ATTILA CSÖRGŐ - Galerija Gregor Podnar.

ATTILA CSÖRGŐ
PORTFOLIO
Lindenstr. 35 | 10969 Berlin | Germany | tel. +49 30 259 346 51 | fax +49 30 259 346 52 | berlin@gregorpodnar.com | www.gregorpodnar.com
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The work Magnet Spring is composed of
twelve panes of glass held together vertically
by numerous magnets, letting the hockey
puck-shaped magnets to seemingly float in
the air.
Magnet Spring
Glass panels, magnets, 100 x 100 x 100 cm, 1991
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For the work Drawing Machine Csörgő again
employs magnetic forces. Hidden by metal
cuttings, a magnet draws its path on a pane
of glass, powered by a turntable beneath the
plate covered with cuttings
Drawing Machine
Magnets, record player, glass plate, metal powder, 100 x 100 x 20 cm, Ed. of 3, 1992
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Exhibition view at Ludwig Museum, Budapest, 2009 (version with 9 balls, not available anymore)
Within a square-shaped area, white solids of paper float above »paper
turbines«. When creating these solids, I began with forms, which can be
inscribed within a sphere, such as regular and semi-regular geometrical
solids. At the same time, I used some concepts – such as approaching
the sphere from the point of view of a spiral, as if peeling an orange
(quasi transformation form childhood). When I began working on this, I
was interested in the a priori incompatibility between two seemingly
related systems: plane geometry and solid geometry. While certain
forms may be conveniently created from a plane – for instance, the
creation of the cube suggests compatibility between plane and space –
attempts to “flatten” a sphere reveal the ultimate contradiction between
the two systems. Although the problem is an abstract one, it frequently
arises in everyday life. In an atlas, for example, distortions resulting from
the projection mean that area of Greenland may appear equivalent to
that of Africa. While the cartographer attempts to flatten the globe, my
aim was different, in that I was attempting to create by gluing together
sheets of paper. I was working on the hypothesis that a sphere will float
motionlessly above an electric fan. My efforts to construct a sphere form
a plane could only result in a variety of imperfect approximations. When
placed in the air stream, these “aberrations” are set in motion as the air
catches their facets and vertices. These results in various forms of
motion – the solids rotate, float and bounce in the air stream, sometimes
capriciously, sometimes more evenly, depending on their structure.
How to Construct an Orange?
6 paper balls and 6 electronic fans, Spherical form: 15 cm in diameter each, variable dimensions, 1993 - 2002
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How to Construct an Orange?
Lambda-print on photo-paper, 90 x 130 cm, ed. 4/5, 1993 - 2002
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Details from Untitled (1 tetrahedron+1 cube+1 octahedron = 1 dodecahedron)
Platonic Constructions
Wooden sticks, strings, pulley wheel, iron frame, electromotor, five different versions, 1997-2000
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View of Untitled (Dodecahedron contra icosahedron)
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Exhibition view at Domaine de Kerguéhennec, France, 2009
The Hemisphere is produced by two synchronized revolutions, that is, a revolving element rotated around an axis.
The speed of the two revolutions and the “density” of the spiraling hemisphere are determined by the relation
between the two speeds. The two revolutions occur in planes forming a 45-degree angle.
The construction is based on a motor-driven, heavy disc (revolution 1), on the edge of which there is a device
which rotates a thin metal rod (revolution 2). The rod is fitted with a small light bulb at each end, which, according to
the geometrical relationship between the rod and the disc, is only able to describe a hemisphere. The hemisphere
forms a dome-shaped cover over the construction by which it has been created, while the construction, due to the
dark background and the speed of rotation, becomes practically invisible. The spiraling hemisphere, of course,
does not appear to the naked eye as it appears on the photo, since the image is the result of the interaction of two
machines, (the construction and a long exposure camera). What is actually visible to the spectator are two rays of
light spiraling up and down, describing a widening and narrowing movement while changing place with each other.
The rays obviously follow a curved surface, which, after a short period of observation, can be identified as a
hemisphere.
Hemisphere
5 Iflo-flex photographs, 30 x 24 cm each, ed. of 10 + 2 AP, 1996
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Stagnant and spinning phases
The series "Occurrence Graphs" is based on the interference of mutually co-operating graphs.
There are two black discs with transparent graphs on them. The discs partly cover each other and together create a
common area in the shape of a plum-pit which only allows the light of the lamp positioned behind the discs to show
through when the two graphs intersect. The system can be induced into motion with the aid of an electric motor. It
is then revealed that in a switched-off position the intersections of the visible and seemingly disordered graphs
without any regular shape follow a regular geometrical pattern (e.g., in the form of a triangle, circle, infinity sign,
et.).
Thus, this phenomenon is of double, or more precisely, two times double nature. One graph can function together
with another (i.e., its pair on the other disc). The nature of this function is revealed only when the graphs start
functioning together in a spinning motion. This, however, results in a rather different condition. The stable and
seemingly disordered image that is visible when the discs are not moving thus becomes virtually stable and
explicitly ordered only when in motion.
Occurence Graph II
Lamp, fiberglass disc, celluloid film, electric motor, spinning components, 67 x 35 x 23 cm, ed.of 2, 1998
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Spherical Vortex III / I
Spherical Vortex is the path of a flashlight bulb made by connecting three separate whirling movements of different
velocity. Starting from a single point, the light-source makes a spiral of growing radius, describing a 'sphere'.
Having reached its final limit, the light spirals back into a point-source state. Parallel to the exhibition of the moving
device, 4 photos are on display, which were made with different exposures (consecutive or long exposure),
revealing the path of light that is invisible to the naked eye.
Spherical Vortex, 1999 – 2002
Spherical Vortex I: Electronic torch bulb, rotating part, engine. Sphere diameter: 0-30 cm, complete structure: 80 x
40 x 50 cm + four C-Prints, 44 x 44 cm each
65.000,- EUR+ VAT
Spherical Vortex II: Three Ilo-flex photographs, 44 x 44 cm each, Ed. of 10 + 2 AP
Spherical Vortex III: Three Ilo-flex photograph, 128 x 128 cm each, Ed. of 3 + AP each
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Spherical Vortex III / II Spherical Vortex III / III
Exhibition view at Domaine de Kerguéhennec, France, 2009
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Photomontage: proposal for the installation (Cut paper's piece under glass panel)
Peeled City II
Cut paper (floor piece), drawing (pencil on millimeter paper), 5 sketches and a series of 15 C-prints, 2002
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Cut paper (floor piece), colored paper, tape, pencil, approx. 400 x 250 cm
Five from the series of 15 C-prints, 20 x 20 cm each (unframed size), framed in three frames
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One of the five sketches framed together (detail)
Drawing on millimeter paper and detail
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Exhibition view at Domaine de Kerguéhennec, France, 2009
The works of the Orange-Space series of Attila Csörgő consist of twin photographs of a 360° panoramic photo
shot, the first two-dimensional image displayed in a frame in form of a peeled orange, the second one as a
spherical image on a thin aluminium stand constructed from the first pre-given form.
Orange Space
Black-and white spirally shaped photo stripes presented in two stages: Two-dimensional images, 50 x 130 cm and
spherical images, 20 cm in diameter. 2003-2005
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Orange Space (Amsterdam)
View of the peeled Orange Space (Amsterdam)
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Peeled Still Life I
Paper, tape, 30 x 30 x 20 cm (sculpture), 120 x 150 cm (framed cut paper), 2008
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Möbius Space
Installation view at Galerija Gregor Podnar, 2009
Looped transparency, ca. 25 x 15 x12 cm, flat photo stripe, B&W print, 70 x 11 cm, light table, 2006
Each set of one transparency and one photograph is unique
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Möbius Space (Kersuzan I)
Möbius Space (Kersuzan II)
Möbius Space (Kerguehennec I)
Views of the flat photo strip of the different versions
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Views of the camera (unique photographic device made for the Moebius Space project)
The camera used by Attila Csörgő for Moebius Space is the third device he has constructed. In contrast to the first
two, it is a slit camera, in which light reaches the photosensitive surface through a very narrow slit. The result is that
both the camera and the “film” move during the exposure of an image. His previous devices included the camera
for Semi Space, which exposed its image on a transparent hemisphere coated in emulsion; the entire circle
becomes its perimeter. Orange Space employs a sheet of photographic paper assembled into a roughly spherical
shape for this purpose, which serves as the “negative” for the contact positive prepared using it. The effect here is
as if the visual space around us has been turned inside out, appearing as one sole image on the sphere within the
camera, made possible by the cameraʼs turning in many directions.
We see the image of Moebius Space on transparency film, which only seems to resemble a traditional panorama.
To understand the real difference, we must know what a Moebius strip is: if we take a strip of paper, twist one end
in a half-turn, and glue the ends together, we get such a strip; you can draw a line on it – without ever lifting the
pencil from the paper – whose “ends” will meet. This form, turning in space, is in fact one-sided, with only one
edge. Or to use the proper language of geometry and topology textbooks, it is a real projective plane in which there
is one hole.
The photograph recorded on the transparent Moebius plane is a special, inside-out round panorama. The same
motif appears on the stripʼs two ends – upside-down on one of them – that fit together perfectly with a 180-degree
twist. Due to the light-scan of the slit camera, this Moebius photographic space is no snapshot. It is created over a
given span of time, and the resulting image, joined at the ends, can be seen as a plastic form with as many
perspectives as we can view it from. Whatever our approach, it is a situation full of paradox that the piece is
simultaneously one, two, and three-dimensional, depending on whether we are trying to interpret the surface that
bears the image, the photograph itself, or the manner in which it is exhibited. A recognition of this ambivalence,
while not absolutely essential, might help us to understand the unusual spatial situation that this image presents.
Excerpt from Attila Csörgő and Moebius Space, Miklós Peternák, 2008
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Photo Labyrinth
View at Museum Folkwang im RWE Turm, Essen, Germany, 2008
Photo Labyrinth, view from the camera Illuminated die for the photo shooting
Wooden construction, glass pane, one camera, mirrors, 500 x 500 x 500 cm, 2007
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Photo Labyrinth / Trajectory Dice (small)
Lambda-print on wooden cubes, Set of 7 different cubes, 20 x 20 x 20 cm each, ed. of 4 + AP, 2008
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View at Domaine de Kerguéhennec, France, 2009
Photo Tower
Aluminum construction, glass pane, 6 cameras, 400 x 400 x 400 cm, 2007
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Photo Tower / Trajectory Dice (large)
Lambda-print on wooden cube, 60 x 60 x 60 cm, ed. of 4 + AP, 2008
Photo Tower / Trajectory Reconstruction
3D print, synthetic resin, 31 x 50 x 5 cm, ed. of 4 + AP, 2008
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View of Photo Tower outside Artist throwing the dice (view from below)
Exhibition view at Domaine de Kerguéhennec, France, 2009
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"Clock Work" consists of an irregular shape “sculpture” with a tickling arm programmed by a device that is
synchronized with the actual time second by second.
At the same time, two projections on the wall show the sculpture from two different points of view, producing two
one-arm clocks: one circular, the other in the form of an infinite sign.
Here, the artist plays with the concept of time. The clock is the tool for measuring and presenting time, whereas the
images work on a more abstract level. There are different representations of time. One of these is the circular
motion, which implies a repeating cycle in time. Another is the concept of time as infinite, represented by the infinite
sign. There are also two opposite ideas; the movement, which is relative to time and change; and the geometric
figures, which are amongst the most static objects created by man.
Clock Work
Mixed media (metal, wood, light projections, engine), variable dimension, 2011
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Visualization of the metallic sculpture with both shapes: infinite sign and circle
Clock Work
Mixed media (metal, wood, light projections, engine), variable dimension, 2011
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Exhibition views at Secession, Vienna, 2011
Clock Work Drawings
Pencil on paper, 29,7 x 21 cm each, series of 11 drawings (1 frame with 1 drawing, 2 frames with 3 drawings, 1
frame with 4 drawings), 2011
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Pittura Grande
Silver print, 80 x 68 cm, ed. of 8 + 2AP, 1993
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Landscape
Silver print, 25 x 36 cm, ed. of 8 + 2AP, 1993
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Two Oranges
C-Print, 26 x 40 cm, ed. of 8 + 2AP, 1994
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The photographic work shows a sculpture resulting from the filling up of the empty spaces of a Swiss cheese with
resin.
Inner Space
C-Print, 26 x 26 cm, Ed. 1/8 + 2 AP, 1997
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Perspective Dice
Wooden sculpture, 17 x 28 x 3 cm, unique, and lambda print, 34 x 78 cm, ed. of 8 + 2 AP, 1992-2009
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Football World Map
Etching, 53,5 x 76 cm, ed. of 8 + 2AP, 2004
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Make Love
C-print, framed, 80 x 80 cm, ed. of 8 + 2AP, 2005
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Epiciklos
C-Print, framed, 80 x 80 cm, ed. of 8 + 2 AP, 2005
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Peeled City I
12 C-Prints, 20 x 20 cm each in three frames, ed. of 8 + 2AP, 2002
Peeled City II
14 C-Prints, 20 x 20 cm each in two frames, ed. of 5 + 2 AP, 2002
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Inner Spaces I-V
5 B&W Prints (framed), 30 x 126 cm, ed. of 5 + 2AP, 1995-2000
Peeled Cube II
7 B&W Print (framed), 20 x 117 cm, ed. of 5 + 2AP, 1995-2001
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ATTILA CSÖRGŐ
Born 1965 in Budapest
Lives and works in Budapest
Education
1988-94 Academy of Fine Arts, Budapest (painting / inter-media faculty)
1993 Rijksakademie van beeldende Kunsten, Amsterdam
Selected solo exhibitions
2011
Secession, Vienna, Austria
Archimedean Point, Hamburger Kunsthalle - Galerie der Gegenwart, Hamburg, Germany
2010
Archimedean Point, MUDAM, Musée d´Art Moderne Grand Duc Jean, Luxemburg
2009
Archimedean Point, Ludwig Museum, Museum of Contemporary Art, Budapest, Hungary
Domaine de Kerguéhennec, France
Galerija Gregor Podnar, Berlin
2008
Wurfelbahnen und Raumkurven Museum Folkwang im RWE Turm, Essen, Germany
2007
Platonic Geometry, Galeria Arsenal, Bialystok, Poland
Szent István Király Múzeum, Székesfehérvár, Hungary
2006
Galleria Contemporaneo, Mestre–Venice, Italy
Skin of Space, Galerija Gregor Podnar, Ljubljana, Slovenia
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2005
Gallery Van Zoetendaal, Amsterdam, The Netherlands (with Gábor Ősz)
2004
Platonic love, Kettles Yard, University of Cambridge, UK
Orange Space, acb Gallery, Budapest, Hungary
2002
Peeled City, Art in General, New York, USA
Semi-Space, Budapest Galéria, Budapest, Hungary
2001
Le Fresnoy Studio national des arts contemporains, Tourcoing, France
2000
Galerie für Gegenwartskunst Barbara Claassen-Schmal, Bremen, Germany
Laqua Obliqua, Fioretto Arte Contemporanea, Padua, Italy
1999
Altered States, Galerija Škuc, Ljubljana, Slovenia (with Antal Lakner)
Galeria Monumental, Lisbon, Portugal (with Endre Koronczi)
1996
Stúdió Galéria, Budapest, Hungary
1994
Three Solids, Óbudai Pincegaléria, Budapest, Hungary
Selected group exhibitions
2012
Documeta 13, Kassel, Germany
2011
Wir sind alle Astonauten, MARTa Herford, Germany; traveling to Zeppelin Museum, Friedrichshafen, Germany
(2012)
Seeing Things, Kleine Humboldt Galerie, Berlin, Germany
Galerie Poggi & Bertoux Associés, Paris, France
2010
Donumenta 2010: Aktuelle Kunst aus Ungarn, Kunstforum Ostdeutsche Galerie, Regensburg, Germany
The Promises of the Past, Centre Pompidou, Paris, France
Fine Line, Georg Kargl Fine Art & Georg Kargl Box, Vienna, Austria
What Happens if?, Storey Galery, Lancaster, UK
Galerie Schleicher+Lange, Paris, France (in the framework of Berlin-Paris, an exchange of galleries)
2009
MUDAM, Musée d´Art Moderne Grand Duc Jean, Luxemburg
Materialen, Muenzsalon, Berlin, Germnay. Curated by Birte Kleemann
Galleria Enrico Astuni, Bologna, Italy
2008
Revolution – Forms that turn, 16th Biennial of Sydney, Australia
Reykjavik Experiment Marathon, Reykjavik Art Museum – Hafnarhus. Island. Curated by Hans Ulrich Orist and
Olafur Eliasson
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2007
What You See Is What You Guess, FRAC Champagne-Ardenne, Reims, France
Time flies, gb agency, Paris, France
Fuori Uso 2006, National Museum of Contemporary Art, Bucharest, Romania
2006
Cosmogonies, La Galerie, Noisy-le-Sec, France
Und es bewegt sich…, Museum Bochum, Germany
Venture II, Galerija Gregor Podnar, Ljubljana, Slovenia
Fuori Uso, Are you experienced?, Ex Mercato Ortofrutticolo, Pescara, Italy
2005
Nach Rokytník. Die Sammlung der EVN, Museum of Modern Art Foundation
Ludwig, Vienna, Austria
Minimalism and After IV, New Acquisitions of the DaimlerChrysler Collection, Haus Huth, Berlin, Germany
Active Image, National Centre for Contemporary Art, Moscow, Russia
Light, Image, Illusion, 3 Aegina Acadamy, Aegina, Greece
Bewegliche Teile / Moving Parts, Museum Tinguely, Basel, Switzerland
Nothingness, Galerija Gregor Podnar, Kranj / Ljubljana, Slovenia
2004
Travelling without Moving, W139, Amsterdam, The Netherlands
4 Artists from Hungary, Tanja Rumpf Gallery, Haarlem, The Netherlands
Bewegliche Teile / Moving Parts, Kunsthaus Graz, Austria
Nothingness, Galerie Eugen Lendl, Graz, Austria
Soap oper, Kunsthalle, Budapest, Hungary
Breakthrough, Grote Kerk, Den Haag, The Netherlands
Venture, Galerija Gregor Podnar, Kranj / Ljubljana, Slovenia
Persistante perspective, Ecole Superieure des Beaux-arts de Mans, Le Mans, France
2003
Poetic Justice, 8th Istanbul Biennale, Istanbul, Turkey
Modesty, Galerija Škuc / Moderna galerija, Ljubljana, Slovenia
2002
the eye of the beholder, Dundee Contemporary Arts, UK
Twinklings, Galerija Škuc, Ljubljana, Slovenia
2001
Milano Europe 2000, Palazzo della Triennale, Milan, Italy
Geologists at Sunset, Hotelit, Fort Asperen, Acquoy, The Netherlands
2000
Uncontrolled, North Exhibitionspace, Copenhagen, Denmark
Intuition, innovation, invention, Kunsthalle, Budapest, Hungary
What, how & for whom, Dom HDLU, Zagreb, Croatia
After the Wall, Ludwig Múzeum, Budapest-Hamburger Bahnhof, Berlin, Germany
Change of Order, National Gallery in the Trade Fair Palace, Prague, Czech Republic
Germination 6, Ludwig Forum für internationale Kunst, Aachen, Germany
1999
Tackling Techné, 48. Venice Biennial, Hungarian Pavillion, Italy
Kunst der neunziger Jahren in Ungarn, Akademie der Künste, Berlin, Germany
After the Wall, Moderna Museet, Stockholm, Sweden
1998
Obserwatorium, Centre for Contemporary Art, Ujazdowski Castle, Warsaw, Poland
Inter/Media/Art, Ernst Múzeum, Budapest, Hungary
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Jenseits von Kunst, Museum van Hedendaagse Kunst, Antwerpen, Belgium
1997
Schwerelos Skulpturen, Landesgalerie am OÖ. Landesmuseum, Linz, Austria
Ludwig Múzeum, Budapest, Hungary
Sexmachine, Stúdió Galéria, Budapest, Hungary
1996
The Butterfly Effect, Kunsthalle, Budapest, Hungary
3x3 from Hungary, Bard Collage, Annandale-on-Hudson, New York, USA
Beyond Art, Ludwig Múzeum, Budapest - Neue Galerie, Graz, Austria
Multilingual Landscapes, Contemporary Art Center, Vilnius, Lithuania
Computer World, The Tannery, London, UK
1995
Zusammenziehende Häuser, Kunsthaus, Hamburg, Germany
In and Out of Touch, Budapest Galéria – Haus Ungarn, Berlin, Germany
1994
22. Biennial of Sao Paulo, Sao Paulo, Brazil
1992
Space Concepts, Budapest Galéria, Budapest, Hungary
Award & Residencies
2011 Atelier Calder, Saché, France
2008 Nam June Paik Award, Kunststiftung NRW, Cologne, Germany
Collections (selection)
MUDAM, Musée d´Art Modern Grand Duc Jean, Luxemburg
Center for Contemporary Art / Ujazdowski Castle, Warsaw, Poland
DaimlerChrysler AG, Stuttgart, Germany
EVN Sammlung, Maria Enzersdorf, Austria
Institute of Modern Art, Dunaujvaros, Hungary
Ludwig Museum, Budapest, Hungary
Robert Bosch, Repräsentanz Berlin, Germany
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