Action, performance

Action, performance, video, motion picture, photoaction

1970

Happening study,
Participants: Anikó Bognár, Inke Bognár, Ágnes Kefel, Károly Halász.
Deindol Mountain, Pécs.

1971

Photoaction,
“Homage a László Moholy-Nagy”, in an empty TV box, lighting candles, lonely meditation, and realizing the “Dexion-Salgó TV-installation”.
Hostel for workers, Pécs.

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Empty TV box as an opportunity of producing one's own program
Burning a candle for the start of an individual program
1971
painted wood, wax, 52 x 70 x 25 cm
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TV object I-II.
1971
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TV object I.
1971
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TV object II.
1971
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Photo-experiments based on the essays of László Moholy-Nagy
Pieces of the series
1971
photo, 29.5 x 42 cm
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Photo-experiments based on the essays of László Moholy-Nagy
Pieces of the series
1971
photo, 29.5 x 42 cm

Photoaction,
With the caption “LOVE”, during the political magazine “Hét” (The Week) of the Hungarian Television, on the TV screen.
Hostel for workers, Pécs.

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“LOVE”, photoaction to the political magazine The Week (A Hét) of the Hungarian Television
Pécs, in the Hostel of Workers
1971
photo, 9 x 12 cm
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“LOVE”, photoaction to the political magazine The Week (A Hét) of the Hungarian Television
Pécs, in the Hostel of Workers
1971
photo, 9 x 12 cm

1972

Photoaction,
“Modulated Television I.”, during the film “Byzance” of the Hungarian Television, photographing three geometricalelements at intervals of three minutes, using all possible variations.
Photoassistant: Sándor Géber.
Hostel for workers, Pécs.

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Modulated TV I.
Draft of the program
1972
photo, 9 x 12 cm
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Modulated TV I. Photoaction to the program “Byzance” of the Hungarian Television
Three-minute situations of a varying module-system
1972
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Modulated TV I.
Excerpt from the series
1972
photo, 9 x 12 cm
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Modulated TV I.
Excerpt from the series
1972
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Modulated TV I.
Excerpt from the series
1972
photo, 9 x 12 cm
[image]
Modulated TV I.
Excerpt from the series
1972
photo, 9 x 12 cm

Photoaction,
“Modulated Television II.”, during the film “Odysseus” of the Hungarian Television, taking series of photographs offixed geometrical objects in different moments.
Photoassistant: Sándor Géber.
Hostel for workers, Pécs.

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Modulated TV II. Photoaction
The serial “Odysseus” of the Hungarian Television, unchanged parts, photographed in different moments
1972
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Modulated TV II. Photoaction
The serial “Odysseus” of the Hungarian Television, unchanged parts, photographed in different moments
1972
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Modulated TV II.
Excerpt from the series
1972
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Modulated TV II.
Excerpt from the series
1972
photo, 9 x 12 cm
[image]
Modulated TV II.
Excerpt from the series
1972
photo, 9 x 12 cm

1973

Photoaction,
“Modulated Television III.”, during the West Germany-Brazil soccer match on the Hungarian Television, placing two geometricalobjects on the screen, photographing them in equal intervals, besides the photographs of goals and extraordinary situations.
Fotóasszisztens: Géber Sándor.Hostel for workers, Pécs.

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Modulated TV III. Photoaction
Documentation
1973
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Modulated TV III. Photoaction
West Germany-Brazil soccer match on the Hungarian Television, two geometrical elements, the same interval between photoshots
1973
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Modulated TV III. Photoaction
West Germany-Brazil soccer match on the Hungarian Television, two geometrical elements, the same interval between photoshots
1973
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Modulated TV III.
Excerpt from the series
1973
photo, 9 x 12 cm
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Modulated TV III.
Excerpt from the series
1973
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Modulated TV III.
Excerpt from the series
1973
photo, 9 x 12 cm

Continuous TV action,
“Watch the TV” - “The TV Watches Us”, continuous action form the morning to the evening, installations, in the garden of BrúnóGellér. Continuous, common performance of sixteen artists from Pécs.
Pécs.

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Continuous TV open air action and installation I.
Pécs, in the garden of Brúnó Gellér
1973
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Continuous TV open air action and installation II.
Pécs, in the garden of Brúnó Gellér
1973
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Continuous TV open air action and installation III.
Pécs, in the garden of Brúnó Gellér
1973
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Museum installation
1973
glass, cardboard, wood, cellophane, other materials
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Continuous TV open air action and installation IV.
Pécs, in the garden of Brúnó Gellér
1973

Photoaction,
“Homage for Robert Smithson”, commemorating Robert Smithson’s on the Danube bank at Paks. On a cloudy autumn afternoon, we dug aspiral on the sandy beach and burnt paper and diesel in it.
Paks - Géderlak.

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For Robert Smithson
Action on the Danube bank at Paks
1973
sand, paper, diesel, cca. 15-20 meters diameter, photo, 50 x 60 cm
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For Robert Smithson
Action on the Danube bank at Paks
1973
sand, paper, diesel, cca. 15-20 meters diameter, photo, 50 x 60 cm
[image]
For Robert Smithson
Action on the Danube bank at Paks
1973
sand, paper, diesel, cca. 15-20 meters diameter, photo, 50 x 60 cm
[image]
For Robert Smithson
Action on the Danube bank at Paks
1973
sand, paper, diesel, cca. 15-20 meters diameter, photo, 50 x 60 cm
[image]
For Robert Smithson
Action on the Danube bank at Paks
1973
sand, paper, diesel, cca. 15-20 meters diameter, photo, 50 x 60 cm
[image]
For Robert Smithson
Action on the Danube bank at Paks
1973
sand, paper, diesel, cca. 15-20 meters diameter, photo, 50 x 60 cm
[image]
For Robert Smithson
Action on the Danube bank at Paks
1973
sand, paper, diesel, cca. 15-20 meters diameter, photo, 50 x 60 cm
[image]
For Robert Smithson
Action on the Danube bank at Paks
1973
sand, paper, diesel, cca. 15-20 meters diameter, photo, 50 x 60 cm
[image]
For Robert Smithson
Action on the Danube bank at Paks
1973
sand, paper, diesel, cca. 15-20 meters diameter, photo, 50 x 60 cm
[image]
For Robert Smithson
Action on the Danube bank at Paks
1973
sand, paper, diesel, cca. 15-20 meters diameter, photo, 50 x 60 cm
[image]
For Robert Smithson
Action on the Danube bank at Paks
1973
sand, paper, diesel, cca. 15-20 meters diameter, photo, 50 x 60 cm

Photoaction,
Commemorating my journey, Suitcase photos, M. A. - Magister Artium, Halfway, Memorial plan, and taking other suitcase photos.
In he garden of my birth-place, Paks.

Photoaction,
“Homage for Andy Warhol”
In my home, in the garden, Paks.

1974

Photoaction,
“Private transmission II.”, sitting in an empty TV-box, looking for different postures, and photographing the whole procedure.
Assistants: Attila Szőke, Sándor Géber.
Cellar-atelier, Pécs.

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Private transmission II. photoaction
Pécs, cellar-atelier (parts of the series)
1974
photo, 50 x 60 cm
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Private transmission II. photoaction
Pécs, cellar-atelier (parts of the series)
1974
photo, 21 x 30 cm
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Private transmission II. photoaction
Pécs, cellar-atelier (parts of the series)
1974
photo, 21 x 30 cm

Photoaction,
“Private transmission I.”, Lighting candles for lots, lighting candles in an empty TV box.
Cellar-atelier, Pécs.

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Private transmission I. Burning a candle for lots, photoaction
Pécs, cellar-atelier
1974
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Private transmission I. Burning a candle for lots, photoaction
Pécs, cellar-atelier
1974

Photoaction,
“Leninut30”. Photographing the gates and numbers of the houses of Lenin Street in Paks, in order to prove the supposal, that the gates reflect the philosophy of the people living in those houses. Inspired by the Japanese film “Dodeskaden”.
Paks.

1975

Photoaction,
“Private transmission IV.”, photographing situations with the parts of disassembled TV sets, as well as making the recordsof “Private transmission IV. – A bunch of flowers for preventing hatred”.
Assistants: Sándor Géber, Attila Szőke.
Cellar-atelier, Pécs.

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Private transmission IV. photoaction
“A bunch of flowers for preventing hatred”
1975
photo, 24 x 36 cm
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Private transmission IV. photoaction
“A bunch of flowers for preventing hatred”
1975
photo, 24 x 36 cm
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Private transmission IV. photoaction
without title
1975
photo, 9 x 14 cm

Photoaction,
“Pseudo-video I.”, I put mirrors in empty TV boxes in different planes, and I took photographs of myself.“Body language” situations.
Cellar-atelier, Pécs.

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Pseudo-video I., photoaction
excerpt
1975
slide, 24 x 36 mm
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Pseudo-video I., photoaction
excerpt
1975
slide, 24 x 36 mm
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Pseudo-video I., photoaction
excerpt
1975
slide, 24 x 36 mm
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Pseudo-video I., photoaction
excerpt
1975
slide, 24 x 36 mm
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Pseudo-video I., photoaction
excerpt
1975
slide, 24 x 36 mm
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Pseudo-video I., photoaction
excerpt
1975
slide, 24 x 36 mm
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Pseudo-video II., photoaction
excerpt
1975
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Pseudo-video II., photoaction
excerpt
1975
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Pseudo-video II., photoaction
excerpt
1975
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Pseudo-video II., photoaction
excerpt
1975

Performance,
“Private transmission X.”, recording the motion picture, black&white, 16 mm. In the regional studio of the Hungarian Television,as part of the common program with the Pécs Workshop. “Private transmission” means the magical haunting of constrained motions andunachievable aims, remembrance and vision break-out, hidden objection and ironic criticism against the control.
Regional studio of the Hungarian Television, Pécs.

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Recording the movie “Private transmission X.”
Regional studio of the Hungarian Television, Pécs
1975
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Recording the movie “Private transmission X.”
Regional studio of the Hungarian Television, Pécs
1975
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Recording the movie “Private transmission X.”
Regional studio of the Hungarian Television, Pécs
1975
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Recording the movie “Private transmission X.”
Regional studio of the Hungarian Television, Pécs
1975
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Recording the movie “Private transmission X.”
Regional studio of the Hungarian Television, Pécs
1975

1976

Photoaction,
“For my 30th birthday”, photographed in the garden of the Renaissance lapidary in Pécs, using 30 bricks and 30 burningcandles arranged in longitudinal an spiral formation, in the yard covered by tiny stones, beneath cypress trees.

1978

Performance and video recording,
“Transition” /“An Indian in Holland”/. With the following details: “First steps towards the video”, ”Self-portrait” - painting,/coloring myself on the screen/, “Creating new graphics” - footprint picture, “Looking for the best posture”, /five minutes ofimmobility and inertness/, “I love you”, fetishism of the genre, “Video Disco”, and finally, absorption and escape as analternative of getting into “dream world”.

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The first step
“Transition”, Amsterdam
1978
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“Transition” video, Amsterdam
excerpt from the video
1978
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“Transition” video, Amsterdam
excerpt from the video
1978
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“Transition” video, Amsterdam
excerpt from the video
1978
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“Transition” video, Amsterdam
excerpt from the video
1978
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“Transition” video, Amsterdam
working photo
1978
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“Transition” video, Amsterdam
colorful excerpts from the video
1978

1979

Performance,
“Without a title”, Creative House of the Hungarian Institute for Culture. Preparation using the methods of Gorard, on-siteimprovisation with the tools found there for delineating questions such as “where are we going to?” or “are we goinganywhere” – brick, news-prints and grail, sand, the road-building, monotone works, wood-cutting. This can be a constraint-workout,a preparation for something, working off of energy, and unexpected turns can come meanwhile, too. Series of questions, thoseconsideration can give chilling ideas or motivation.
Without documentation.
Creative House of the Hungarian Institute for Culture, Balatonalmádi.

Performance,
“Work” and “Go, go and stay”. “Work” is the repeated bringing-up of the Balatonalmádi questions with richer tools. Flowersplanted between stones, longer, more elaborated happening of actions, cutting of greater amount of wood. This was followedby “Go, go, and stay”. While the “Land of Smiles” titled opera of Franz Lehár could be heard, I wrote different city namesof the stations of contemporary fine art bounded with the ritual movements of candle burning, also referring to the politicalconferences in Helsinki and Belgrade, hinting at the immobility and the choky waiting. Stripping, slipping into a sleeping-bag,falling asleep meant not only the tiredness, but the hope of happier awakening.
Youth Cultural Center, Miskolc.
Documentation: Film. sup. 8 mm.

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“Work” and “Leave, leave and stay”
performance
1979
Youth Cultural Center, Miskolc
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“Work”
performance
1979
Youth Cultural Center, Miskolc
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“Leave, leave and stay”
performance
1979
Youth Cultural Center, Miskolc

1980

Photoaction,
“Forbidden, Borne, Supported”, Skin-painting and exposition of other situations.
Atelier, Paks.

Performance,
“Islands” – The location is the middle-sized theater room of Karcag Gallery, there are constructivist graphics andpaintings on white draught-screens. The installation “Islands” is in the middle of the room, made of news-print withobjects and materials on it. “Cay of Peace”, sand, gravel, cage, white pigeon, “Growing island of the lost”, newspaper,cobbles, cube pedestal, reflectors, wires, “Food archipelago” like G. - Gulág, newspaper, white pedestals, “Bread anddripping Island”, beer-wine-spirits-salt-paprika as spice islands. Sandspiral with burning candles for Robert Smithson.Information Island, TV set, radio, tape recorder on newspapers, turned off, soundlessly. Besides islands of sex, book,art and the narrator as well as a private cay with a doubled ladder on it.
The plot: The closed door opened, the audience came slowly into the dark room. The first 10-15 person got long flamingcandles. There is dismay on the faces. A woman, a local piano teacher, played the piano on the stage behind the curtains.Ferenc Romváry monologized on the “Island of the narrator” next to a bottle of spirits. A figure on the bigger ladderspied the non-existing horizon with a binocular. The audience watched apparently silent the flare-up candles on the islandof the lost and dead, and the reflectors of islands of the suddenly flaring light-shadow game. The lights of the roomturned on in about ten minutes, the tension began to ease, which was raised by the visitors of the bread and drippingand the beer-wine islands. Meanwhile the clerk with brief-case and glasses appeared, and read captions of the picturesthe step by step.
Documentation, photos and slides.
Gallery of Youth Culrural Center, Karcag.

[image]
“Islands”
performance
1980
Cultural Center, Karcag

1981

Performance,
“The Island”. The location is a small exhibition room, photos all over the walls. There is an island in the middle of theroom encircled by a black rope. There is a black rope crossway over the eye level, as horizon. There is a TV on the islandturned on indicating that we are not alone. Besides a black, white-dotted bundle, a tiny suitcase, and a black telescopemade of carton.
The plot: A bearded man suited in black lying on the back is watching the horizon with his telescope. Some undressed peopleare walking around on the border of the island balancing. One of them is balancing a T-shaped ruler on his nose, as the incentimeters measurable contingencies and object of freedom. The all the time functioning TV watches the happening as arepresentative of the power with cold-livered, nervous, flickering screen.
Újpest Mini Gallery, Budapest.

[image]
“Island”
performance
1981
Budapest, Újpest Gallery
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“Island”
performance
1981
Budapest, Újpest Gallery

“At the back of...”
(excerpt) film, 16 mm, Paks

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I. Air, 1981
“At the back of...”
1981
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II. Burning a candle
“At the back of...”
1981
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II. Burning a candle
“At the back of...”
1981
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II. Light
“At the back of...”
1981
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IV. Silence
“At the back of...”
1981
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V. Complaint
“At the back of...”
1981
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VI. Foot painting
“At the back of...”
1981
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VI. Foot painting
“At the back of...”
1981
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VII. Force...
“At the back of...”
1981
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VII. Force...
“At the back of...”
1981
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VIII. Making the run
“At the back of...”
1981
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VIII. Making the run
“At the back of...”
1981
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IX. Two steps to the left
“At the back of...”
1981
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IX. Two steps to the right
“At the back of...”
1981
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X. Without title
“At the back of...”
1981
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X. Without title
“At the back of...”
1981
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XI. Treading shit
“At the back of...”
1981
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XI. Treading shit
“At the back of...”
1981

1992

Performance,
“Evoking the past”. Location: side-aisle and apse of a former hospital chapel, Berlin. Sheets of naturalistic wrappers are allover the walls, like faded flags, hinting at revolutions. They are covered with holes moderately reminding of the monolithicflecks, behind them is the plastered-unplastered “wall”. There is a candle before each. There are sheets of papers with holeson the walls of the apse, too. There is a suitcase in the middle, and a red-shafted axe instead of the bundle and stick. Fartherat the stage, there is a piece of outspread white linen, paints, black.
The plot: Continuous candle lighting all along the walls, in the apse, by the suitcase and the bundle. After that, dribbling blackpaint on white base afore the piece of linen using the tools of action painting, and then barefooted paint treading. After sometime, putting on shoes and blowing out the candles while leaving.
Künstlerhaus, Bethanien, Berlin.
Video record: Antal Lux fine artist, Berlin.

[image]
“Evoking the past”
performance
1992
Künstlerhaus, Bethanien, Berlin
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“Evoking the past”
performance
1992
Künstlerhaus, Bethanien, Berlin

1994

Performance,
I. On a downhill of Tuscany, in a garden of a villa, on a tree-encircled glade, preparation to a sacrifice-like show of thefoot painting ritual is in progress. The excited audience consists of the vicinal acquaintances and the owner’s family. Moreof them are sitting on chairs, their ages range from 90 years old great-grandmother to teenagers, series of generations, inneorealist style. I’m trying to evoke the blueness of the close-by sea by treading medium-blue paint on a medium-sized canvas,wearing trunks in the pleasant summer warmth.
II. In the second part, I’m painting blue flecks on a piece oflarge, outspread, home-weaved, white, Tuscan linen. Music isserved by cicadas in the garden, the silent attention of the audience is only interrupted by some remote dogs’ barking. Thepainting is almost ready. After I have finished it, I lie on the middle of the canvas. According to the previous agreement,Giuseppe and Fabio create a bundle from the painted canvas with me inside.
Assistants: Giuseppe Badini, Fabio Mirra.
Photo: Franco Dagani.
Palazzoolo, Tuscany, /Province of Florence/ Italy.

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“Tuscany, Part II.”
performance
1994
Palazzoolo, Tuscany, /Province of Florence/, Italy.

2000

Photoaction series. I.
Still-life with fruits.
Atelier, Paks.

Photo series, II.
Nude photograpgy, citation of mythological situations Centaur, Dionysos, etc.
Atelier, Paks.

2004

Installation, exhibition, performance,
“Islands”, recreation of the performance in Miskolc and Karcag in 1979 and 1980, a part of the program of the exhibition of Pécs Workshop in“Közelítés” Gallery, Pécs. The crowd waiting on the street was received with loudened, live music. After the door had been opened, a candle wasgiven to everyone from the side-chase at the entrance, and the people walked down into the air-raid shelter in the basement. In the round-foiledroom, the documentation of the former performance glued on the foil could be seen. While the music was on, Ferenc Romváry commemorated theevents in the 1980s. After that, the performance in Miskolc-Karcag was recalled and the series of actions were repeated. The flower-plantingin gravel and grail and the ritual of wood-cutting was a hint, that it is only us who gets older as time goes, situations and the matter areeternal. Matter only alters, it can be varied, the young generation changes, the new generation takes a part of our usable ideas.Assistant: Szluka Balázs.
Music: Kristóf Wéber.
Photo, video, documentation: István Mészáros.
Gallery of “Közelítés” Art Association, Pécs.

2003-05

Photoaction, I-II-III.
“Homage a Goya”, photo series inspired by the painting titled “Saturn eats up his child”. Tearing, rending raw flesh.
Participants: Károly Halász, Balázs Szluka, Franco Dagani, István Mészáros.
Workshop, Paks.

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Tearing, rending raw flesh
working photos
2003-05
Workshop, Paks.

2006

Photoaction,
“Situation photos”.
Collaborators: Mátyás Szöllősi, Gábor Tóth.
Workshop, Paks.