Author: Krisztina Erdei

YOU IMAGINE WHAT YOU DESIRE

21 March – 9 June 2014
Artistic Director: Juliana Engberg
Read the Artistic Director Foreword
19th Biennale Exhibition Report

YOU IMAGINE WHAT YOU DESIRE

21 March – 9 June 2014
Artistic Director: Juliana Engberg

Visit the 19th Biennale of Sydney website

The 19th Biennale of Sydney: You Imagine What You Desire presented the work of 92 artists from 31 countries free to the public over a three-month period. Curated by Juliana Engberg, the exhibition was presented at various partner venues including the Art Gallery of New South Wales, Artspace, Carriageworks, Cockatoo Island and the Museum of Contemporary Art Australia. Other works and events were experienced at various locations throughout the city, including Henrik Håkansson’s epic, episodic film and orchestral performance work, THE END (2011 and 2014), which was presented at Pier 2/3 in Walsh Bay.

This year, more than 623,000 visited the Biennale partner venues, including nearly 125,000 from overseas, the highest international visitation numbers recorded in the Biennale’s 41-year history. In addition, audiences also experienced outdoor works by Nathan Coley on the Eastern Apron of Cockatoo Island, and the building exteriors of the Art Gallery of New South Wales and Museum of Contemporary Art Australia, as well as numerous performance works in public spaces.

 

 

 

Krisztina Erdei

10 photographs
90 x 120 cm each
Installation view of the 19th Biennale of Sydney (2014) at the Art Gallery of New South Wales
Courtesy the artist; Godot Gallery, Budapest; and Lumen Photography Foundation, Budapest
All versions were created for the 19th Biennale of Sydney
Photograph: Sebastian Kriete

 

The photography exhibition Power & Play will take place in the framework in the fifth edition of Summer of Photography. This year the main theme will be ‘gender’. The goal is to encourage debate on the position of men and women in our contemporary society.

Power & Play
The exhibition Power & Play in De Markten will bring the work of ten Central and Eastern European artists who focus on the theme of gender. Until recently, it was difficult to discover anything about the relationship between photography and feminism in Eastern Europe. Concepts such as feminism, liberation, and equality had a quite different interpretation under communism. Also during the political and socio-economic transformation after the fall of the Berlin Wall, little attention was paid to women’s position in society or to their participation in the changes. The following artists will focus on the theme ‘gender’:

Katarzyna Kozyra (1963 – PL)
Matei Bejenaru (1963 – RO)
Anetta Mona Chisa (1975 – RO)
Reinis Hofmanis (1985 – LV)
Eva Filovà (1968 – SK)
Lucia Tkacova (1977 – SK)
Dita Pepe (1973 – CZ)
Krisztina Erdei (1977 – HU)
Boryana Rossa (1972 – BG)
Pepa Hristova (1977 – BG)

This youth program initiative gives high school students the opportunity to participate in a lively debate and to question Biennale artists and arts specialists on current art issues. The forum is followed by a sneak preview of the 19th Biennale led by Gallery educators. This project was made possible with generous assistance from the Nelson Meers Foundation.

Biennale Art Forum: Michael Cook and Krisztina Erdei
20 March 2014 from 12PM
Art Gallery of NSW
Art Gallery Road, The Domain,
Sydney NSW 2000, Australia

Born in Szeged (Hungary) and presently living in Budapest, Krisztina Erdei graduated from the School of Philosophy and the School of Political Studies at the University of Szeged, and also studied film theory and visual education at Loránd Eötvös University (Budapest). A founding member and curator of Lumen Photography Foundation (www.photolumen.hu) created in 2002.

Erdei’s work will be exhibited in the upcoming Sydney Biennale. PSM is pleased to welcome her to the 2014 PSM Public Lecture Series.

Monday, March 17, 2014, 6:30pm
Level 3, Room 22
702-730 Harris Street, Ultimo
This event is free and open to the public. Bookings will not be accepted and PSM students will be given priority. For full details of
the 2014 PSM Image Studies Lecture Series, please visit:
http://utspsm.com/blog/lectures
by David Burns Events, Image Studies Lecture Series, Lecture

Our Holocaust

Studio Gallery
[1077 Budapest, Rottenbiller u. 35.]

Opening: 08.10.2014. 7PM
Opened by: Anna Szász, sociologist

These photos were taken in the Northernmost city of Israel, close to the border with Lebanon. As I was getting acquainted with relatives and friends in a neighborhood at the edge of Nahariyya, I collected stories that ended in homes–abandoned one day or another, objects lost and memories too remote. One can see a long lost object that had been left in the abandoned home of the people taken away, but was then rescued and returned by the neighbors, an image recreated following very specific instructions, a peculiar custom that cannot be discussed in rational terms, and a visit in the junior museum of holocaust survivors. And the rest of it is just quotidian life, as it surrounds all of this.

The third generation after the Holocaust

The Studio of Young Artists (FKSE, http://studio.c3.hu/), the József Attila Circle (JAK, http://www.jozsefattilakor.hu/) and the Marom Association (http://marom.hu/) have established the common platform entitled The Third Generation in late 2013. The platform encompasses a series of workshops, lectures, discussions, and the current exhibition.

The central theme of the exhibition is the role of the third generation after the Holocaust (here represented by emerging artists under 35) in the memory work necessitated by trauma.
Those of us who were children around the regime changes of 1989 have a completely different perception of the Holocaust as a chain of events compared to the first generation of survivors and the second generation born after 1945.
Our Holocaust-memory is based on thirdhand knowledge; a mosaic of our grandparents’ recollections and various images and media representations. We are 70 years after both the trauma and its immediate memory.
We find it important to examine how contemporary art can reflect on this cross-generational trauma.
The aim of our project is to create works that help understand and process these issues.
We hope to equally represent a wide spectrum of memory work, including societal, political, personal and familial.

The exhibition will show works reflecting on the themes mentioned above and those that the workshops of The Third Generation have dealt with over the past few months.

Studio Gallery
[1077 Budapest, Rottenbiller u. 35.]

Opening: 08.10.2014. 7PM
Opened by: Anna Szász, sociologist

Exhibiting artists:
Anna Ádám
Bernadett Alpern
Lőrinc Borsos
Krisztina Erdei
Dániel Halász
Árpád Csaba Horváth
Gábor Klima
Klára Rudas
Eszter Sipos
Zsófia Szemző
Hajnalka Tulisz

Curated by: Zsuzsi Flohr
Assistant curator: Júlia Gottfried

The exhibition’s partners: JAK, Marom, Memento 70.

* Amir Gutfreund: Ha­soa selanu (2000)

A Mintatanya című sorozat egyik képe alternatív anyagválasztás segítségével teremt uj kontextust a képen szereplő elemeknek. A rekonstrukció miközben megtartja az eredeti 2 dimenziós kiterjedést, visszahelyezi a tárgyakat az eredeti funkció irányába és az anyag és a víz találkozásának köszönhetően, jelzesszerűen annak szerepébe is.  A munka a magyar táj és az emberi kreativitás többszörös koprodukciójában alkot napozóhelyet a fesztiválozóknak.

In the open letter, the artists acknowledge that “this issue places the Biennale team in a difficult situation”.

Here you can find the full letter:

http://images.smh.com.au/file/2014/02/19/5178885/OpenLettertotheBoard.pdf?rand=1392779394530

 

read more: http://www.dailytelegraph.com.au/entertainment/sydney-confidential/artists-demand-biennale-of-sydney-severs-ties-with-company-linked-to-asylum-seeker-detention-centres/story-fni0cvc9-1226831628130

Exposition
16 janvier – 28 mars

Institut hongrois | 92, rue Bonaparte 75006 Paris

 

photo : Ildi Hermann : Series Daughters

Szabolcs Barakonyi, Ágnes Eperjesi, Krisztina Erdei, Marcell Esterházy, Viola Fátyol, Zsolt Fekete, Ildi Hermann, Gábor Arion Kudász, Balázs Telek, Viktor Váradi

L’exposition intitulée Le cocon familial présente un parcours autour de la photographie contemporaine hongroise qui, loin d’être guidé par un fil conducteur thématique ou stylistique, a pour point de départ le simple fait que les modèles de ces œuvres sont des membres, fictifs ou réels, de la famille du photographe. Cette sélection de clichés analyse la manière dont les artistes utilisent, dans ce contexte particulier de création, le lien particulier qui les relie à leurs proches. Le dénominateur commun à toutes ces œuvres, c’est cette cohésion, tantôt affichée, tantôt volontairement éclipsée, et dans le même temps, les relations de dépendance et d’inféodation qu’elle met en jeu. Les dix photographes ont des approches, des univers visuels différents mais ils partagent la même volonté de s’exprimer artistiquement au travers du système de relation le plus important et le plus intime de la vie humaine.

L’exposition examine, sans prétendre à l’exhaustivité, la manière dont ces artistes contemporains, aux frontières de la réalité et de la fiction, représentent, mettent en scène, dirigent, utilisent les personnes qui leur sont les plus proches au service de leur création. En effet, ces liens fondateurs sont riches de possibilités : explorer les processus psychologiques, montrer le corps nu, évoquer les schémas imposés ou les valeurs librement choisies ainsi qu’observer l’exceptionnel dans le quotidien ou la trivialité dans les situations extrêmes. En outre, l’institution de l’album-photos familial qui, grâce aux moyens techniques, fait partie de notre vie depuis plusieurs générations, offre aux photographes un terreau fertile pour leurs expérimentations et leurs créations picturales. Ce point de départ représente une source d’inspiration particulièrement intéressante, d’autant plus significative qu’elle permet en fin de compte au photographe lui-même de lever le voile et de donner accès à sa sphère privée et à son histoire personnelle.

Les œuvres qui évoquent dans différents langages les thèmes les plus variés véhiculent à la fois des symboles universels etdes histoires subjectives que le visiteur peut interpréter à des niveaux toujours renouvelés, en fonction de sa propre expérience. Ces récits et ces instantanés, ces confessions volées et ces mensonges mis en scène posent en eux-mêmes beaucoup de questions qui, en définitive, nous interrogent sur la responsabilité et la nature humaine en général dont le cocon familial est le laboratoire idéal.