2019 Ludwig Museum, Budapest -- exhibition design by Piroska É.Kiss --
Even Technical Drawing can be Art
World Stage Design 2017
stage design for Don Juan by Moliere (directed by Kriszta Székely at Hungarian University of Theatre and Film, 2014)
Landart Competition 2017, Ghana
Checkpoint Charlie was the name of the best-known Berlin Wall crossing point during the Cold War, a symbol of a divided world. Chesspoint Charlie is a joyful meeting point of people from different cultures. Every town and village needs a community space. Playing games is a kind of common language, and the best way to build communities.
My work combines a community space, a giant board for chess, moreover a stage for performances. The raised level of the outside checkerboard is surrounded by four long agrillaceous wall-seats. The back-rests, which are painted by traditional Ghanian patterns, save and close a bit this community space.
The basic structures of the giant chess-men is made by the technique of basketwork partly covered by red loam and painted by different traditional Ghanaian patterns. One set of chess-men is painted black-and-red, and the other set black-and-white.
Four tree-trunks are holding the thatched roof against sun and rain. A checkerboard with 64 squares can be used for playing dozens of games. So later, the opportunities can be enriched with sets of other games designed by different artists of different cultures.
An invisible wall is between us, built sometimes by a loveless family, orphanage, misery, war, or just by their closed, hardly understandable, own world, even among the best circumstances.
These kids, on the other side, are Judit Rabóczky’s statues made by wire and sheet-iron. They aren’t sweet, but autonomous, bizarre, temperamental, or gloomy, sometimes wild/barbarous, aggressive, traumatic children. Seeing them, we all face emotions felt long ago. Rabóczky’s statues are the essence of kid-loneliness. Kids on the other side.
Project made for 'Babel' Competition Outsider Art Fair, New York, Metropolitan Pavilon, 2016
The archeological explorations at Perkáta raised the problem of storing the skeletal remains in a permanent but accessible way. To solve this problem, I have designed a building with three functions.
1. Primarily it is a cemetery: an orderly and dignified resting place of the almost 5000 persons whose remains archeologists have excavated.
2. It is an accessible container: the arching corridors among the cases of remains provide access to every bone for scientific research..
3. It is a double exhibition space: the multitude of bones is visible through the central glass wall, whereas the documentation of the exploration, and the face reconstructions made by the Hungarian University of Fine Arts are presented in the exhibition hall.
PQ 2011 competition
My project has benn madefor the Student section of the Prague Quadriennale. The exhibition area issurrounded by a U-shape platform with 24 spaces on its front for photos of the 24 students. Over each photo there is a revolving cylinder - like Tibetien prayer mills - with the works of the student on the pictures. The heart of the inner space is a mandala created from designs of the students.
On the occassion of the 90th anniversary of its foundation, the Dutch airline announced the KofferArt/ SuitcaseArt application. The task was to create an object in a suitcase inspirated by one of the five given cities. First you submitted the project, then the jury choose the 20 best to be realised for the exhibition. Two of my works were among the 20: Koffer Puzzle/ Suitcase Puzzle and the Shanghai Supergun.
SHANGHAI’S SUPERGUN The suitcase in my project is a case for carrying a weapon. The foam rubber lining of the case keeps the pieces of the dismantled weapon fixed. In this case, the three pieces are three modern towers of Shanghai: the financial center, the stock exchange, and the TV. The triplet of finance, commerce, and mass media constitute the supergun.
London, Déjá vu 2009
Budapest and London are full of similar museums, churches, blocks of houses, markets, palm houses, bridges, portals, windows, statues, and so on. Despite characteristic differences between the two countries, we obviousoy share the same culture.
Exhibitions of Scenography
2017. Látványtár, Fuga, Budapest 2011. Quadriennale, Magyar pavilon, Prága 2010. Díszlet, jelmez, Olaf Palme ház, Budapest 2004. Díszlet az egész világ, kilenc tervező kiállítása, IDC galéria, Budapest 2003. Quadriennále, Magyar pavilon, Prága 2003. PQ Magyar pavilon, Millenáris, Budapest 2001. Triennale, Újvidék 1999. Színpadkép helyett, tervezők képzőművészeti munkái, Pataky Művelődési Központ, Budapest 1995. Magyar Szcenikai Kiállítás, Várszínház 1995. Magyar Szcenikai Kiállítás, Magyar Kultúra Háza, Prága 1984. Donáth, É.Kiss, Szegő, kaposvári tervezők kiállítása, Fényes Adolf terem, Budapest 1983. Országos Szcenikai Kiállítás, Műcsarnok, Budapest 1982. Országos Szcenikai Kiállítás, Debrecen
1995. Magyar Szcenikai Kiállítás, Magyar Kultúra Háza, Prága és Várszínház