"Send a Sign from Below..." - Default Productions, Ágnes Eperjesi, Paul Horn, Barbara Ipsics, Hilda Kozári

Opening: Wednesday, June 10, 2015, 7pm
Jun 11 - Aug 28, 2015

  • Ágnes Eperjesi, Mixed Marriage, c-print, 2010, 28x20 cm, ed. 1/5
  • Ágnes Eperjesi, Mixed Marriage, c-print, 2010, 28x20 cm, ed. 1/5
  • Ágnes Eperjesi, Mixed Marriage (Medal), medal, 2010, 51x12 cm, ed. 1/5
  • Ipsics Barbara, Vorbidden Contact, 2015, installation (2 videos, text, floor sticker), size variable, ed. 1/5
  • Ipsics Barbara, Vorbidden Contact, 2015, film still 05
  • Ipsics Barbara, Vorbidden Contact, 2015, film still 08
  • Hilda Kozári, VITA, 2015, installation (copper panels), installation size: 74x245 cm
  • Default Productions, Happiness Manual, mixed media installation, size variable
  • Default Productions, Happiness Manual, mixed media installation, size variable
  • Paul Horn, bunker no 19, mixed media object (reinforced concrete, video), 48x35x16 cm, 2013
  • Paul Horn, bunker no 20, mixed media object (reinforced concrete, video), 20x22x40 cm, 2013, video: Nicolas Sarkozy

Diverse alternative forms of communication appear both in the practice of everyday life and in the work of the artists, refreshing the more and more monodirectional communication in the public.

Through means of experimental works and works which act as a proposal, the artists offer possible ways of reconsidered and reshaped communication, which opens up into the emancipatory potential of attention, irony and humor. 

The performance of Ágnes Eperjesi titled Mixed Marriage is based on the Slovakian law pertaining on language which was set up in 2009, and caused a demonstration wave. This law demonstrates the priority of the Slovakian language compared to spoken languages of minorities. The artist organized a wedding ceremony according to the local tradition for a mixed marriage in the marriage hall of the city hall in Komarno. Instead of a human couple, the official registrar married a Slovakian-Hungarian and a Hungarian-Slovakian dictionary with each other.

Connecting language and “speechlessness”, understanding and misunderstanding, codes and minorities are significant parts of Hilda Kozáris work. The system of Braille is a core of her works for a long time by integrating more spheres of sensation. Her last work indicates the word “VITA”, which means life in Latin and which is used also in English as „vital“, „vitality“ etc. In Hungarian the meaning of it is different: debate, discussion, dispute, argument. Without debates we wouldn’t have developments in our society like civil rights and emancipation. The work of Kozári, selecting copper as the material of the sculptures in public space, allocates the context new at the same time.  By using a material with antiseptical effect she evokes the cleaning function of the discussion (VITA) as well. 

The lack of the speechs` democratical potential address the small bunker-objects of Paul Horn in which one can watch videos of well-known speeches, declamations etc. As the artist describes his work: „Whether it is a political speech, a religious sermon, a scientific lecture, a proclaimed artistic manifesto, some wise guidance of a guru or a balance presentation of a CEO in front of his shareholders. Contrary to individual experiences which go along with everybody, the speech always has a connotation of an instruction of a more knowing to an unknowing crowd. The practice of the speech is hierarchically unlike the dialogue or the discussion. Those who speak are spatially disconnected from their public in different ways - raised on golden pulpits, on pedestals or platforms, they are surrounded by microphones or fortified behind plexiglass. The presented constructs tend to assume an independent existence, to become dogmas which mentally exercise control.“

Pictorial sign systems are shown in Barbara Ipsics video work titled „Forbidden Connection“, which is based on an interview with a young woman who tries to keep in touch with her arrested partner. From the street she is articulating herself using specifically created hand-signs which are used by other women with similar love stories as well.

The new work of János Brückner and Lóránt Bódi (Default Productions) is shown in their project „Happiness Manual“: a manual for both happiness and misfortune is presented via different media, gimmicks and give-aways. Represented as a big marketing campaign, one finds hidden personal stories behind the different visualizations. 

The title of the exhibition refers to a famous and popular Hungarian song of the 80ies which deals with that similar self-ironic approach embedded in the works: „(...) the situation itself has no reason to change of its own accord...“