blood mountain foundation past

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H-1025 BudapestVrhalom utca 27/c

Hungary

+36 [email protected]

Blood MountainFoundation

PastConversation SeriesArtists-in-ResidencyProjectsPublicationPublic ProgrammeEducation

2010 - 2012


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Conversation Series

Blood Mountains new Conversation Series brings leading thinkers and makers of the internationalarts community to Hungary and the region of Central Europe by providing a forum for discourse on adiverse selection of topics. Launching in July 2012, its ambition is to share the brilliant discussions thathappen in a private capacity at Blood Mountain with the broader public. One-off evening sessions ona bi-monthly basis. Free with prior registration: [email protected]

Slavs and Tatars

Tuesday 03 July 2012

7.30pm start | 7.00pm doors open

The talk is a multi-platform look at two modern moments, 1979 and 1989, as bookends to the majorgeopolitical narratives of the 20th and 21st centuries: Communism and Islam. Entitled 79.89.09, thetalk is an apt introduction to the collective and its second cycle of work, Friendship of Nations: PolishShiite Showbiz, on the unlikely common heritage between Poland and Iran in their respective drivestowards self-determination. More details: http://www.slavsandtatars.com/79.89.09s&t.pdf

Slavs and Tatars is a faction of polemics and intimacies devoted to an area east of the former BerlinWall and west of the Great Wall of China known as Eurasia. The collectives work spans several media,disciplines and a broad spectrum of cultural registers (high and low) focusing on an oft-forgotten

sphere of inuence between Slavs, Caucasians and Central Asians. After devoting the past veyears to two key cycles of work, namely, a celebration of complexity in the Caucasus (KidnappingMountains, Molla Nasreddin, Hymns of No Resistance) and the unlikely heritage between Poland andIran (Friendship of Nations: Polish Shiite Showbiz, 79.89.09, A Monobrow Manifesto), a new cycleof work was begun in late 2011 called The Faculty of Substitution, which has contributed to recentexhibition at the Tate Modern, London / Salt, Istanbul (Mystical Protest); GfZK (Reverse Joy), Lepizig;New Museum, New York (PrayWay); and solo engagements at the Secession, Vienna (Not MoscowNot Mecca); The Museum of Modern Art, New York (Beyonsense); Moravia Gallery of Brno (Khhhhhhh)and Knstlerhaus Stuttgart. www.slavsandtatars.com


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Talk by Slavs & Tatars Andrs Kr, 2012

Slavs and Tatars: 79.89.09(installation view) Kolya Zverkov


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Artists-in-Residence

Fritz Haeg

Edible Estates Regional Garden #12 Budapest, Hungary

May 2012

Blood Mountain is pleased to announce its June 2012 artist-in-residence programme with Americanartist-designer-activist Fritz Haeg, who will produce the 12th chapter of his Edible Estates projectseries at Wekerle Estate, Budapest.

Edible Estate Regional Prototype Garden #12: Budapest, Hungary is a community project including

a new garden in Pest and an associated exhibition and public programme at Blood Mountainsheadquarters in Buda.

Initiated in 2005 in Kansas, the geographic centre of America, Edible Estates work with selected urbanfamilies to create highly visible edible gardens between the private front door and the public street. Incontrast to government-initiated allotment projects, Haegs gardens are situated on private property,cultivated by home-owners, and act as catalysts for future initiatives by the caretakers and the broadercommunity. The artist-led project invites the arts community to engage with pressing contemporaryurban and social issues.

The Budapest Edible Estate is located at Wekerle Estate: a former social housing and innovative

garden programme of the early 20th century, which has since become a middle-class suburb ofBudapest. The project aims to revive Wekerles original mission to support the health, social andeconomic well-being of its residents. The participanting family, was selected by an open call. Theplanting is scheduled for Saturday 02 and Sunday 03 June, where volunteers are welcome.

As part of Blood Mountains earlier exhibition and public programme produced from the BudapestDesign Week, Stories from Central Europe, Haeg presented the Edible Estates series and visitedCentral Europe for the rst time in October 2011.

The project will be shown at the 13th Venice Architecture Biennale (29 August - 25 November 2012)in the American pavilions exhibition, Spontaneous Interventions: Design Actions for the CommonGood (curated by Urban Institute for Urban Interventions).

The next Edible Estate will be developed in 2013 in the artists home town of Minneapolis, Minnesota(commissioned by the Walker Arts Center and coinciding with Haegs rst retrospective at theinstitute), which will also become the backdrop to Blood Mountains ongoing documentary about theproject, produced in partnership with Film56 (Budapest/San Francisco).


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Project Schedule

30 April: Application deadline for Wekerle Estate residents

04 May: Final decision18 May: Consultation with Blood Mountain representatives31 May: Site visit with Fritz Haeg02 June: Planting Weekend: site preparation03 June: Planting Weekend: installation

Exhibition06 June to 1 July 2012opening: Tuesday 5 June 2012, 6 to 8pmartists talk on Domestic Integrity Fields: Tuesday 5 June 2012, 6.30pm start

venue: Blood Mountain (Vrhalom utca 27/c, Budapest 1025, Hungary) l FREE by appointment

During the residency, Blood Mountain presents an exhibition of the 11 existing Edible Estates gardensand becomes the setting for an ongoing Domestic Integrity Fields workshop.

Public ProgrammeProduced in association with the MAK Austrian Museum of Applied Arts / Contemporary Ar t, Vienna

Domestic Integrity Fields Workshop (Budapest)

Wednesday 06 to Friday 08 June 2012, 10am to 6pmvenue: Blood Mountain (Vrhalom utca 27/c, Budapest 1025, Hungary) l FREEparticipants and donations of used clothes welcome

A continuation of Edible Estates (est. 2005) and Animal Estates (est. 2008), Haegs associated projectexploring urban wildlife architecture, Domestic Integrity Fields (est. 2012) examines patterns and ritualsof interior domestic landscapes created by humans from the surrounding land and city. The projectis inspired by Buckminster Fullers Pattern Integrity, his theory of explaining the separation betweenanimated things and their materiality. As an early chapter of the project, the event comprises a crochetworkshop, incorporating the materials collected during the making of Budapest Edible Estates (twigs,seeds and old rags) and informal discussions.

Education Workshops (Budapest)

Saturdays 09 & 23 June, 11am to 1pmvenue: Blood Mountain (Vrhalom utc 27/c, Budapest 1025, Hungary)suitable for 6 to 12 year-olds l 4000 HUF (15 Euros) per event

Part of Blood Mountains education programme, Session One (09 June) provides younger audienceswith the opportunity to develop a kitchen herb garden on Blood Mountains premises. Session Two (11

June) is a workshop in compost making and baking, using produce from the Herb Garden.


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Produced under the supervision of Blood Mountains art educator and in association with GreenFortune Hungary.

MAK NITE Lab (Vienna)

Tuesday 26 June 2012, 7 to 10pm l FREEvenue: MAK - Austrian Museum of Applied Arts / Contemporary Art, Columned Main Hall(Stubenring 5, 1010 Vienna, Austria)7 to 8pm: Fritz Haeg presents Edible Estates and other projects, MAK Columned Main Hall8 to 10pm: Domestic Integrity Fields workshop, MAK Columned Main Hall and Gardenparticipants and donations of used clothes welcome

Blood Mountain is invited to guest-curate the next MAK NITE LAB event, focussing on Haegs Edible

Estates and its latest inception in Budapest. The evening starts with a lecture by Haeg and continueswith an evening of activities, presenting the outcome of the Domestic Integrity Field workshop and thework of the projects varied collaborators.

The artist

Fritz Haeg is an American artist and prominent urban gardener. He studied architecture at the I.U.A.V.(School of Architecture in Venice, Italy) and the Carnegie Mellon University (Pittsburg, USA). He is a2010/11 Prize Fellow at the American Academy in Rome, a regular lecturer at American Universities(Princeton, Parsons, Cal Arts, University of Southern California) and contributor to periodicals(Artforum and Frieze). His work has been exhibited at leading art institutions (Tate Modern, WhitneyMuseum, Guggenheim Museum, Salt Beyolu, San Francisco MoMA, Wattis Institute, MIT and manyothers). His projects range from urban gardens and wildlife habitat (Edible Estates, Animal Estates,Gardenlab), to social gatherings and educational environments (Sundown Salon and SundownSchoolhouse) and design projects (Fritz Haeg Studio). Edible Estates exists in seven Americanlocations (Salina, Kansas; Lakewood, California; Maplewood, New Jersey, Austin, Texas; Baltimore,Maryland; Descano Gardens, California, New York City; Ridgeeld, Connecticut) and internationally inLondon (commissioned by Tate Modern, 2007), Rome (while in residence at the American Academy inRome, 2010) and Istanbul (at SALT Beyoglu, 2011). After Budapest, the 13th Edible Estate is scheduled

for 2013 in Minnesota, Minneapolis (commissioned by the Walker Arts Center). Between his travel,work and public engagements, Fritzs home since 2000 is a part-subterranean, part-geodesic dome inthe hills of Los Angeles. fritzhaeg.com


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Edible Estates #12: Wekerle Estate, Budapest Andrs Kr, 2012

Edible Estates project series

01: Salina, Kansas, USA - commissioned by Salina Art Center, 2005

02: Lakewood, California, USA - exhibited at Machine Project and Millard Sheets, 200603: Maplewood, New Jersey, USA - sponsored by Garden Supply, 200704: London, UK - commissioned by Tate Modern, 200705: Austin, Texas, USA - commissioned by Arthouse, 200806: Baltimore, Maryland, USA - commissioned by Contemporary Museum, 200807: Descano, California, USA - located at Descanso Gardens, Flintridge, 200808: New York City, USA -commissioned by NY Restoration Project & Friends of the Highline, 200909: Ridgeeld, Connecticut, USA - commissioned by Aldrich Contemporary Art Museum, 200910: Rome, Italy - commissioned by American Academy in Rome, installed at Centro Sociale Ex-SNIA,201011: Istanbul, Turkey - commissioned by SALT Beyoglu, 201112: Budapest, Hungary - commissioned by Blood Mountain Foundation at Wekerle Estate, 201213: Minnesota, Minneapolis, USA - commissioned by Walker Art Center, 2013

For more information: www.edibleestates.org


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The Szente-Lnrd Family (Kriszta, Katus andLaca), caretakers of Edible Estates #12: Wekerle Estate, Budapest Andrs Kr , 2012

The Szente-Lenard Family

The successful candidate of the Wekerle open call is the Szente-Lenard Family. Their front lawn will

be the setting of Edible Estates #12. Here is a br ief introduction to the family and why their garden is agreat setting for the Hungarian chapter of the series.

Kriszta and Laca have been a couple for 12 years, their daughter Katus is 10 years-old. They wereboth born and raised at Wekerle Estate and it is an important for them that their daughter is broughtup in the same tight-knit community. They bought the house last year from the original Wekerle owner,who had lived on the property for over 50 years. Starting with the interior, they began to renovate inline with the founding principles and aesthetic guidelines of Wekerle. The exterior was addressed lastseason with a failed attempt at creating a green lawn. This years project, driven by Kriszta and Katuslove of gardening, was to extend their modest kitchen garden - comprising strawberries, tomatoesand peppers - to a broader and bigger spectrum of produce. We met the Szente-Lenards at the startof the planting season at our stand at the Wekerle Community Market in April. Kriszta was quick toshow us the site and pursued our open call with great enthusiasm and care.

The site is a U-shaped front yard, positioned on a corner block with an adjacent bus stop. Unlike mostWekerle Estates, it benets f rom street exposure and meets Haegs guiding principles, which alsoinclude regular sun and light exposure, generous availability of space and by no means the least, anenthusiastic and committed family.


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Collaborators

Wekerle Estatewas constructed in Budapests 19th district in 1908-1950 to provide improved livingconditions for rural farmers seeking work in the city. It is a utopian planned community inspired byEbenezer Howards Garden City. Each council at was accompanied by a small plot of land and fourfruit trees, which by the end of the rst harvest produced on average sufcient produce to generatefour-times the annual rent of one household. Local community organisers, Wekerle Garden Circle and

Wekerle Transition strive to address Wekerles founding principles and in promoting the importance ofsustainable urban gardening. atalakulowekerle.blogspot.com

MAK - Austrian Museum of Applied Arts / Contemporary Artis one of Viennas leading artinstitutions. In 1994 it founded the MAK Center for Art and Architecture in Los Angeles, which was the

rst art institution to present Haegs Edible Estates project in 2005. The MAK NITE series in Viennais a recognised platform for applied experimentation by contemporary ar tists, architects, designers,performance and media artists. Started a decade ago, its current programme, which is a free monthlyevent, explores the theme of change in collaboration with leading local and international cross-disci-plinary practitioners in preparation for the 2014 European Triennial for Change. MAK.at

Green Fortune is an urban landscape design practice, specialising in internal vertical garden design.The Hungarian ofce of Green Fortune is developing an organic seed bank focussed on traditional

endaged seeds which, alongside expert local knowledge, is generously made available to the makersof the Budapest Edible Estate. greenfortune.com

Artemisia Landscape Design is one of Budapests most innovative design rms, focusing on buildingcommunity through creating ecologically-friendly green spaces in homes, schools and public spaces.Artemisia provided invaluable support to the early stages of the project.artemisiadesign.com


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Edible Estates #12: Wekerle Estate, Budapest Andrs Kr, 2012

Supporter

Graham Foundation for Advanced Studies in the Fine Arts is one of Americas leadingphilanthropic bodies. Founded in 1956, the Graham Foundation makes project-based grants toindividuals and organisations and produces public programs to foster the development and exchangeof diverse and challenging ideas about architecture and its role in the arts, culture, and society.grahamfoundation.org

For press and other inquiries: +36.1.326.1844 | +36.30.415.2123 | [email protected]


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Talk by Fritz Haeg at MAK NITE LAB, Vienna Andrs Kr, 2012

Exhibition view, Edible Estates #12: Wekerle Estate, Budapest Andrs Kr , 2012


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The Otolith Group

February 2012

The occupation of The Otolith Group (The Group) at Blood Mountain is part of an ongoing researchproject about the politics of nuclear energy. Given Hungarys role as an important hub for theeducation and practice of both scientic and lm innovation between the two world wars and duringthe Soviet regime, the residency provides an unparalleled opportunity for The Group to gather originaldata and to develop the work using Hungarys outstanding scientic and lm facilities.

Hungarys long tradition of scientic education nurtured the developmental years of three Hungarianscientists, who later played crucial roles in the invention of atomic energy: Leo Szilrd, Edward Teller,Eugene Wigner. Its advantageous geographic position as the closest Soviet satellite state to WesternEurope also accounts for the numerous nuclear facilities that were developed and in some cases

remain active since the Cold War. Budapest in addition was also considered an important creativehub for moving image between the two world wars, having fostered the mediums eary pioneersbefore their respective emigration: Alexander Korda, founding member of the British lm industry, andMichael Curtiz, a central gure of Hollywoods golden age; and as a production set for some of themost ubiquitous Soviet documentary and propaganda lms, often made by anonymous lm-makers.

The Groups work at Blood Mountain is scheduled for completion in summer 2012 and will returnto Blood Mountain for a special screening and artists-led discussion in autumn 2012. This is thecollectives rst project in Central Europe and Blood Mountains third ar tist-in-residence programme.

Public Programme

A critical and comprehensive public programme accompanies The Groups residency, curated byBlood Mountain in partnership with tranzit. hu. Unless otherwise stated, events are free with priorbooking and take place in Engl ish at Blood Mountain.

For reservations: +36.1.326.1844 | +36.30.415.2123 | [email protected]

Tuesday 14 February, 6 to 9pm

Screening of collectives namesake trilogy: Otolith I, 2003; Otolith II, 2007; Otolith III, 2009Introduction and discussion with the artists, Anjalika Sagar and Kodwo EshunWith breaks and refreshments provided

Set between the 22nd century (I); todays Mumbai and Chandigarh: Indias rst planned city designedby Le Corbusier in the 1950s (II); and the ctional future of an unrealised Indian science ctionmovie from 1967 (III), the work projects a mutant future, fusing ction and non-ction through thejuxtaposition of documentary footage, archival materials and new imagery (colour, in English, total 118mins).


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Saturday 3 March, 11am to 1pm

Education programme: bilingual hands-on workshop led by Blood Mountains art educator in responseto The Groups new work. All materials supplied. Suitable for 6 to 12 year-olds. Cost: HUF 4000 (15)

Aliated public and professional development programmes organised by tranzit. hu for the

Free School of Art Theory and Practice initiative:

Friday 3 February, 6 to 8pm

Preparatory viewing: Chris Marker_La Jete, 1963 and Sans Soleil, 1983Introduction in Hungarian by Zsolt Srs, leading Hungarian lm critic

Radical science ction/fantasy lms examining the role of time and memory in the development of

Earth (b&w, in French with English subtitles, total 130 mins).venue: tranzit. hu ofce (Budapest 1065, Kirly utca 102, rst oor)

Saturday 11 February, 11am to 8pm

Preparatory viewing: Peter Watkins_The Forgotten Faces, 1961 and La Commune (Paris, 1871), 2000;Introduction in Hungarian by Zsolt Srs, leading Hungarian lm critic

A poetic reconstruction of the 1956 Hungarian revolution on the streets of Canterbury; and a tour-de-forcetake on the heady days of post-revolution France (b&w, in French and English, total 362 mins).venue: tranzit. hu ofce (Budapest 1067, Kirly utca 102, rst oor)

Tuesday 21 February, 6pm

Screening and ar tist-led reading: The Otolith Group_Anathema, 2011Public event of Free School for Art Theory and Practice

As The Groups most recent work, it re-imagines the microscopic behaviour of l iquid crystalsundergoing turbulence as a sentient entity that possesses the ngertips and the eyes enthralled by theLCD touch-screens of communicative capitalism (colour, in English, 37 mins).venue: Ludwig Museum of Contemporary Art, lecture hall (1095 Budapest, Komor Marcell utca 1)

Saturday 25 February, 10 am to 6pm

Seminar with The Otolith Group: Daughter ProductsPrivate programme of Free School for Art Theory and Practice

According to activ ist and critic Sabu Kohso, the meltdown of the three nuclear reactors at FukushimaDaiichi on 11 March 2011 signals a new phase in the war of the global nuclear regime against allother life forms. The seminar will examine the histories of ar tistic forms of abstraction in relation tothe planetary existence of the global nuclear regime, especially in practices of abstraction that aimto produce forms of the audible and the visible in relation to the necropolitics and chronopolitics ofradiation.


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This is a professional development opportunity to meet The Group and to gain in-depth understandingabout its practice. Attendance by active participation and prior registration only. Please emailmotivation letter with proposal for v isual and thematic contributions by 10 Feb: [email protected]

venue: tranzit. hu ofce (1067 Budapest, Kirly utca 102, rst oor)

The Otolith Group (est. 2002 by Anjalika Sagar and Kodwo Eshun) is an award-winningartist-led collective. Its name refers to the calcium carbonate microcrystal within the inner ear thatplays an important role in maintaining bodily orientation and verticality. Working in video and lm, TheGroup provides a platform for close readings of the image in contemporary culture. The Group workswith media archives, histories of futurity and the legacies of non-alignment and tricontinentalism. TheGroups output also extends to writing, curating, and publishing. Their work includes Communists LikeUs, 2006-10 (three screen performance, two-channel video and single channel video), Inner Timeof Television, 2007 (collaborative installation with Chris Marker), The Otolith Trilogy, 2003-2009 (video),The Ghost of Songs: The Film Art of the Black Audio Film Collective, 2007 (exhibition and publication),Nervus Rerum, 2008 (video), Harun Farocki 22 Films: 1968-2009, 2009 (exhibition), Hydra Decapita,2010 (video) andAnathema, 2011 (video). In 2010, The Group was nominated for The Turner Prize,Britains most prestigious contemporary art award. Solo exhibitions include Westfailure, Project 88,Mumbai (2011), A Lure a part Allure Apart, Betonsalon, Paris (2011), Thoughtform, MACBA, Barcelona,MAXXI, Rome (2010-11) and A Long Time Between Suns Parts I and II, Gasworks and The Showroom,London (2009). Group exhibitions include The British Art Show (2010), 29th Sao Paulo Biennale (2010),Manifesta 8 (2009) and Tate Triennale (2006). Videos by The Group can be viewed via LUX (lux.org.uk),Europes leading resource for ar tists-made lms and videos. Blood Mountains residency programme

provides the rst opportunity for the collective to visit, work and present its practice to CentralEuropean audiences. otolithgroup.org

tranzit. hu (est. 2002 and directed by Dra Hegyi) is the Budapest chapter of the CentralEuropean curatorial network, tranzit.org: a dynamic, inter-disciplinary platform supporting process-oriented, innovative and experimental projects. With afliations in Bucharest, Bratislava, Pragueand Vienna, the Budapest-based tranzit. hu champions ar t and ideas which are elsewhere under-represented and excluded for reasons of content, trend or taste. It provides an anarchic safe placefor mistakes and aws to ourish through mediation; enabling culture to be produced, not simply

perceived, and values to be continually challenged and redened. tranzit. hu believes that openthinking and exchange can lead to responsible critical and experimental attitude in contemporarylife. Since 2006 the Free School for Art Theory and Practice programme supports the theoreticaland practical development of the local arts scene through public events and invited seminars withleading international theoreticians and artists. The programme hinges on the belief that artistic andcuratorial thinking create a surplus of knowledge and can benet social discourse and contemporarylife. Previous Free School participants include Jens Hoffmann (2006), Ulay (2007) and Ute Meta Bauer(2009). hu.tranzit.org

For press and other inquiries: +36.1.326.1844 | +36.30.415.2123 | [email protected]


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The Otolith Group_stil l from Otolith I, 2003 (install)

The Oto lith Group_stil l from the per formance Communists Like Us, Beirut 2010, Houssam Mchaiemoh, 2010


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Projects

Stories from Central Europe

4 to 30 October 2011

Stories from Central Europecelebrates Central Europes unique design heritage and addressesits future creative potential. It is curated in response to the 8th Budapest Design Weeks theme ofCouleur Locale (Local Colour), which is a term borrowed from 19th Century French literary movementof Romanticism. Steeped in social realism and revised notions of nationhood, diversity and culturalidentity, writers were encouraged to express dissatisfaction with contemporary issues and proposednew alternative inspired by foreign cultures and earlier periods. Stories from Central Europefocussesspecically on the two latter notions and presents a programme by an international line-up ofcontributors. They include Tom Sloan, industrial designer (AUS/HU); Fritz Haeg, ar tist-designer-activist

(US); and the London-based collective, Technology Will Save US (Daniel Hirschmann, SA/UK andBethany Koby US/UK). Stories from Central Europe is produced in association with Budapest Designweek and with support from Lnchid 19 Hotel.

Exhibition

Three concept collections are presented as a tribute to Hungarys ageing artisan practice, specialistmanufacturing skills and the inherent quality of o ld world materials: The Luxus furniture range, TheSputnik lighting family and The Hungar ian Traveller luggage collection. Designed by Tom Sloan inpartnership with Ivan Moschlyak, all works are produced with the materials and artisan skills ofcontemporary Hungary. Opening: Tuesday 4 October, 6pm

Public Programme

Two evening talks explore the organisations current and future commitment to issues of design andthe built environment and a series of daytime workshops, produced by Technology Will Save Us,encourage professionals, students and the general public to engage with contemporary design andtechnology at a grass-roots level.

Tuesday 4 October: Talk_Tom SloanSuitable for all age groups, 6 to 7pm

Thursday 6 October: Workshop_LumiphoneFor tertiary education students, 2 to 5pm

Friday 7 October: Talk_Fritz HaegBlood Mountains spring 2012 artist-in-residence presents Edible Estates, 6 to 7pm

Saturday 8 October: Workshop_Electro DoughFor 6 to 12 year-olds, 11am to 1pm

Sunday 9 October: Workshop_Thirsty Plant

For general design enthusiasts 16 years and older, 2pm to 5pm


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Hungarian Traveller Collection (installation view) Andrs Kr, 2011

The Satellite, Sputnik Collection Andrs Kr, 2011


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Talk by Fritz Haeg Andrs Kr, 2011

Workshop by Technology Will Save Us Andrs Kr, 2011


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Asim Memishi: Tenets of Impermanent Value installation view, 2011 | Gyrgy Darabos, 2011

Artists-in-Residence

Asim Memishi: Tenets of Impermanent ValueFebruary 2011 resident23 February - 3 April 20111

An Australian-Albanian by self-denition (b.1965 Australia, lives and works in Melbourne), Memishiswork is a synthesis between architecture, ornament and history. His examination of everydaysign systems is conducted within a formalist, geometric language he calls the cartography of theeveryday.

Memishi is the recipient of the preeminent Theodore Urbach Prize (1994) and the Studio ResidencyAward at 200 Gertrude Street in Melbourne (1996), yet as a practicing artist he rarely exhibits bychoice, opting instead to support Australias promising young talent as a guerilla gallerist.

The exhibition presents Memishis new work and his residency is accompanied by a comprehensiveeducation programme during his stay.


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Asim Memishi: Tenets of Impermanent Value installation view, 2011 | Blood Mountain, 2011


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Diango Hernndez: a kiss, a hat, a stamp, 2010 (detail) | Diango Hernndez, 2010

Diango Hernndez: a kiss, a hat, a stamp

November 2010 resident17 November - 30 January 2010

Hernndezs exhibition pays tribute to Budapests tradition of independent creative practices and itsrich culture of second-hand goods. Hernndez uses a process of nding, assembling, creating andre-appropriating materials sourced from ea markets, antique dealerships and a specialist artisanworkshop. His exhibition focuses on fragments rather than whole objects, and edges as opposedto surface areas; allowing found objects to take on new forms and new meanings in their revisedsettings.

The exhibition comprises two sculptures, two wall paintings, a collage and a room instal lation incollaboration with Valria Fazekas, a key member of Hungarys diminishing ar tisan community. A

poignant comment on the citys past and present is made by positioning Fazekas 20 unique headpieces in shades of grey and black on an aged bookshelf, juxtaposed with or iginal press prints ofindustry, collective sports and new architecture of the bygone Soviet era. The comment is furtheremphasised by BMFs location on an Ottoman era battleground and by its striking setting in a formerfamily estate designed by a prominent architect of the Habsburg Empire.


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Diango Hernndez: a kiss, a hat, a stamp, 2010 (detail) | Diango Hernndez, 2010


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Artists statement

If the Danube runs faster, glory and sadness will also do. Tom Sloan [BMF Trustee] showed the

Budapest we want to remember and we will not forget, Jade Niklai introduced me to the mysterioushats of Valria Fazekas and now, after three weeks of a very intimate research through Budapests

antique and furniture dealers, empty streets and wonderfully arranged storage rooms, I am delighted

that Blood Mountain Foundation is opening a k iss, a hat, a stamp.

Artists biography

As a native Cuban (b. 1970), Hernndez pursued his studies in industrial design at the SuperiorInstitute of Design in Havana (1994) and a year later founded the ar t collective, Ordo Amoris Cabinet(The Order of Love Cabinet). He commemorated Cubas ght against Soviet dependence in the 1990s

with Sugar and Water and The Provisional Show, unprecedented and ongoing displays of re-appropriated and quintessentially Cuban everyday objects. With increased possibili ties to travel andexhibit, he began to formulate his independent artistic language and ongoing relationship with Europe.Following extended stays in Italy and Spain, Hernndez moved to Dsseldorf (Germany) in 2003,where he continues to live and work.

BMF is grateful for Hernndezs participation as its founding artist-in-residence.Hernndez brings great insight to BMF from his previous participation in residency programmes,namely the distinguished Banff Centre for the Ar ts, Alberta (Canada, 1997), the Ludwig Foundation forInternational Art, Aachen (Germany, 1998), Artpace, San Antonio (USA, 2001) and Frac des Pays de

Loire (France, 2007). He is also the recipient of the 2007 Premio ICONA Award in Verona (Italy) and the2008 Rubens Frderpreis der Stadt Siegen (Germany).

Hernndez has exhibited widely, including the 51st Venice Art Biennale (Arsenale, 2005), Biennaleof Sydney (2006), Munichs Haus der Kunst (2010) and more recently at Londons Hayward Gallery(2010). Currently showing at the Garage Center for Contemporary Art in Moscow, his rst retrospectiveis scheduled for 2011 at the Museum of Modern and Contemporary Art in Italys Rovereto.

Hernndez is represented by Alexander and Bonin in New York, Pepe Cobo y Cia in Madrid, PaoloMaria Deanesi Gallery in Rovereto, Galerie Michael Wiesehfer in Cologne, Galerie Barbara Thumm inBerlin and Stella Lohaus Gallery in Antwerp.

www.diango.net


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Diango Hernndez: a kiss, a hat, a stamp, 2010 (detail) | DiangoHernndez, 2010

Diango Hernndez: a kiss, a hat, a stamp, 2010 (detail) | DiangoHernndez, 2010

Diango Hernndez: a kiss, a hat, a stamp, 2010 in collaboration with Valria Fazekas (detail) | Diango Hernndez, 2010


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Diango Hernndez: a kiss, a hat, a stamp, 2010 in collaboration with Valria Fazekas (detail) | Diango Hernndez, 2010

Valria Fazekas

Following her studies at the Hungarian Academy of Crafts and Design (1987), her early work focusedon leather and wearable objects of all shapes and sizes, before turning the language of headwear in

to her speciality. Her diverse use of materials, textures and colours is coupled with a signature styleof multi-dimensional perspectives: allowing her simple geometric forms to be considered from variedpossibilities. While she exhibits locally and internationally on a regular basis, this will be Fazekasrst representation in the context of ne arts, rather than fashion or design. Her exhibited works aremade of felt, comprise the only contemporary elements in the exhibition and include a new piececommissioned by Hernndez.

www.valeriafazekas.com


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Exhibition catalogue, front and back cover

Publication

a kiss, a hat, a stampExhibition catalogue of November 2010 resident artist Diango Hernndez

Editor: Diango Hernndez and Jade NiklaiLanguage: EnglishFormat: 21 x 28 cmFeature: 70 pages, 70 colour images, softcoverISBN: 978-3-942405-28-7Price: 24.90 + international postage and handling

Published by Distanz Verlag, Berlin 2010Produced by Paolo Maria Daenesi Gallery, Rovereto

For a preview and to purchase:http://www.distanz.de/en/books/new-publications/detail/backPID/new-publications/products/diango-hernandez.html


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Diango Hernndez artist talk | Blood Mountain, 2011

Public Event

Diango HernndezTuesday 18 January 2011, 6 to 7pmHernndez reects on his experience as BMFs inaugural artist-in-residence and provides Hungarianaudiences for the rst with a comprehensive introduction to his practice.

Quote from artists blog: inspire-me-again.com/2011/01/27/fragments-oating-under-the-river

Recently I took par t in a residency program in Budapest, I was living in Buda for a month and fromBuda I walked often down hill to Pest with a sof t smile touching all over my face. The city carr ies a

gentle silence, for moments I thought I was taking part in a silent movie, in one of those movies that

once were screened in the glorious New York Caf at the Pest side of the city. I walked a lot, I saw

the Danube and everyday I practiced the art of remembering. To remember is obligatory in Budapest

and when you remember in Budapest you might not want to comeback because in Budapest, like

in Havana, the present is willing to happen only if a better future comes by. With subtle care I took

memories into my hands and with joy I decided to focus exclusively on fragments. Dur ing a month I

didnt pay attention to anything else but just fragments. Little pieces that I know once belonged to a

complete picture, to a picture that once made complete sense. (27 Jan 2011)


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Education

Past Activities_Primary and Secondary School Students

Camera Obscura_ 2 & 9 April 2011

11am to 1pm at Blood Mountain Foundation

With the support of bel Szalontai, Photographer and Professor at the Moholy-Nagy University ofApplied Arts in Budapest, BM presents an unprecedented programme, whereby the very buildingis converted in to a camera and participants learn about the origins and process of image-making.Especially relevant in this digital age. For six to 12 year-olds.

Geometry_12 February 2011


This workshop explores the geometric language of BMFs February 2011 artist-in-residence, AsimMemishi. This is a bilingual event (English and Hungarian), led by the guest artist with the support of aqualied art educator. For six to 12 year-olds.

Workshop with Asim Memishi_18 February 2011

All day at British International School in Budapest

Part of Asim Memishis residency in February 2011, a full-day workshop was concieved with severalschool groups, ranging from kindergarden to secondary school students at the British InternationalSchool in Budapest. The workshops are inspired by Memishis own practice, which is committed toexploring the relationship between power and resistence through the visual language of geometry. Forsix to 12 year-olds.

Found Objects _ 20 & 27 November 2010


Part of Diango Hernndezs residency in November 2010, students explore ideas of Conceptual Art,concentrating on fragments rather than whole objects to enable their works to take on new forms andnew meanings in their revised settings. For six to 12 year-olds.

Workshop with Diango Hernndez_17 November 2010

10am to 2pm at the British International School in Budapest

Part of Diango Hernndezs residency in November 2010, a workshop concieved with secondaryschool students taking studio art as part of their International Baccalaureate diploma at the British


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International School in Budapest. Students were asked to collect found objects of sentimental natureand to follow Diangos processes of assembling, creating and re-appropriating them in new contexts.Following a preparatory lesson and a lecture by the artist, they were encouraged to engage with

Conceptual Art through application. A campus-wide exhibition, accompanied by artists statementsand exhibition labels completes the project and contributes to their end of year portfolio. For 16 to 18year-olds.

Pop Art _ 29 May & 05 June 2010


Following a brief introduction to the principles of Pop Art, the group creates self-portraits in thephotographic and painted style of Andy Warhol and Claes Oldenburg-inspired artworks fromdiscarded, painted and decorated pieces of clothing. For six to 12 year-olds.

Sculpture _ 06 & 20 March 2010


Using basic materials (large format paper, staples, scissors, pencils and coloured paint), studentscreate a detail of an artwork they had recently seen and liked (in person or during our in-house slideshow). Interestingly, most artworks were gurative and held uncanny resemblance to their creators insize, shape and appearance. For six to 12 year-olds.

Masks _ 23 & 30 January 2010


In anticipation of carnival season, which coincides with local pagan traditions, we examine a plethoraof traditional masks (Egyptian, Venetian, tribal, performing arts, Bauhaus, sports and military) and howthey can translate in to contemporary visual representations. Using recycled materials and Plaster ofParis, the results were extraordinary creations that taught participants about materialistic challenges,alongside complex issues surrounding the representation of artefacts and masks as objects of use.For six to 12 year-olds.


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Geometry Workshop with Asim Memishi | Blood Mountain, 2011

Camera Obscura workshop with bel Szalontai | bel Szalontai/BMF


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BMF_Found Objects primary school programme (Sra Losonci and Dana Krasznai) | Blood Mountain, 2010

BMF_Found Objects secondary school programme (BISB students with Diango Hernndez) | Blood Mountain, 2010


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BMF_Pop Art (Panni Vradi, Lance Spencer), 2010 | BloodMountain 2010

BMF_Sculpture (Luca Ger), 2010 | Blood Mountain, 2010

BMF_Masks (Panni Vradi, Pter Hecker and partcipants), 2010 | Blood Mountain, 2010

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