​The symposium organized by OFF-Biennale Budapest focuses on how grassroots initiatives operating within challenging political circumstances can support or even uphold contemporary art in a certain locale and rethink its role and competence. “Communities of Practice” links international cultural practitioners who endeavour specific, alternative models of operation. The aim is to present and analyse case studies of self-organized initiatives that are especially responsive to the social and political contexts they are embedded in.

A félnapos workshop célja, hogy feltérképezze a résztvevők véleményét, gondolkodását az alkotással, mint kommunikációval kapcsolatban, valamint érzékenyíteni a jelenlévőket az általános emberi, társadalmi problémákra.

​NO BASEMENT IS DEEP ENOUGH is a Belgo-Serbian nightmare for your cassette and record shelves, gassed-up by Milja Radovanovic (anti-design) and Ignace De bruyn (curating with a small c).

This project’s aim, by using documentary tools, is to create not only a documentary, but an online database that deals with the issues of civil initiatives and organizations. Thereafter, its goal is also to implement a mobile community space, which through repositioning of culture and art, brings and sticks together social groups working on restoring civil society and democratic public life.

Pályázati pénz, szponzoráció, mecenatúra – a kortárs művészet esélyei. Ezen a sétán nem csak képzőművészetről és nem csak pénzről lesz szó – a sétavezetők véleménye sem feltétlenül egyezik, noha mindketten „bankárok”. Séta Király Júliával és Karvalits Ferenccel.

In his book, ‘The Nightmare of Participation’, first published in 2010, Markus Miessen describes participation, collaboration and collectivity as only pseudo-democratic terms. The words participation and consensus have become increasingly overused, and their uncritical, naive or even romantic applications are frightening. Miessen enters the discussion as an architect, but also advocates for vigorous cross-disciplinary intrusions.

​WE ARE A SUBCULTURAL FACTOR, WE DEAL WITH THINGS THAT OTHERS PASS BY

​The concept of the museum usually implies a permanent collection at a permanent place. The Portable Museum of Intermediate Spaces is a fine arts collection that can be exhibited in unconventional spaces to unconventional audiences. Its essence lies in its quality of its being portable.

Miskolci városi séta és kerekasztal-beszélgetés: ​egész napos művészettörténeti vezetett túra az Artmagazinnal és barátaival.

During the workshop, we are trying to find the answer to how much green area do we need to feel complete, how it is to live in a city full of parks or living in a concrete jungle,and finally, which type of plants would we grow in our imaginary town? We are creating parget prints about the ideal city and we are drawing a pocket botanical encyclopedia about magical plants with a scraping technique using oil pastel. The workshop is connected to the Syntopia exhibition.

​László Dombrovszky painted the sole reliable portrayal of Wallenberg – who sat for the artist personally – in his portrait dating to the time of the Holocaust in Hungary, in the Budapest of 1944. Today this portrait, donated by Wallenberg’s mother Maj von Dardel, hangs in the Swedish Royal Portrait Gallery in Gripsholm, near Stockholm.

​The one-evening project uses a film to apply critique to classic gender and national stereotypes. The film was made in the summer of 2012 with Ms. Pepper Pepper, a drag queen i.e. transvestite, from Portland.

My work is a pair of ordinary aluminium shields, 60 by 200 cm, mounted on a lamppost high above the traffic, like a usual sign, giving directions to the drivers showing for example the way to a certain city. But the text says “sorry”. I made three bilingual versions: Slovakian–Hungarian, Romanian–Hungarian, (both were exhibited in both countries), and a Romani–Hungarian one.

"The title describes my archives consisting of over 32 000 photos that, encompassing a period of 1992 up till now, are presented in a uniform format and in a chronological order of their taking. The title Contacts refers to the form these pictures are presented. " Dezső Szabó

The making of the video necessitated cooperation with members of the THReNSeMBle orchestra. Each player performs his or her favourite piece of music. The Orchestra, as an embodiment of collective harmony, perform a concert to each member’s taste, creating an audio of collective discord. Sound as personal indulgence becomes a collective absurd and an element of torture.​

​Az NSB (Nomád Support Brigád) a Magyar Képzőművészeti Egyetemen alakult kritikai közösség. Ebben a projektben az új intézményesség lehetőségét kutatjuk.

Szabolcs KissPál’s poetically titled documentary audio drama reveals a side of the world of artists that is normally hidden from the audience.

Project Zone continues its mission under the umbrella of OFF-Biennále Budapest. The aim is to collect and visualize Budapest-based independent and non-profit project spaces from 1989 up until today. The exhibition showing the research process as well as multimedia material will be framed by a site-specific installation and opening performance by the Architecture Uncomfortable Workshop.

OFFSETTING can be perceived as a journey on the borders of a spectrum of media and genres – painting, offset printing, film and photography. Gábor Kristóf maps and challenges the boundaries of classical painting with a focus on the prevailing conditions and specificities of image making.

The performance consists of sung confessions performed by two soloists and a choir.

Mi köze a növényeknek az olyan társadalmi jelenségekhez mint a demokrácia, a diktatúra vagy a migráció? Gosztola Kitti, Klima Gábor és Tranker Kata csoportos kiállításán a növényvilág sok egyéb mellett a művészet metaforájaként is megjelenik.

The focus of the project, consisting of a photo exhibition and a film/sound montage is Azerbaijan, a country seen as controversial by many Hungarians, and its capital, Baku.

Lévai Gábor előadása az önszerveződés mikéntjéről, arról, hogy miért jó, miért szükséges, miért hatékony ez?

​Magyarország történetéről és a magyarokról szóló hivatalos, külföldi álláspontok és sztereotípiák gyűjteményének közös építése és értelmezése.

Four years ago Gruppo Tökmag (András Tábori and Tamás Budha) artists found a comics, in which the life of Dragon Lee, the kung-fu dressed electricity-being is depicted in Pécs, in the eighties. In the story the everyday experiences of a Roma teenager are mixed with phantasy. In the reality of the youth protection and justice authorities, the police are built in the bio-ray, the television interview and a journey to Hong Kong. The artists managed to investigate through the data in the comics the family of the young passed away author, István Kolompár. In the discussion after the shadow spectacle we can get insight into his adventurous life.

In his work Vaněk models situations, manipulates them, puts new strain in relations, to make marginal relations more visible, to make the spectators feel insecure, to make them participate. „Particip“ became his base concept for action and intervention directly responding to a particular place or space.

A happening a klasszikus rekordkísérletek sémájára épül és célja, hogy az egri lakosokat a körülményekhez mérten, minél nagyobb számban motiválja interakcióra.

Az előadás a videomegosztó portálokon egyre nagyobb népszerűségnek és nézettségnek örvendő végigjátszások (walkthrough) mintájára épül fel. A kb. 5 órás esemény alatt egy olyan végigjátszás kerül bemutatásra, ami a videojáték felkínálta opciókat, döntéshelyzeteket – az ügyességi/játéktechnikai kihívások mellett – a történet hangsúlyos kiteljesítése mellé rendeli az előadó által előre átgondolt és megszerkesztett játékmenetet követve.

Through retro-futuristic pictures, the exhibition looks at the current circumstances of cultural policy. The bunker or shelter provides protection for those staying in it temporarily or for an extended period of time during a war or at a time of natural disaster. Due to the small spaces and restricted comfort it offers, as well as the absence of natural light and other similar features, it is an unpleasant environment, even if it means survival and safety.

Kitchen Budapest has been supporting the work of young people since 2007, working in the intersection of art and technology with a renewed social approach. We aim to provide and spread innovative collaboration-teaching methodologies. We encourage young talents’s work, supporting them with knowledge sharing and resources.

BL(UH)B(E)L is a sound project conceived by Lucie Fontaine and presented at Chimera-Project. Following her desire to employ multiple languages (making art and exhibitions, editing, writing) simultaneously, this time Lucie Fontaine involves the other participants of the Budapest OFF-Biennále Budapest.

The Ploubuter Park is the home of the study of this newly discovered species. The architecture is based on the observation of the natural habitat of the species. Those, which had been categorized by their habitat and their behavior towards human, show a variety of pictures from the wild to the captured or domesticated, from the loners to the pack members. This time we can study the pack-behavior of these souls in the controlled observation post which was installed in the airflow of the bank of the Danube.

​A space&matter egy fiatal holland építésziroda, amely közösségi hálózatokra és meglévő erőforrásokra támaszkodva hoz létre új térbeli helyzeteket, épületeket, városrészeket. Építészeti, urbanisztikai és kulturális projektjeiben a csapat előszeretettel használja a közöségi média eszközeit it: online platformjai, mint például az üres irodaházak tereit potenciális használókkal összekötő CROWD BUILDING, vagy a nyílt forráskódú lakóházterveket összegyűjtő WEBUILDHOMES a virtuális közösségek kapacitásait köti össze valós térbeli lehetőségekkel.

Ulay 1976-ban ellopta Carl Spitzweg "The Poor Poet" (A szegény költő) című művét a berlini Neue Nationalgalerie épületéből, majd egy kreuzbergi török család nappalijában helyezte el. A “német lélek szimbóluma”-ként emlegetett mű eltulajdonítása Ulay szimbolikus demonstrációja a német identitás ikonjai ellen.

Contemporary art course of the independent art department (f***k) at the Media and Communication Department of Eötvös Loránd University.

Even though most of us now spend our daily lives wandering around cyberspace, the printing press remains a revolutionary device for the dissemination of visual information.

A space&matter két alapító tagja, Tjeerd Haccou és Marthijn Pool két napot töltenek Budapesten: a csütörtök esti előadását pénteken egész napos workshop követi, amely új tipusú kollektív terek létrehozásának módszereire, lehetőségeire koncentrál. A részvétel ingyenes de regisztrációhoz kötött, a regisztráció hamarosan megnyílik. Az előadás és a workshop angol nyelven zajlanak.

Roma Body Politics is an extensive and intercultural exhibition series and educational event aimed at exploring, documenting and rendering visible Roma body policies in present-day Europe. The project, which was realized with the help of Roma artists and intellectuals, focuses on the depiction, representation and participation of Roma – and especially Roma women – in the media, art and public life.

​Finnish artist Mikko Kuorinki’s art embraces a wide variety of technique: be it film, video, installation or live performance. His main subject is made up from observing the world around us and humanity’s role in it. Often interpreting the correlation between the individual and reality through its lingustic scopes and boundaries. Language has its own limitations when it comes to translating it to a visual level, hence his trials entail the sensation of alienation and rootlessness. Kuorinki’s installations incorporate seemingly insignificant everyday objects with an ever-changing focus point into an advanced new concept that reveals a completely different, new meaning.

​Endre Kovács’ series consists of “pictures found” and while it is part of the photo collection “Amnesia temporis”, as such it has a life of its own. the cycle consisting of 52 photos presents a day in the life of a Gypsy family living by the Rákos stream, using a viewpoint that greatly differs from the representation of the Roma characteristic of the era.

​Urbanity is a live board game played in the street. The city serves as its basis, its framework is reality.

In his lecture for Translocal Institute, theorist Simon Sheikh addresses issues of art and democracy that are of critical relevance to the political context of artistic production today.

​– think together playfully about the social role of contemporary art.

Az első Eat Art Mesterkurzus, Magyarország első lakáséttermében, ahol a tervezett 1 nap alatt az elméleti előadásokat performance-ok és főzés kísérik majd, s az elkészült ételekből a közönség is kap kóstolót.

OFF-Capitaly/Gazdálkodj OFF-osan! is a life-size, mobile board game, designed after the popular board game used widely under Communism in Hungary. In the context of the game we seek to explore the opportunities a young artist may have in today’s Hungary. The ultimate goal of the game is to achieve self-reliance.

Demokratikus játszóTér - az “Üres Tér” Színházi Egyesület és a Létra 10 napos nyitott alkotóműhelye egy kísérlet, hogy a színház és a társművészetek segítségével, milyen utópisztikus kreációk valósulhatnak meg a demokrácia jegyében fiatal művészek, művészeti alkotók és érdeklődők bevonásával.

Az Irokéz Galériában megvalósuló kortárs művészeti kiállítás eseménycentrikussága révén egy aktív, használatban lévő teret szeretne létrehozni, amely egyszerre kapcsolatkeresés a helyi közönséggel, helytörténeti vázlat a közelmúlt művészetéről és a kortárs művészet társadalmasítási kísérlete.

Komoróczky Tamás és a Moebius Rajziskola az OFF-Biennále Budapesthez kapcsolódó, kollektív együttműködés keretén belül megvalósítható művészeti workshopja („Májusfa”) és ehhez kapcsolódó szabadtéri kiállítás a Pagony kertben május folyamán. A foglalkozások nyitott szemléletű, szabad szellemben zajlanak; a vezető tanárok (Korodi Luca és Gajzágó Donáta) hangsúlyt fektetnek a többnyire középiskolás korú növendékek kreatív képzelőerőt ösztönző és bátor, egyszerű anyaghasználaton működő képzésére.

On the photos of Viktor Kopasz the romantic beauty of natural environment confronts the reminiscences of Eastern-European history that swept over the land in this region. In his photo series the artist, who spent his childhood in Eastern Slovakia near the Ukrainian and Hungarian border, investigates the substance of his own identity by interpreting connections between natural and human shaped forms.

With The Promise project, every Hungarian citizen or foreigner living in Hungary can write a message to themselves in the form of a postcard or letter, to make (a) promise(s) of what they will do over the next ten years to realise a better life in Hungary.

​If you don’t know what the red tail or the blue pencil symbols in the title refer to, it is time you immerse yourself in the world of artworks banned during the 1960s and 1970s in Hungary due to cultural-political considerations.

The urban walk serves as an on site project presentation. Students personally present their art work for the public.

Nem látod? Séta a fülnek. Belvárosi boltok mint műalkotások? Hang mint képzőművészet? Csendháborítás a Király utcában, zenélő dobozok egy kávéháznál, prostitúció és paternoster a Rákóczi téren? Ismerős témák sosem hallott formában.

​The Isochronic Archive Budapest will showcase subjective visual snapshots from a variety of people involved or interested in the OFF Biennale and its programme.

​Romani everyday life is marked by critical performance and performativity.

​Shandor Hassan (New York) will develop a site-specific and evolving installation at Sztregova utca, an industrial space located in the 11th district Kelenföld. The artist will collect materials from the site, and other urban environments of Budapest. The installation in part is inspired by the rich culture of Lomtalanítás, and an interest in the artifactual, the archaeological,architecture and the very nature of materials. The ongoing work will be open to the public during the “OFF” as an environment, installation, and performance – action – art work – in progress.

​Within the framework of the project we will establish the “aesthetic state” of Insecurity State, the official language of which will be contemporary techno music. During the unusual techno party, reinterpreting the uniform, observation and the phenomena of terror, we will deploy thematic installations and dramaturgically structured, performative elements.

​Eye Resonator at the Power Plant is an immersive installation that captures the imagination, engages the intellect and excites the emotions while responding to the eye movements of the spectator.

In his performance Freudmann traces stories from a family archive founded in 1979 by his grandmother. He links contents of the archive with historical events and current political issues by means of documentary and object theatre. Against a background of the increasing absence of contemporary witnesses, Freudmann brings documents and objects as protagonists on the stage in order to consult them about the eternal dilemma of whether to speak or to be silent about the Shoah.

A 115-106 egy új budapesti non-profit projekt-galéria, amely az OFF-Biennále Budapest keretében nyílik meg Laci&Balázs helyspecifikus intervenciójával.

​The Alfred Palestra workshop and performance was first heldstaged at the 2014 Rennes Biennale, performed by the students of a local lyceum. At the end of the 19th century, a school in Rennes (today Lycée Émile Zola) was the site of two important events in cultural history: the second Dreyfus trial was held in the gymnasium of the school Alfred Jarry was attending. The possible encounter of Alfred Jarry and Alfred Dreyfus in that particular space symbolises the concurrence of the crisis of the republic and the birth of the avant­garde movement. It is this symbolic coincidence that is the topic of the project.

Cseh művészek a 70-es évek performanszainak újrajátszásán keresztül vizsgálják a ma emberének problémáit. Daniela Baráčková, Barbora Klímová és a Rafani Group a jelennel foglalkoznak, és megmutatják a kortárs lét politikai dimenzióját.

The idea of the Toi Toi Projektraum came after a talk about the projektraums in Berlin and Budapest. In Budapest their spread is just starting and expected to grow in the near future. These are such type of common spaces where creative activities can take place, and serve as a venue for other cultural events as openings, lectures, performances or happenings.

First screening of inedited video-works by Serbian and Croatian conceptual artists, realized in 1976 within one of the first Yugoslavian residency-programs “Brdo”, organized and produced by Krinzinger Gallery, Vienna.

A Magyarországon és a magyar kortárs képzőművészetből szinte teljes mértékben hiányzó HIV-diskurzust Szász Lilla egy absztrakt fotónaplóval nyitja meg. A Pozitív főszereplője Márta - édesanya és nagymama, nyugdíjas tanár, 15 éve HIV pozitív.

In the exhibition Recollection the focus is on the instability and uncertainty of memory and remembrance.

​Élő rádiószínházi kísérlet az ágyi poloskák globális mozgalmáról, árnyékkormányáról és a parazitizmusról.

The presentation takes its vantage point from the phenomenon of synesthesia.

The sweet illusion of the economy of power is a piece of Gerardo Nolasco’s Bestiarum Vocarium series, a sound installation or a simple public intervention; made site specifically for the fountain on the Margarete Island, based on crocodile sounds.

The multi-roomed apartment towering above the former Moszkva tér will be rearranged in overlapping installations. The objects and furniture left behind by previous generations are linked to the studio work materials. The "ingredients" are emphasized: the rest of the not yet built in materials and the traces of work.

What did avant-garde mean in the sixties and seventies in Hungary, and what does it mean today? The aim of the exhibition Bookmarks is to look back with today’s eyes at those artistic positions that directly or indirectly, through their influence, play a fundamental role in contemporary Hungarian art today.

A man and a woman engaged in the martial art of vanity. Neither can see the other and both struggle against their own reflection in a square mirror.

The artworks presented in the framework of When Art(ist) Speaks are based on speech and the possibilities of its adaptation in contemporary art (e.g. documentary radio drama, chamber opera, performance, monodrama).

​In her videowork and collages Kotátková reflects on social rules, expectations and propaganda strategies, which impose restrictive structures on the individual.

“Delete” is a three-channel video installation with experimental sound track. This animated video is part of the ongoing “Local Everywhere” project. Experience as a contemporary nomad, a local alien, the insider-outsider, may be familiar to many “quasi-local” or “temporarily local” people all over the world.

The social framework of coexistence is based on an agreement that is always negotiated anew. In the beginning there was paradise. According to the understanding of many religions there was a primeval state when all beings lived together peacefully and free from care. And, in a certain way, all human aspirations aim to re-establish this state. However, there are countless political concepts and social utopias to achieve this aim. From autocracy, where Paradise on earth is supposed to be there for only a few people, to democratic and communist forms of government, the welfare state, right down to anarchistic models.

ISOLATOR is a group exhibition without the participation of a curator, where the exhibitors are the most important representatives of the mid-generation of internationally renowned Hungarian artists, who took part in the most prestigious international art exhibitions such as the documenta in Kassel or the Istanbul Biennial. Their joint project, Isolator explores the state of active inner isolation. The installations presented in the framework of the show work independently and detached from each other reflecting the rhizomatic structure and the grassroots character of the OFF-Biennále Budapest.

​In recent years, hundreds of thousands have decided to leave Hungary temporarily or perhaps permanently. A very large number of young and middle-aged Hungarians, including a good many intellectuals, have been looking for work, living, and a new home abroad, mainly in Western European countries. Although their countries of choice are different than those of emigrants around the turn of the 20th century, the reasons for their exodus seem to be very similar. Migration is an adaptive response to the negative economic, social and political processes. The curator-artist couple organizing the exhibition has been living in Berlin for nearly two years now. Because of their personal involvement, the exhibition, taking place in their apartment in Budapest, is an openly subjective approach. Featuring different artistic positions, the show addresses issues regarding the motivations, difficulties and consequences of migration.

Through their geometric motifs, the traditional Szekler funeral pillar (Kopjafa) represent social status and different characters whose buried bodies they are guarding. In the framework of an open workshop a set of new elements are to be created to represent the expelled, oppressed, marginalized social groups of today's society.

​A Société Réaliste „Egyetemes himnusza” az ENSZ 193 tagállamának himnuszainak matematikai átlagolásából született kísérleti zenei mű, amely mindössze egy alkalommal hallható az OFF-Biennále Budapest ideje alatt.

Artistic duo Fokus Grupa provides us with an insight into the background of some of the most recognisable and disputed national monuments in Croatia, striping them of their mystical properties, perverting their intended purpose and alluding to and refuting their basic function.

The exhibition shows four works by Goldin + Senneby, Celine Condorelli, Igor Krenz and Kazimir Malevich that unfold in an opera by Arturas Bumsteinas, Robert Rumas, Michał Libera and Daniel Muzyczuk pointing towards something much larger than themselves.

Having received a lot of attention by contemporary art recently, the topic of the Lumen Station publication will be agricultural production. More specifically, strategies of self-sustenance and survival for individuals, small groups or a whole society that have emerged primarily but not exclusively within art projects and initiatives launched by artists.

Alexandra Pirici and Manuel Pelmus use enactment as a strategy to actualize, but also to de-scale and de-monumentalize artworks and events related to art history. Their immaterial works had been presented at the most well-known contemporary art events and exhibition spaces, such as the Venice Biennale and Centre Pompidou. This time, in response to tranzit.hu's invitation, they propose a long duration enactment of Mieko Shiomi's fluxus action, Disappearing Music for Face. The very long “disappearing music for face” could enact, in a both sad and funny way, the effort we make in finding a reason to keep struggling.

Atelier Populaire is András Király’s fine art statement ongoing since the end of 2013. MMAHÍR is Atelier populair’s communication channel in public space, which reacts to the rendering of the Hungarian Academy of Arts (MMA).

Barnabás Bencsik

In this show, Attila Csörgő exhibits works that deal with some of his main topics: the poetic investigation on the transformation of geometrical forms through projections and the relation between time and space to capture and visualize the abstract notion of infinite.

​Planking in my view is a playful expression of civil resistance, as well as a possible and valid expression of today’s folk art. A female figure, her hands pressed closely against her body, her fixed body and face turned downwards, is lying on the back-rest of a couch.

Květa archívuma tematikus kategóriák szerint van elrendezve (a kronologikus felosztáson túl): amatőrökkel folytatott munka, utazások, kiállítások, család, stb. Július efemeráliákat — mindennapi tárgyakat — tartalmazó gyűjteménye mellett Květa munkája Júliussal való szeméyes életüket dokumentálja és archiválja. Míg Július a napi sajótermékeket gyűjtötte, Květa fotóhegyeket halmozott fel, amelyek nemcsak a családi fotóalbumot gazdagították, hanem Július később fel is dolgozta őket. A végterméket aztán papírra montírozta, és az eredmény így egy szerkesztett termék vagy művészi aktus lett.

​The project consists of a shop where the price tag of second hand items includes the photo and contact information of the previous owner, therefore through the used clothes and objects attention is drawn to the individual, personal communication and stories.

​The exhibition presenting the works of Dóra Maurer’s painting and drawings provides an insight into the past fifteen years of a key figure of Hungarian contemporary art.

Inspired by the report of the Hungarian Central Statistical Office (KSH) released in April 2014 titled ’Settlements on the Edge of Existence’ the online news portal VS.hu commissioned a series of videos to help the understanding of the phenomenon. As matter of concern the report discussed 60 villages where the population decreased by 50% between the two latest census records.

Words of Power 1 / Political speech-performances in Parliament Words of Power 2 / Political karaoke-theater Words of Power 3 / Public performance and discussion

​Az ebben az évben 20. születésnapját ünneplő művészeti kiadvány Budapesten, Bécsben és Isztambulban kiállítás-sorozat keretében nyújt válogatást az elmúlt húsz évben az újságban megjelent műalkotásokból.

'Recently, when the enlarging of the Paks nuclear power station became one of the most important topics in public discussion, the news portal Index published a summarizing article on the history of former construction. I found an odd picture (Gábor Ruzsonyi/MTI) among the photos, where the figure of a painter, Előd Nagy, is seen in the foreground and the dynamic structure of the power station – then under construction – in the background. The artist documentated and represented at the same time the works by his paintings from the autoum 1979, on the comission of Benjámin Szabó goverment commissioner. The photograph leaves no doubt about the fact that the artist is committed to the powers that be.'

The fire kept continuously alive for the entire duration of OFF is the Biennale’s symbolic community and audience-building project. Professionals and volunteers from the audience keep it alive and everybody is equally responsible that the fire should not sleep out.

The Creative Exercises (led by Miklós Erdély and Dóra Maurer, with the assistance of György Galántai), held in 1975, 1976 and 1977 in the Ganz-MÁVAG Cultural Centre (Ganz-MÁVAG Kulturális Központ), and the drawing courses that were also held here by Dóra Maurer constituted significant developments in alternative artistic instruction in Hungary, the eects of which may still be discernible today. The courses, which were entitled “Creativity and Visuality,” were presented in the summer of 1976 in the Józsefváros Exhibition Hall (Józsefvárosi Kiállítóterem), where, for the length of the Exhibition, creative activities were organized under the guidance of the leaders of the Exercises, as well as members of the New Music Studio (Új Zenei Stúdió).

History Restaged brings together artists whose practices address the necessity of critical thinking, of individual and collective responsibility. Through employing strategies of re-staging, where the line between documentary and fiction collapses, the selected works employ film, literature, archival and art historical references to revisit historically significant events and unsettle our conventional notions of reality.

A tervezett kiállítási installáció-együttes 4. elemének kihelyezett megépítése, és az elkészült szerkezet rendezett feláldozása

​The screening embraces films by Polish artists from 1970s until today, dedicated to the ideas of collectivity, self-organization and (im)possibility of forming a community through arts.​

Perjovschi draws witty and incisive political images, ironically addressing current political events and social phenomena.

Ivan Moudov’s Performing Time is a video piece based on an almost 24-hour-long performance in which the artist moved the arms of a clock throughout a whole day without stopping. Not using any instrument, the artist followed his own subjective perception of time and his body took over the role of the clock’s mechanics. During the finally 23 hours and 15 minutes of the performance, requiring a high degree of concentration and self-discipline, a clock’s accuracy and objectivity are substituted with the demonstration of subjective time passing.

In his large scale (308×555 cm) painting Miljanović uses strategy of simulation in mapping a potential route of “art occupation” towards Hungary with military iconography. He frames the work as “top secret operation”, making plans how to achieve infiltration in the Hungarian cultural system.

​The material of the Alfred Palestra project was inspired by the extraordinary story of the Lycée Émile-Zola in Rennes. This school was the alma mater writer Alfred Jarry, author of Ubu Roi and pioneer of French surrealism and avant-garde. It is here, in the school’s sports hall, that the second trial was held in the Dreyfus-case.

A kiállítás első része az ismert nyugat-német mail art művész, kiadó és gyűjtő Klaus Groh (1936) egyik korai, 1972-ben publikált „aktuelle kunst in osteuropa” (DuMont, Köln) című könyvének vizuális megjelenítése. Ide kapcsolódó kiegészítések: magyar és idegen nyelvű kritikák, recepció-történet, párhuzamok, az antológiáról, mint műfajról. A kiállítás másik része az Artpool több mint négy évtizedes kapcsolata Klaus Groh-val: videódokumentumok 1989 és 2007-ből, eredeti Galántai és Groh levelek, különböző Artpool projektekre készült Groh művek az Artpool archívumából és gyűjteményeiből. Megtekinthető lesz Klaus Groh hangkazetta gyűjteménye, melyet 2007-ben ajándékozott az Artpoolnak.

​How does Hungarian society, the artistic community in particular, react to the increasingly unilateral communication in public life? The exhibition at Knoll Gallery presents artistic pracices reflecting on the communicative situations emerging in recent years, struggles take place in the sphere of private and public languages.

Az Easterndazed: DIY zenei topográfiák kiállítás egyrészt az alkotói együttműködések termékeiből teremt fizikai teret a zene köré a képi anyagok bemutatásával, a helyek, alkotók és kapcsolatrendszerek feltérképezésével; másrészt kéthetente élő koncerteket és beszélgetéseket grundol a kelet-európai szcéna szereplőivel.

Interaktív színházi előadás a cigány-nem cigány együttélésről, a néhány évvel ezelőtti, romák ellen elkövetett gyilkosság-sorozat nyomán.