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Hungarian Pavilion, Hungary at 59th Venice Biennale of Art

The Hungarian Pavilion, Hungary at the Venice Biennale 2022: the artists of the pavilion, the works, the times, the periods, the cost of the tickets and the exhibition venue.

Hungarian Pavilion, Hungary at Venice Biennale of Art
Hungarian Pavilion, Hungary at Venice Biennale of Art - United States Pavilion, Giardini, Castello - City of Venice

(Zsófia Keresztes, After Dreams: I Dare to Defy the Damage, 2021. (studio view) Photo: Dávid Biró, Courtesy of the Artist and Gianni Manhattan Gallery )

Exhibition in progress from April 23rd to November 27th 2022

The 59th Biennale Arte will open to the public on 23 April. But on the 20th, 21st and 22nd there will be the various openings and collateral events that always suddenly animate the Venetian artistic life. The awards ceremony will take place on the day of the opening to the public.

The title of the 59th edition of the Biennale d'Arte is Il Latte dei Sogni that means The Milk of Dreams.

The invited artists are 213 from 58 countries. There are 26 Italian artists, 180 the first participations in the International Exhibition, 1433 the works and objects on display, 80 new productions.

In all, 80 nations will participate in the Venice Biennale in the pavilions at the Giardini, the Arsenale and in the historic center of Venice.

Go to the page of the 59th Venice Art Biennale

Hungarian Pavilion, Hungary at 59th Biennale Arte of Venice

The title of the exhibition at the American Pavilion is After dreams: i dare to defy the damage.

Artists: Zsófia Keresztes.
Curators: Mónika Zsikla.
Commissioner: Julia Fabényi; Ludwig Museum – Museo d’Arte Contemporanea, Budapest. 
Seat: Hungarian Pavilion, Giardini - Venice

Press Release of Hungarian Pavilion

In the Hungarian Pavilion, Zsófia Keresztes displays her new, multi-sculpture installation, created specifically for the Biennale Arte 2022.
Her exhibition deals with the stages in one’s search for identity. Its concept reaches back to Schopenhauer’s porcupine dilemma, but moving on from this, it takes as its associative starting point an episode from Antal Szerb’s 1937 novel Journey by Moonlight. The mystical experience of the novel’s protagonist encountering the mosaics of Ravenna is used by Keresztes as a poetic analogy, from which new questions can be formulated: Can humanity find an escape from the prison of the self and the virtuality of the new age? Can one find identity without consulting the fragments of the past and the collective consciousness? The exhibition, in four larger units, explores both the ambivalent relationship between past/present and future, and the stages by which people map out their own identity. Liberated in each other’s reflection from the burdens of common and individual experiences, the mutually referenced body fragments – separate yet existing as one community – attempt to achieve their final form.

ABOUT ZSÓFIA KERESZTES

Zsófia Keresztes was born in 1985 in Budapest, where she currently lives and works. She graduated from the Painting Department at the Hungarian University of Fine Arts in 2010. During her university years she experimented with shifting the image plane into 3D, then created textile architectures. After graduation she experimented with the formability of paper, and her installations were mostly determined by their ephemeral character. 2016, however, brought about a change in her art, when she began to use polystyrene as the basic material of her sculptures and to form their shell structures out of glass mosaic. Since then, her works have been characterised by the formation of more abstract and amorphous bodies, related to the stages by which one’s personality is shaped and mapping out the associated formative experiences.In Keresztes’s art, the complex and plastic system of iconographic shapes melting into each other is paired with the formal language and references of the Millennials. Her works can be interpreted as embodied mosaics that uniquely combine sensuality and virtuality, analogue and digital, real and surreal: creating an archaic, yet extraordinarily contemporary visual language, they revolve around the issues of subjective self-identity.As an outstanding talent of her generation, she has participated in numerous international solo and group exhibitions and biennales in recent years. In 2022 she is representing Hungary at the 59th Venice Biennale with her exhibition After Dreams: I Dare to Defy the Damage.

ABOUT JULIA FABÉNYI

Art historian, National Commissioner of the Hungarian Pavilion at La Biennale di Venezia. Between 1972 and 1990, Fabényi lived in Leipzig, Germany, where she studied and then taught at Leipzig University. Between 1996 and 2000, she served as director of Kunsthalle Szombathely, and from 2000 until 2005, she was the director of the Budapest Kunsthalle. Since 2013, she has served as the director of the Ludwig Museum – Museum of Contemporary Art, Budapest.

ABOUT MÓNIKA ZSIKLA

Mónika Zsikla is the Curatorial Director of Q Contemporary Budapest. Since 2004, she has regularly published in Hungarian periodicals, as well as in Hungarian and international publications. Since 2017, she has been a lecturer at the Moholy-Nagy University of Art and Design, and curator at the Budapest Gallery. Concurrently with these activities, she has curated and co-curated numerous exhibitions of Hungarian contemporary art over the past decade.

ABOUT THE CATALOGUE

The prefatory thoughts by the National Commissioner Julia Fabényi are followed by a longer curatorial introduction, illustrated with the visual plans prepared for the project.After this comes an essay by Dávid Fehér, entitled Fluid Iconography, which comprehensively presents Zsófia Keresztes’s career as an artist. Dávid Fehér is the Director of the Central European Research Institute for Art History (KEMKI) and a curator at the Museum of Fine Arts, Budapest, as well as Assistant Professor at the Institute of Art History of Eötvös Loránd University.In the next essay in the catalogue, entitled Wide-Open Weeping Eyes, Vincent Honoré analyses the antecedents to the Venice project and describes the exhibition in the Hungarian Pavilion based on its visual plans.

Vincent Honoré is Director of Exhibitions and Programmes at MoCo Montpellier Contemporain. In 2019 he was the curator of the Republic of Kosovo Pavilion for the 58th Venice Biennale, and in 2017–2018 he was the Artistic Director of the 13th Baltic Triennial.In the third essay, co-authors Kasia Redzisz and Krysztof Kosciuczuk adopt the perspective of robotics and futurology when interpreting the organic forms and post-digital reflections of the sculptures produced by Zsófia Keresztes for the Hungarian Pavilion. Kasia Redzisz is the artistic director of KANAL – Centre Pompidou in Brussels; prior to this she was senior curator of Tate Liverpool, having earlier worked as a curator of Tate Modern. The art writer Krzysztof Kosciuczuk is a contributor to the contemporary art magazine frieze, he lives in Poland and Switzerland.The catalogue was designed by DE_FORM, and published by the Ludwig Museum – Museum of Contemporary Art, Budapest.

Useful information for the visit

Hours: Gardens from 10.00 to 19.00. Arsenale from 10.00 to 19.00 (from 10.00 to 20.00 on Friday and Saturday until September 30th). Closed on Mondays (except May 13, September 2, November 18).
Tickets: please visit the official website.
Phone: +39.041.5218711; fax +39.041.5218704
E-mail: aav@labiennale.org
Web: Biennale of Venice



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