out of collaboration between the <span lang="EN-CA" style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Franklin Gothic Book'; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">CCW Graduate School, University of the Arts London, and the Hungarian University of Fine Arts, Doctoral School, Budapest</span>, provides an opportunity to celebrate the work of artistic researchers who have successfully completed their degrees, whilst also exploring the affordances and constraints of the institutional regulatory frameworks within which their research was undertaken. </div>
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The morning session will contextualise the afternoon session by describing and discussing the frameworks regulating doctoral research doctoral degree programmes at each of the participating institutions. After lunch, recent doctoral degree holders from each school will talk about the research they undertook during their doctoral degrees.</div>
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*Recalculating, Triangle Space, Chelsea College of Art and Design, 16 John Islip St., London, SW1P 4JU, April 24<sup>th</sup>-27<sup>th</sup> 2013.</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-3203785343528893029.post-53198552764876770742013-03-21T10:17:00.001-07:002013-03-21T10:17:16.446-07:00RECALCULATING <h4>
<span style="font-family: 'Courier New', Courier, monospace;">Triangle space, Chelsea College of Art and Design, 16 John Islip Street, London, SW1P 4JU, 24th to 27th April 2013</span></h4>
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<span lang="EN-CA" style="font-family: "Courier New"; font-size: 10pt; line-height: 115%;"><span lang="EN-CA" style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%; mso-ansi-language: EN-CA; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Franklin Gothic Book'; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">The <i style="mso-bidi-font-style: normal;">Recalculating</i> exhibition arises out of an on-going collaboration between CCW Graduate School, University of the Arts London, and the Hungarian University of Fine Arts, Doctoral School, Budapest. </span> The collaboration has been sustained by a series of workshops in Budapest and London focussed on sites of historical and contemporary interest. In Budapest, the site of interest was the Csepel Island industrial region of city, which up until the late 1980s was the city’s industrial powerhouse, but has since undergone a period of decline and renewal. This workshop resulted in an exhibition entitled <i>Csepel Works</i> at the Labor Gallery in Budapest, May 2011. In July 2011, a second workshop took place in London that focussed on the institutional legacy, <i>i.e.</i>, penal, medical and artistic, of the Millbank site and the <i>Recalculating </i>exhibition is an outcome both of this workshop and the legacy of the collaboration. </span></div>
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<span lang="EN-CA" style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%;">The title of the exhibition derives from satellite navigation systems, where it refers to recalculating a route following user deviation from expectation. Here, the term is viewed more generally as referring to navigation in an ever changing social, economic and ecological world, inscribed with traces of history and communal trauma. To navigate such conditions invites investigation of the relationship between collective and individual memory. Whilst the works presented at the Triangle Space show fundamentally different artistic approaches they all connect with the invisible layers of historical and traumatic events.</span></div>
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<span lang="EN-CA" style="font-family: "Courier New"; font-size: 10pt; line-height: 115%;">Two one-day events will accompany the exhibition, the first on the Thursday 25<sup>th</sup> April, entitled <i>Contextualising</i> <i>Recalculating</i> and the second on Friday 26<sup>th</sup> April entitled <i>Budapest-London: Exchanging artistic research.</i> <o:p></o:p></span></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-3203785343528893029.post-1683000022529438192013-03-21T10:12:00.001-07:002013-03-21T10:12:47.987-07:00CONTEXTUALISING RECALCULATING<h4>
<span style="font-family: Courier New, Courier, monospace;">Thursday 25th April 2013, AG15a & AG15b,</span><span style="font-family: 'Courier New', Courier, monospace;"> Chelsea College of Art and Design, 16 John Islip Street, London, SW1P 4JU</span></h4>
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<span style="font-weight: normal;"><span style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%;">This one day event accompanies the </span><i style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%;">Recalculating</i><span style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%;"> exhibition (Triangle Space, Chelsea College of Art and Design, 24</span><sup style="font-family: 'Courier New'; line-height: 115%;">th</sup><span style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%;"> and 27</span><sup style="font-family: 'Courier New'; line-height: 115%;">th</sup><span style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%;"> April 2013) which arises out of an on-going collaboration between <span style="font-family: 'Courier New'; font-size: 10pt; mso-ansi-language: EN-GB; mso-bidi-font-family: 'Times New Roman'; mso-bidi-font-size: 12.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-US;">which arises out of collaboration between the Hungarian University of Fine Arts, Doctoral School, Budapest, and CCW Graduate School, University of the Arts London</span>. The collaboration has been sustained by a series of workshops in Budapest and London focussed on sites of historical and contemporary interest. In Budapest, the site of interest was the Csepel Island industrial region of city, which up until the late 1980s was the city’s industrial powerhouse, but has since undergone a period of decline and renewal. This workshop resulted in an exhibition entitled </span><i style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%;">Csepel Works</i><span style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%;"> at the Labor Gallery in Budapest, May 2011. In July 2011, a second workshop took place in London that focussed on the institutional legacy, </span><i style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%;">i.e.</i><span style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%;">, penal, medical and artistic, of the Millbank site and the </span><i style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%;">Recalculating </i><span style="font-family: 'Courier New'; font-size: 10pt; line-height: 115%;">exhibition is an outcome both of this workshop and the legacy of the collaboration.</span></span><br />
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<span lang="EN-CA" style="font-family: "Courier New"; font-size: 10pt; line-height: 115%;">The morning session of invited presentations introduces new material into the project that addresses policy change in 19<sup>th</sup> century regarding art education and mental health and the contemporary function of artistic activity in the Royal Bethlem Hospital. The afternoon session comprises short presentations by the <i>Recalculating</i> artists addressing their contributions to the exhibition.</span><span lang="EN-CA" style="font-family: "Courier New"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-fareast-language: EN-GB; mso-no-proof: yes;"> </span><span style="font-family: "Courier New"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-fareast-language: EN-GB; mso-no-proof: yes;"><o:p></o:p></span></div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-3203785343528893029.post-14005357239797974352013-03-15T04:47:00.002-07:002013-03-15T06:22:19.262-07:002013 EXHIBITION: CORRECTION INSTITUTE<div class="separator" style="clear: both; text-align: center;">
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-991798045829090152013-03-15T04:15:00.000-07:002013-04-15T03:32:10.122-07:002011: 3 SHORT FILMS ABOUT THE HISTORY OF THE MILLBANK SITE. <strong><span style="font-family: "Courier New", Courier, monospace;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmUuCGbWZQw1driSOu5lLdD1hclmdyxsDhhVK2kfL3_LcbbWZiT4iW8pOz9094_ux5ajF6PJMSmHNHxkR4qEbyvqtzGYzZbgyE68z-HmfEajBsevS7ngDD0ptjCbrqmW1qVeZcG18ScAuh/s1600/thames+danube+parade+ground+ambulance+challenge+shield.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmUuCGbWZQw1driSOu5lLdD1hclmdyxsDhhVK2kfL3_LcbbWZiT4iW8pOz9094_ux5ajF6PJMSmHNHxkR4qEbyvqtzGYzZbgyE68z-HmfEajBsevS7ngDD0ptjCbrqmW1qVeZcG18ScAuh/s400/thames+danube+parade+ground+ambulance+challenge+shield.png" width="400" /></a></span></strong><span style="font-family: "Courier New", Courier, monospace;"></span><br />
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<span style="font-family: "Courier New", Courier, monospace;"><strong>July 12th 2011</strong>: A History of Millbank as an Institutional Site</span><br />
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<span style="font-family: "Courier New", Courier, monospace;">Venue: The Red Room, Chelsea College of Art and Design</span><br />
<span style="font-family: "Courier New", Courier, monospace;">This day is a collaboration between CCW Graduate School, Friends of Millbank and the </span><span style="font-family: 'Calibri','sans-serif'; font-size: 12pt; mso-ansi-language: EN-GB; mso-bidi-font-family: 'Times New Roman'; mso-bidi-language: AR-SA; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: EN-GB;"></span>Hungarian University of Fine Arts, Doctorate School and features three <span style="font-family: "Courier New", Courier, monospace;">institutional stories: Penitentiary, College and Hospital, Art and Design School (chair: Colonel Frank Davis Chairman of Friends of Millbank).</span><br />
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Millbank as penitentiary: <br />
<a href="http://www.youtube.com/watch?v=JFU5P4pR-UY"><span style="font-family: "Courier New", Courier, monospace;">http://www.youtube.com/watch?v=JFU5P4pR-UY</span></a><br />
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Millbank as hospital:<br />
<a href="http://www.youtube.com/watch?v=p6PsutxxLOo" target="_blank"><span style="font-family: "Courier New", Courier, monospace;">http://www.youtube.com/watch?v=p6PsutxxLOo</span></a><br />
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MIllbank as school of art and design: <br />
<a href="http://www.youtube.com/watch?v=_B8znoZWWgc"><span style="font-family: "Courier New", Courier, monospace;">http://www.youtube.com/watch?v=_B8znoZWWgc</span></a><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3203785343528893029.post-92032523274688267852013-03-14T12:08:00.001-07:002013-04-15T03:28:03.692-07:002011: CSEPEL PROJECT <div class="separator" style="clear: both; text-align: center;">
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<a href="http://www.flickr.com/photos/csepelproject/5120321636/in/photostream/"><span style="font-family: "Courier New", Courier, monospace; font-size: x-small;">http://www.flickr.com/photos/csepelproject/5120321636/in/photostream/</span></a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSKkL4eiqdNH33akeXNV7kg06aVwYBaRhBmrmu6XEF1U7MRG7qfhQk6oc0Rpws3_WJ_K2ca2V1F1cSqbFX7r4k72d8XOnK-B57Kxzo2z4lau4PfQ-jdPKct6YZ3B3u5Tm72_JuNQa70TuL/s1600/thames+danube+exhib+2011.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSKkL4eiqdNH33akeXNV7kg06aVwYBaRhBmrmu6XEF1U7MRG7qfhQk6oc0Rpws3_WJ_K2ca2V1F1cSqbFX7r4k72d8XOnK-B57Kxzo2z4lau4PfQ-jdPKct6YZ3B3u5Tm72_JuNQa70TuL/s1600/thames+danube+exhib+2011.jpg" /></a><span style="font-family: "Courier New", Courier, monospace;">Given that the development and </span><span style="font-family: "Courier New", Courier, monospace;">growth of doctoral programmes in art and design is a worldwide phenomenon, CCW is encouraging cooperative endeavours with National and International graduate schools.<span style="mso-spacerun: yes;"> </span>Following an invitation from Balàzs Kicsiny of the </span>Hungarian University of Fine Arts, Doctorate School<span style="font-family: "Courier New", Courier, monospace;">, Stephen Scrivener and Hayley Newman, together with CCW doctoral students Maria Isabel Arango, Marsha Bradfield and Ana Laura Lopez de la Torre have been collaborating with doctoral students and staff in Budapest on subjects of shared interest. </span></div>
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<span style="font-family: "Courier New", Courier, monospace;">In October 2010, the CCW team spent a week in Budapest researching, together with Balàzs Kicsiny, Szabolcs Süli-Zakar, <span style="mso-bidi-font-family: Calibri;">Laura Somogyi, Kata Soós and Nemere Kerezsi, the </span><span style="mso-spacerun: yes;"> </span>Csepel industrial region of Budapest, which up until the late 1980s was the city’s industrial powerhouse, but has since experienced a period of decline and renewal. This included a visit to a 1940s bunker that was used up until the 1980s for a range of purposes, including the preparation and training for survival in the event of nuclear attack. This visit resulted in an exhibition entitled <i>Csepel Works</i> at the Labor Gallery in Budapest, and Images of the exhibition can be found at: </span><br />
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<span style="font-family: "Courier New", Courier, monospace;">The collaboration will continue with a return visit of the Hungary team to Chelsea in July 2011, where the topic of focus will be the history of Millbank as an institutional site.</span></div>
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<span style="font-family: "Courier New", Courier, monospace;">The ambition is to maintain an on-going cooperation between the two graduate schools through the additional of new participants on both sides in anticipation of future inter-college events that further the theory and practice of practice-based research. <span style="mso-bidi-font-family: Calibri;"><o:p></o:p></span></span></div>
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<span style="font-family: "Courier New", Courier, monospace;"></span><br />Unknownnoreply@blogger.com0