G á b o r K r i s t ó f S e l e c t e d Wo r k s ESSL Ar t Award Nominees Show Hungar y 2013

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Table of Content: cv p.3 Statement p.5Works exhibited at EAA Nominees Show Hungary 2013 p.7Works submitted, but not exhibited p.13Recent other works-Pictures p.25 -Multimedia p.37

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Gábor Kristóf1988.12.15, Kosice (Slovakia)gabor.kristof.laszlo@gmail.comhttp://kkggll.tumblr.com/+36 20 44 39 839

Hungarian University of Fine Arts, 2008-, Class of András HalászChelsea College of Art and Design, UAL London, 2011- spring term, Erasmus Scholarship Selected Exhibitions: 2013: 28/31, Exhibition of the new members of The Studio of Young Artists2012: Multifilter (with Bence Pálinkás), White Night 2012, Kosice, Slovakia MalomKörzés; Művészetmalom, Szentendre Autoimmun; Ferencvárosi Helytörténeti Gyűjtemény; with Tamás Juhász Ari Kupsus Gallery: Students of the Hungarian Uni. of Fine Arts Budapest Jarmo Nieminen prize, Art-Bal Prize, Debut prze Amadeus Foundation- prize Exhibition, Budapest, Barcsay terem2011: Present Contemporary Art Exhibition and Fair, Bazaar Klub, Budapest Rock-Paper-Scissors; with Klári Rudas and Misi Szilágyi, N&n Gallery, Budapest Temporarily Inside, White Night 2011; Kosice, Slovakia Budapest Flow; group exhibition of young hungarian painters, Virág Judit Contemporary Gallery, Budapest Temporarily Inside; solo video installation; Chelsea College of Art; London Sanjeev’s TV Shop; viedos; group exhibition; Camberwell, London 2010: Art Moments- Panini Café- with Patricia Jagicza - Group exhibition in Bem Mozi - Spicy Collection 2010 (Berlin, London, Rome, Wien) Elements Cuisine, Intermedial Symposium, 4D Gallery, Galanta, Slovakia

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Pictures

As a pa inter my prax is i s based on v isua l communicat ion par t icu lar ly through pictures. My work concentrates espec ia l ly on mediated p ictures and networks of images. Channel l ing between a l ready soc ia l ized for ms (h is tor ica l iconog raphy) and today ’s v isua l cu l ture def ines the interface where s ta tus and poss ib le ro les of images, quest ions of v isua l representat ion can be cr i t ica l ly approached.

One of my main sources i s mass media and free newspaper. My s tandpoint i s not based on the c l iche that we are sur rounded by more and more of images, I would ra ther sug gest to focus more on mechanism of making and “reading” p ictures, emphas ize on examining reproduct ions and process of d is t ibut ion.

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Works exhibited at EAA Nominees Show Hungary 2013

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Izokephalia135x103cmoil and etching on offset litho printing plate2012

Isokephalia is an iconographic term / compositional principle, according to which heads of all participants, at least of the prominent ones, in a pictorial rendering are shown on the same plane. Today, by contrast, Christian countries seem to be competing with each other in raising ever higher statues, as documented in a press photograph , taken in Poland, underlying this composition. The symbolic of this sculptural contest becomes further blurred when confusing press photos, such as the one here that had captured my attention, transfigures the gesture of blessing to a monumental gesture of „who knows?”

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XLS (Extra Long Shot) 154X203cm oi l and acr y l ic on offset l i tho pr int ing p la te 2012

In an inter v iew Wim Wenders repor ted that h is co l leagues working on spec ia l ef fects could no longer assoc ia te wi th the i r own work af ter 9/11. Rea l i ty and images have by now inextr icably merged, not le t t ing us know which funct ions as the representat ion of the other. The Concordia (Lat . : ag reement , uni ty ) as a sh ip became i ts own memoria l as wel l as an icon of the desperate s t r ug gle between rea l i ty and v i r tua l i ty.

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Works submitted, but not exhibited

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Bichop Cliche 150x103 cm oil, etching, offset paint and acrylic on offset litho plates2010

The aluminium sheets I am working with are primarily being used in offset litho printing studios. This piece refers to the original function of these plates as engravings. The take-off was that some of the plates were covered by leftovers of offset paint - some more or less recognizable stains of an illustration or text. These fragments lost their original meaning , they appear as abstracted forms. I used them in new context, regarding to attributes of a bishop entity, refering to a classic cliche in history of art.

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Big Bald (Hommage á C.D.Friedrich) 154x203cm oil on offset litho printing plates 2010

Employing the Rückenfigur and playing around the notion of sublime I read my work as a proposition to a possible actual interpretation of Caspar David Friedrich’s intention. As you are standing in front of the painting, you realize that the space of yours and the bald man’s vision is similar; annuling the comfortable safe aesthetical distance between.

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Von Ditta Bis Mark 200x150cm oi l , xerox-transfer on offset l i tho pr int ing p la tes 2012

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Proof that the Earth is round55x65cmoil, etching, xerox-transfer on offset litho plate2012

An empirical illustration could have in three phases visualized and proofed the globe’s roundness: 1.:a ship behind the horizon (with just it’s mast visible), 2.:as it was approaching the viewer, the ship appeared on the horizon, and finally 3.:in front of the horizon...

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25°139x139cm olaj vászon 2012

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Recent other works

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Hardest Edge 103x150cm etched aluminium 2012

The symbolic guillotine is based on geographic coordinates of Budapest. I transformed the east longitude 19° 15′ to the inclination angle of the edge.The whole work is created by a negative gesture of etching.An impotent object that can be metaphorically revived by the actual happenings.

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The establishing Artwork of the MÉH Collection 104x154cm xerox-transfer (text) on aluminium 2012 The raw material recycling company (MÉH) in numerous cases processes artworks, probably unknowingly. The valuation in this case is particularly consequent - based on the weight; like many galleries are calculating price of paintings per square meter. The MÉH would probably buy up my whole “ouvre” of course on material price. Preluding this I decided to present them this work, as the establishing piece of their collection.

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Flipside image77x103cm offset litho printing plate 2012

I found a picture - still from the news depicting a landscape - which was taken from the board of the Costa Concordia, the opposite point of view to the vast of photos taken about the accident.It is hard to decide if these photos can represent an event like this one but as an icon that replaces images in digital storage, this picture could represent all the other images related to the CC.

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an icon from Windows’ file manager and the snapshot I used

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screenshot of loading images

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Continual Copy23x30cm offset litho printing plate, manually processed 2012

The image apparent on an offset plate is just very short-lived; after having the prints done, the plates are usually trashed. Its’ only chance to survive is to reproduce itself. This one is an allegory of the academy.

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Multimedia

My video based works are more related to social topics. Transpositioning the context, with a minimal intervention approaching to generate a discourse. The basic structure of these projects is usually a loop as a metaphor of replaying, rethinking.

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Temporarily Inside video installation (projection on 1,5x2m aluminium plate; 3 electric fans; fishing line)original duration of the video loop: 25:242011 During my exchange studies at Chelsea College of Art in London I had the opportunity to ex-periment with different media beside painting. One of the main project was this video instalation about a phenomenon in –and above- London. A temporary, fragile state of a foreigner is always pulsing in the air in form of one of the most serious noise-polution, air traffic The title refers to this social aspect and also to the condition that the representation of this boundless phenomena took place in a limited environment. The loop of two overlapping footages about the aircraft without plot was projected onto moving aluminium sheets, evoking great noise and strong reflection; with electic fans (by the way they played the main role of moving the sheet) the effect was an ambivalent state between meditation and unease.

~The project was represeted -in bigger size, with a better technical support- in Löffler Gallery, Kosice, Slovakia, within the confines of Biela Noc/ Nuit Blanche 2011.

~http://vimeo.com/22545629

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Mul t i f i l t e r interactive audio-video installation 2012

This project was an interactive multimedia installation that functioned as a platform of different interpretations on Slovakian identity. We were examining visual stereotypes set against personal perceptions. The five videos projected in parallel seemed to be completely the same, but in fact, there were no similar frames in each. This symbolic point was the baseline for the discourse. Each video got different narrations that the visitors could have changed by recording their opinion. The project was a collaboration with Bence Pálinkás and took place in Löffler Gallery on White Night 2012, Kosice, Slovakia.

~ https://docs.google.com/file/d/0B6LPa41k-juJbE1hTzFwcmVHNWs/edit?usp=sharing

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Closed-Circuit TVVideo loop09:432011 „A typical Londoner makes an estimated 300 closed-circuit television (CCTV) appearances a day, an average easily met in the short walk between Trafalgar Square and the Houses of Parlia-ment.”

„Closed-Circuit” in this case (CCTV) refers to operational technicality but in my case a closed circuit was the daily transport. I collected the footages from the monitoring system on these buses - a „self edited” movie.

Exhibited it in a TV shop (Sanjeev’s TV Shop group exhibiton, S & S Electronics 37 Camberwell Church Street London SE5 8TR, 16th-20th March 2011.) ; The new con-text generated a harsh discussion about privacy, originality, authority and property. ~ http://vimeo.com/23434425

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