from the 1. episode

-what if there is a world outside of the box?

from the 14. episode

-eh, let me just rest here, working on my posture

from the 19. episode

-yodo (you only die once)

from the 23. episode

-oh

from the 24. episode

-you mean you are flattered?

from the 27. episode

-have you seen me? now you have

selected from the ongoing series

The Flatlines series is concerned with invention of it's own millieu. Depending on dimensions, temporal collision and the unfolding of pictorial narratives in the post digital era.
Flatlines processes the afterlife of the three (axes/) planes.

background: 'what if there is a world outside of the box' right: 'flattie' right-front: 'you can look at it for a long time but won't understand it. you have to sit in it.'

'flattie'

'you can look at it for a long time but won't understand it. you have to sit in it.'

'the hug'

'the future is here and it will never end'

'rest' detail

'-it would be the end of solid edges?'

left: '-you mean you are flattered?' right: 'stair at me'

'yodo (you only die once)'

'-after life, do you have any plan?'

'the hug' on Best of Diploma Exhibition

installation

The Flatlines series is concerned with the visualization of dimensions, temporal collision and the unfolding of pictorial narratives.
Flatlines processes the afterlife of the three (axes/) planes in an anthropomorphic setting. After the imaginary encounter of the planes, the observer can become involved in their everyday lives. In my diploma installation I extend their world onto the physical realm.

xiilum,


drünn,


rock music

(conceptual inventions)
video, objects

3d printed objects, spray paint

In the 19th century, the advent of the machine gave rise to a sense of moral and cultural danger in people. They had a hostile attitude towards machines, believing that something made by a machine could not fulfil an authentic role. According to John Ruskin, machines can only create inauthentic things, which are dead, and this attribute of deadness extends to the person using them. Nowadays, analogue imaging has regained its appeal in an accelerated world. It offers a safe escape from the rush. As a counterpoint to the unstable, fast-changing present, manual dexterity is becoming fetishised and valued. The digital dead copy is opposed by the value of the unique art object. In my view, it is not necessary to choose between the two; instead, the two poles should be combined. I have created spatially modular forms by means of architectural design. By parameterizing the structure, the arrangement of lines evolves into stripes on the surface of the object, where gaps create different wholes. And through the randomness (errors) of 3D printing, a third rule applies to the generation of objects. To me, a structure, each unit of which is modulated, takes on a very living, organic form. I find it interesting to behold the object, the form, through the lens of painting, where the permanent subject of painting, the form, is taken over by the surface of the object being made.

3d printed towels, objects

photo credit: mátyás gyuricza

slow grid,14,8 x 20,8 cm

'k' grid, 14,8 x 20,8 cm

'k' grid, 14,8 x 20,8 cm

'k meets h' grid, 14,8 x 20,8 cm

'argument' grid, 14,8 x 20,8 cm

squares, 14,8 x 20,8 cm

squares, 14,8 x 20,8 cm

narrative line, 24,8 x 34 cm

narrative line, negentropy-grid, 24,8 x 34 cm

meet up, 24,8 x 34 cm

narrative lines, 14,8 x 20,8 cm

narrative lines, 14,8 x 20,8 cm

narrative lines, gathering, 14,8 x 20,8 cm

3d printed drawings, ink on paper

I developed a system that makes drawings with a 3d printer. A hacked 3d printer, using only it's movements as a plotter machine. In this method, I work with all 3 axes of a coordinate system, which in result draws a 2d image. First I started with Morellet paintings’ structures, then I disorganized these randomly. Then I experimented with my handwriting where I have noticed that a lot of the time the u, v, n letters look the same. I organized them in structure and 'printed them out' but the result had some random born technical errors, empty spaces. Then I began to make my machine drawings with a ruler, and a faulty printed wavy material. I wanted to imitate a machine with my lines, and interpret my technical errors as pseudo-elements in this series. This was an interesting part for me, almost like as if I had a conversation with a machine.

video

video, objects, installation

Within the catalogue of unfindable objects project I take such 3D scenes, tools and games from reality that are not incidentally not part of our everyday life. My point of departure was Jaques Carelman’s book Catalogue of Unfindable Objects, which ironically produced the typical impossible objects of its time. The installed piece is a reinterpretation of the ping-pong table, with a perpetual motion machine as its foundation, the undulation of which renders the presence of players superfluous. In the real space, the coordinated rotation of two fans sets the stretched muslin fabric in motion, on which a ping-pong ball dances back and forth. The automated and perpetually moving play of the kinetic installation offers the viewer a meditative, contemplative experience.

vhs modulations, video collaboration with loránd szécsényi-nagy

Having moved into a new technological age, as obsolete devices are replaced, their determining attributes are also removed from the medium, that are then unreproducible with new, state-of-the-art devices. However the fading of the memories and emotions caused by the lack of these devices is usually something that nobody accounts for. The click of the cassette at the end of the tape, the crackling of the vinyl, and the gradients of the polaroid appear to be missing for the users only after a significant time.With the disappearance of the VHS era and the spread of the digital age, analog modulation errors have almost completely disappeared. However, the desire for forgotten errors remain present as the memories associated with them became unconsciously part of us.
In the architecture of the video installation, the exhibited artists want to map the dimension of the boundary between human interpretability and machine perception through secondary time resonances and specific feedback. In video works an interface has been created in which the medium modulates with itself, thus creating a new phase, a layer. During the feedback, the image data flows into itself and then floats on the screens. By compiling (self-) generated image streams from different image sequences, the structure of which is built up by overlapping the repeated signals, vortexes appear as analog image noise, in which they can only be recognized as fragments of the original image content; fragments of a vanished virtual world.

photo credit: mátyás gyuricza

bitumen, paint, sand

Where I live the environment is usually under road construction and home of seemingly continuous train station recovery works. Day by day I recognized the beauty of the excavated asphalt fragments, which formed heaps in small pyramid sections. Some of them had an elegant wave in their structure so I decided to take a few home for further improvement. I put bitumens above different objects to get a fine wave as a result. I used the Sun to form them into greater shapes. I like to think that these objects are a cycle of the matter.

Interactive installation, web project

Avoid taking a cliche sunset picture, you can create your own with these squares from Tihany

Interactive web project
collaboration with ákos plesznivy

it's a game in which rocks generate sound

Interactive web project, video

game of life video as a piece of news

borbála róza jakab
boglárka balogh
ádám varga
flatlines
mátyás gyuricza
nikolaus gerszewski
simor krivocenko