2015.01.17.
Photos by: Miklós Sulyok | Borsos Lôrinc
Introduction LÔRINC BORSOS was born in 2008 as the imaginary child of contemporary artists Lilla LÔRINC and János BORSOS. The genius disposed to rascality concentrates his attention on political controversies and on questions on the role played by art in society. He forms his criticisms of provocative and humorous tone vehemently, mostly without any prudence or circumspection. He swears on fulfilling a mediator’s role as an artist; on the transitions between inordinate, extreme media and the free walking through these dimensions. The personal, social or political themes of his choice he processes in the form of quick reactions or complex projects. He is predominantly active in a practice of painting and installation, but he is always seeking to find the medium, technique and language that would best suit the rendering of the issue he is investigating. He has his own coat of arms and brand identity, the shiny black color originating from his notoriously used black enamel paint. The art term concepts of “con-pop”, or “idea-real”, and the “Black-chip” nickname designating the aspiring daredevils of the art market are all attached to his name.
OffICIAL fLAG Of thE ARtISt 2014 | plastic, wood | 150x100 cm
LÔRINC BORSOS The fiktive conetmporary artist was born in 2008 as the son of Lilla Lôrinc and János Borsos. Lives in Székesfehérvár and works in Budapest. Education MA Degree: Painting and Graphic Designer Faculty / Hungarian Academy of Fine Arts, Bp. Membership Young Artists Studio Association (FKSE) The Corporation art collective with Erik Mátrai, Gábor Szenteleki, and .page. Prize, nomination: 2014 3rd prize - Public voting, Ostrale'014, Dresden (DE) 2014 Nominated for the shortlist of Highlights of Hungary 2013 Prize of Székesfehérvár - Autumn Salon, Dunaújváros 2012 Budapest Gallery Creative Sponsorship to Lisboa (P) 2012 Smohay Award 2011 Prize of the Fejér County Council - Autumn Salon, Székesfehérvár 2011 Kornél Lánczos-Gyula Szekfû Scolarship 2009 Esterhazy Painting Prize 2008 Strabag Painting Prize / First Prize (Lilla LôRINC) Solo exhibitions 2014 Language of Flowers / Edwin Scharff Museum, Neu-Ulm (DE) 2013 Send off / Viltin Gallery, Budapest 2013 Babel / India Art Fair, Delhi (IN) 2012 Exhibition for our Parents / Szent István Király Múzeum, Székesfehérvár 2011 The way of our money / Szabadmûvelödés Háza, Székesfehérvár 2010 Switch / Hungarian Institute, Tallinn (EST) 2010 Immovable Land / Viltin Gallery, Budapest 2010 Let There Be a World Famous Hungarian Contemporary Artist! / Contemporary Institute of Art, Dunaújváros 2009 Conspiracy - Midnight Transfer / Contemporary Institute of Art, Dunaújváros 2009 My Student Loan Debt in Hungarian Forints / Octogonart Gallery, Budapest Group exhibitions 2015 Accumlation of Matter / Lehrter Siebzehn, Berlin (DE) 2014 Tightrope Walk / Chimera Project, Budapest 2014 Protekt / FKSE - Studio Gallery, Budapest 2014 Why don't you go play with your brother? / Trafo Galerie, Prague (CZ) 2014 Our Holocaust / FKSE - Studio Gallery, Budapest 2014 Grund / Gallery of Miskolc 2014 Private Nationalism / Kunsthalle, Kosice (SL) / Zsolnay Cultural Quarter, Pécs (H) / Ostrale, Dresden (DE) 2013 Out of the Museum and into the Streets / Pavelhaus / Laafeld (A) 2014 The Emperor's new Apparel / Karlin Studios, Prague (CZ)
2013 Dammbruch / Ve.Sch, Wien (A) 2013 Out of the Museum and into the Streets / Pavelhaus, Laafeld (A) 2013 The Emperor's new Apparel / Trafó House of Contemporary Arts, Budapest 2013 Amrita Sher-Gil Memorial Exhibition / Villa Vaszary, Balatonfüred 2013 Conceptualism today / Gallery of Paks, Paks 2012 Expandation / Contemporary Institute of Art, Dunaújváros 2012 What is Hungarian? / Kunsthalle, Budapest 2012 ISOLAT!ON / Meetropa, Senatsreservenspeicher, Berlin (DE) 2012 Cell / Akvarium / Budapest 2012 Hungarica / Knoll Galerie, Wienna (A) 2012 State of Affairs / ATM Project, Pozsony (SL) 2011 Undefined Relations / Demo Gallery, Budapest 2011 The Day of Hungarian Painting / Hungarian National Gallery, Budapest 2011 Speaks for Itself / Hungarian National Gallery, Budapest 2011 Budapest Flow / Virág Judit Gallery, Budapest 2011 JCE - International Art Biennal / Mountrouge (FR) 2011 FIKA (Young Conteporaty Attitudes) / Old Puppet Theatre, Pécs 2011 My God / Modem, Debrecen 2010 Donumenta / "Leerer Beutel" Gallery, Regensburg (DE) 2010 Pantocrator Pankrator / Holdudvar Gallery, Budapest, Hungary 2010 Central Europe Revisited III. / Schloss Esterhazy, Eisenstadt (A) 2010 Exhibition of the Eterhazy Prize Winner Artists / Collegium Hungaricum, Vienna (A) 2008 Mechanics of the Canvas / Ernst Museum, Budapest Works in public collections Contemporary Institute of Art, Dunaújváros King St. Stpehen Museum, Székesfehérvár Edwin Scharff Museum, Neu-Ulm (DE) Bibliography India Art Fair: 10 Artists To Watch Out For At The New Delhi Event / Huffington Post / 2013.02. Judit Csatlós: Asszimetria, Kiállítás Szüleinknek / Szabad kéz, Exindex / 2012.12. Alexa Csizmadia: Családban marad / Új Mûvészet / 2012.12. Dávid Fehér : Rendhagyó retrospektív / Élet és Irodalom / 2012.11. Gábor Rieder / Borsos Lôrinc, az ôszinte hibrid / Flashart Hungary / 2012.01. András Földes / 1956 olyan mint a pogácsa / index.hu / 2011.11. Gábor Rieder / Istenem / artportal.hu / 2011.04. Emese Kürti / Borsos Lôrinc munkáiról / Mozgó világ / 2010.12. Erika Baglyas / Az ország földrajzi elemzése - állóvíz / artportal.hu / 2010.11. Edit András / The Unavoidable Question of Nationalism / Springerin / 2010. No 3. dr Máriás / A fólia mint vászon / Élet és Irodalom / 2010.08. MTI / Precíz és ökonomikus - Esterházy-díjas a Borsos mûvészpár / Fejér Megyei Hírlap / 2009.11. András Földes / Hülye kommentek segítettek a mûvészeknek / Képgyár blog / 2009.09. András Földes / Megfestette Diákhitelét, nem kellett fizetnie / Képgyár blog / 2009.07. Sz. K. / Eladó a diákhitelünk / Blikk / 2009.07. József Mélyi / Sok vagy kevés? / Élet és Irodalom / 2009.06. Gábor Döme / Adógaras / Mûértô / 2009.06.
PERSONAL
(social viewpoint = joint experience)
Paradise Lost 2014 - painting series
BL feat Lucas Cranach the Eld.: Finding the Apple BL Feat Henri Rousseau: Feeding the Serpent BL Feat Giovanni di Paolo: Excursion) 2014 | oil, acrilyc and enamel on canvas, wooden board | 30x20x5 cm
BL feat Illustrationist of the MeermanNo Cronicals.: creation of Adam BL Feat unknown master: creation of EVE 2014 | oil, acrilyc and enamel on canvas, wooden board | 30x20x5 cm
BL feat UNKNOWN MASTER: CREaTION 2014 | oil, acrilyc and enamel on canvas, wooden board | 20x30x5 cm
BL feat William Blake: Adam and EVE 2014 | oil, acrilyc and enamel on canvas, wooden board | 20x30x5 cm
BL feat LUCAS CRANACH THE ELDER: the lion knows 2014 | oil, acrilyc and enamel on canvas, wooden board | 20x30x5 cm
BL feat HYERONYMUS BOSCH: SWAPPING THE APPLE 2014 | oil, acrilyc and enamel on canvas, wooden board | 20x30x5 cm
BL feat Illustrator of WatchTower Magazine: Where art Thou? 2014 | oil, acrilyc and glaze on canvas | 100x100x5 cm
BL feat Illustrator of WatchTower Magazine: Lion and Epiphany 2014 | oil, acrilyc and glaze on canvas | 80x80x5 cm
BL feat Illustrator of WatchTower Magazine: Adam, Eve and Jesus 2014 | oil, acrilyc and glaze on canvas | 100x140x5 cm
BL feat Illustrator of WatchTower Magazine: Excursion 2014 | oil, acrilyc and glaze on canvas | 100x140x5 cm
Exhibition for Our Parents 27th of October 2012 - 17th of February 2013 | King St. Stephen Museum, Székesfehérvár Curators of the exhibition: eld. János BORSOS, Bíborka KATONA, László LÔRINC, Rózsa PAKSI Professional consultant: Katalin IZINGER The artists address a more personal subject in the exhibition at the museum in Székesfehérvár: the parent-child relationship. An especially interesting element of the mini-life-work exhibition presenting the oeuvre of the artists, starting from kindergarten up to the present day, is that it is their parents who are the curators. "In the course of our work, we often realise that our desire to satisfy our parents has infiltrated our work. We would like to assure them that they did not make the wrong decision when they allowed us, in our childhood, to engage in what we truly loved, by entering an artistic career. Ever since, they are our most significant sponsors – in both a material and a psychological sense. They support us even when they don’t understand what we are dealing with, and why. Despite this, they feel an increasing motivation in understanding our artworks, and we are able to have conversations about them – touching upon both the art and the judgement of artists. By now they do not shrink back from initiating a discourse about our concepts, or even racking their brains over new ideas. At first we didn’t know how to handle this situation, but now we feel that the time has come to give them free reign over an exhibition, allowing them complete insight into the process of creation."
FLYER
The PREPARATION AND THE Opening
EXHIBITION VIEW
LÔRINC (BORSOS)
BORSOS (LÔRINC)
“Janó once stood before us and announced that he was going to get married, that he would like to ask for Lilla’s hand. He came up with the idea of bringing this drawing as a gift, and to exchange it for Lilla. He wanted to get a hold of her father with this. At first we thought, that would be correct if his father would go in his place, but finally we rather framed this drawing, dressed up our son nicely, and we set him off with a bunch of flowers to make his proposal.” (Bíborka, János)
“An extraordinarily good drawing, and you can really recognise him. I don’t know why she outlined it in red, because even without it, it has a lot of contrast. For a time, I thought that maybe she would start drawing portraits as a sideline, perhaps during the final period of high school, so that she could earn a bit of money this way, but she didn’t. She didn’t consider this art.” (Rózsa)
Selected artworks with the comments of the parents
Housing 2009 | project
Housing project 2010 | Sculpture Plan Project / marble board | 40x40x2 cm / model of the building with the signed place of the board | 40x40x30 cm
I applied for the Sculpture Plan Project in the 5th district in Budapest with my marbel memorial. My idea was to hang this commemorative work on the wall of the block of flats where I might have bought an appartment, which would have been purchased from the awarded project. I made the model of the desired and imaginary flat. Unfortunatelly there was no awarded plan on the tender.
THE MODEL with thE SIGNed PLACE OF THE BOARD
Official Response of the Main Architect Bureau, Budapest
My Student Loan Debt in HUF 2009 | project To show the parents I am not a child. To make a confession about the past. To pay back a debt with a painting.
My Student Loan Debt in HUF 2008 | oil, glaze, nail polish, acrylic, feltpen on canvas | 150x200 cm | in private collection
The picture was sold exactly the same price: 789.279 HUF presenting on the painting, the debt was repaid promptly. All numbers have a symbolic meaning reflecting on my former lifestyle in the indicated period.
payment certificate of the repayed debt
Media reflexions on the rpoject
COMMENT COLLECTION 2009 | Media reflections on the project, T-Shirts (András Földes / "Megfestette Diákhitelét, nem kellett fizetnie" / Képgyár blog / 2009.07.) | 14 pieces
Left: "Congratulations. They rather go hoeing on potatofields with the foundation." Right: "If everybody hoes on potatofileds than Hungary would be a big potatofield only."
COMMENT FROM AN EXPERT 2012 | T-Shirt
"Lôrinc Borsos has simbolically ruined the reputation of hungarian art in 2009" István Hajdu, 2011 This sentence was told by István Hajdu, the editor in chief of BALKON art magazine in a broadcast called "Alkotás útja" in Tilos radio about what happened in the hungarian art scene in the year 2011. He also mentioned that our project "My Student Loan Debt in HUF" touched him so deeply in 2009 (!) he decided to give up writing in some forums.
POWERFUL
Flags 2010-
Holy land 2014 | acrylic on wooden board | 2 pieces | 20x30x5 cm
Ucraine 2014 | acrylic on wooden board | 4 pieces | 20x30x5 cm
COLD WAR 2014 | acrylic on wooden board | 2 pieces | 20x30x5 cm
VIVA LA REVOLUcIÓN 2014 | acrylic on wooden board | 4 pieces | 20x30x5 cm
Borderline-Case (SEKLER, UPPER HUNGARIAN, VOJDOVINIAN, SubCarpatiaN) 2010 | acrylic on wooden board | 8 pieces | 20x30x5 cm
The series deals with the theme of Trianon based on a joke about Hungarians living in Transylvania: „How will a sekler become a romanian? - If he/she comes to Hungary."
Pride Lobby / Hungarian Lobby 2014 | acrylic on wooden board | 2 pieces | 20x30x5 cm
Dark in Hungary / Hungary in Dark 2014 | acrylic on wooden board | 2 pieces | 20x30x5 cm
UNIFORM 2010 | acrylic on wooden board | 4 pieces | 20x30x5 cm each
H in H 1 / H in H 2 2014 | acrylic on wooden board | 2 pieces | 20x30x5 cm
Integration 1. (Hebrew in HungarIan) 2011 | acrilyc on wooden board | 20x30x5 cm
Integration 2 (olivewood Engrafted by Wild Olivewood) 2011 | sticked, lidded wood | 20x30x5 cm
“But if some of the branches were broken off, and you, a wild olive shoot, were grafted in their place to share the rich root* of the olive tree, do not vaunt yourselves over the branches. If you do vaunt yourselves, remember that it is not you that support the root, but the root that supports you.You will say, ‘Branches were broken off so that I might be grafted in.’ That is true. They were broken off because of their unbelief, but you stand only through faith. So do not become proud, but stand in awe." Romans, 11, 17-20.
Language of Flowers 16.05-03.08, 2014 - Edwin Scharff Museum, Neu-Ulm (DE) presented by 14x14 Survey of the Danube Region exhibition series curated by Regina Hellwig-Schmid Curator of Language of Flowers exhibition: Borbála Szalai art historian, curator of Trafo House of Contemporary Arts At the centre of the exhibition at Neuulm, there is a mysterious and intimate garden, with flowers in it, which have played a crucial role in past historical events, or which have other related symbolical meanings or historical references. The artist guides the visitor around this garden through stories built up from fictional and real elements. Among the different layers of meanings overlying the flowers, in the garden one can also find the self-reflective hesitations of the artist about the real motivations behind an artistic topic, about the real or presumed expectations of the art world, about the possibilities of connecting otherwise not compatible dimensions, or about the question whether a contemporary artist in 2014 can allow him/herself to paint ‘only’ flowers ‘solely’ because of the pleasure of beauty?
Exhibition view, Edwin Sharff Museum, Neu-Ulm (DE)
Kimjogilia (Begonia x tuberhybrida Voss 'KIMJONGILHWA') 2014 | oil, acrilyc and on canvas, wooden board | 20x30x4,5 cm
Blue Violet (Viola odorata) 2014 | oil, acrilyc and on canvas, wooden board | 20x30x4,5 cm
White Rose (Rosa Hybrida) 2014 | oil, acrilyc and on canvas, wooden board | 20x30x4,5 cm
1
Largs
3 2 Great Cumbrae
4 56
7
Millport Bay
8 Little Cumbrae
Battle of Largs 2 October 1263
Firth of Clyde
Spear Thistle (Cirsium vulgare) 2014 | oil, acrilyc and on canvas, wooden board | 20x30x4,5 cm
1 Under the cope of night 2 Norwegian anchorage 3 Beached vessels 4 Stalking barefooted Vikings 5 Sleeping Scotish 6 A thistle and a howl 7 Scotland wins 8 Thistle ›› National Symbol
EURÓPA SZÁZ ÉVE
.PAGE .
Carnation Revolution Vörös: - a vér - az erek - a szív - a tűz - a láva - az olvadt fém - vihar előtt az ég - a szerelem - a portugál szegfű Hogy egészen pontosan mi történt 1974. április 25-én Lisszabonban, Portugáliában, azt megmagyarázni éppen olyan nehéznek tűnik, mint ahogy azt is nagyon nehéz, hogy ki vett részt, és milyen mértékben a portugál történelem által írt eseményekben, amelyekben a szellem kikandikált a világba, a maga szabadságából lehelve valami lelkesítőt az emberi szívekbe. Az internet kényelmes és biztonságosnak tűnő zártosztályán bolyongva, onnan Önökhöz tartva jöjjön néhány „száraz ténnyel” fűszerezett elmélkedés, amelyet megpróbálok filozófiai szegfűvirágcsokorba kötni mondom: megpróbálok, de előre bocsátom, hogy ez nem fog sikerülni. Portugália ekkoriban gazdaságának mérőszámokban fogalmazott 40%-át költötte gyarmati uralmának fenntartására. A legfőbb állami szerv az Államtanács volt, amelyet a Fegyveres Erők támogatott. Az államforma pedig konzeratív diktatúra (hivatalos nevén köztársaság, „Estado Novo - Új Állam”), amely a világuralomban részesedő, régebben hódító, kolonizáló Európa elöregedett gyökerein élt. De ekkorra ez az Európa-képzet már a múltba veszett, a helyén pedig ott formálódott egy újabb politikai-gazdasági keret, amit ma az Európai Unió néven ismerünk. A Portugália által tizenhárom éve folytatott gyarmati háború volt az európai gyarmati korszak “világrendjének” hattyúdala, valamiféle klasszikus diktatórikusság haldoklása. Ennek portugál porhüvelye létrehozójának, Antonio de Oliveira Salazarnak a halálával roppant meg, utódai pedig már csak rövidke hat évet kaptak. Salazar, aki ugyan diktátor volt, de mintegy időmúlva a luzitán „néplélek” rejtőzködő, két immaginárius pont között, „sehonnan-sehová-mégis-valahol-itt(-ott)”* időző formájához - amely úgy lázad, hogy nem lázad, úgy vesz részt, hogy nem vesz részt, és egy mélyen lapuló „fortélyos félelem” által igazgatott -, a maga személyiségét háttérben tartva uralkodott. A diktatúrák definíciójához annyira hozzátartozó személyi kultusz alapvető elemét, az emberi képmás szimbólumát erőteljesen hanyagolta. Talán mert öntudatlanul is ráérzett, hogy ezt a szemet húnyó, álmodozó érzéseiben élő, napsütötte, „vidám melankóliájából” táplálkozó népet elég a minden médiában jelenlévő hangjával, szavaival, gondolataival terelgetni - na meg persze a közéletet átszövő besúgóhálózattal és a sötét pincéiben kínzásokkal, iszonyatos kegyetlenséggel operáló titkosrendőrséggel. Az istenadta népben, mint az lenni szokott, mégis feltámadt a vágy, hogy a „demokrácia eszményét” azért ő is belakja, mint annyian a bolygón ekkortájt. A hatvanas évek végétől Portugáliában a liberalizálás irányába fordultak az események. A baloldali ellenzék kiálltványt tett közzé, sztrájkmozgalom vette kezdetét, nemzetgyűlési választásra került sor, ám a rendszer a sajtószabadságot már például nem fogadta el. A mélyben fortyogó indulatok szirmaikat bontogatták, a politikai ellenállás radikalizálódott. A gyarmati harcokból kiábrándult, azon meghasonlott katonaságon erőtt vett az elégedetlenség, és néhány bukott főpróba után eljött 1974. április 25-e, amikor a katonaság középvezetőiből kiemelkedő „áprilisi kapitányok” halálba küldték az 1933-ban született, „puha fasizmusként” is jellemzett rendet. A szegfű idénye tartott, a lisszaboni virágpiacon a vörös virágokból dömping volt. Vajon ki találta ki, hogy ezeket a virágokat kell a puskák és ágyúk csöveibe dugdozni, harckocsikra bogozni, és hogy miért pont vörös szegfűk voltak ezek a szegfűk? Hogyan, milyen anyagi csatornákon jutottak
RED CARNATION (Dianthus caryophyllus) 2014 | oil, acrilyc and on canvas, wooden board | 20x30x4,5 cm
a vágott virágok színpadi szerepükhöz? Nem tudom. Az internet általam böngészett szűk szelete erre nem adott választ. Ám a virágból a „Revolução dos Cravos” jelképe lett. Carnation Revolution: a Szegfűk Forradalma. Az április 25-i eseményekkel összefüggésben mindössze négy áldozatról tudunk, ami valljuk be, egy forradalomtól nem kis teljesítmény! Majdhogynem vér nélküli lázadás kapcsolta össze az emberek életvágyát. De hiszen „a virág mint olyan” mindíg is szimbólum volt[!], a megújúló élet csodálatos, szénalapú, materializálódó szimbóluma. Ott és akkor pedig az újjászülető Portugáliát jelentette. Portugália közös tudata fénylett, az általános népünnepélyben kivirágzó luzitán nemzet ekkor, úgy tűnt, megérkezett a tér-idő kontinuumban tett „valahonnan-valohává” álomszerű kóborlásában egy közös pontra, eljött számra „A szabadság napja” (Dia da Liberdade). A béke prófétai képét vörös szegfűkkel hatástalanított lőfegyverek keretezték.
• Mi történt eztán? Hogy tetszik kérdezni? A szegfűkkel? A szegfűket áruló, a szegfűkkel babráló portugálokkal? Portugáliával? Európával, a volt gyarmatokkal netán? Általában annyit elmondhatok Önöknek, hogy a dolgok átalakulnak, ezidőtájt még egyáltalán nem véglegesek. Az akkori szegfűk elhervadtak, de a világon vagy 300, általában fénykedvelő szegfűfajta éli virágát. A virágok képeit mesteremberek - ősi szokás szerint - kőbe vésik, zászlókra printelik, írástudók feljegyzésekbe foglalják. A szegfűs forradalom a tankönyvekbe ment át, utcákat, tereket, intézményeket neveztek el róla. A lisszaboni - volt Salazar - hidat ma Április 25-e hídnak hívják, naponta átlagosan 150 000 autó és 157 vonat halad rajta keresztül. Egyesek a történelmi szimbólumokat előveszik, leporolják, forgatják. Magyarázzák, vitatják. Az épületeken elhelyezett, vagy földbe süppedt kővirágokat mások veszik elő, leporolják, forgatják. Elemzik, magyarázzák. (A szegfű latin eredetű angol neve - carnation - a csodálatra, szerelemre, hálára is utal.) A forradalom résztvevőinek nagy része halott, egyes ikonikus túlélői elkeseredettek a jelenegi politikai, gazdasági helyzeten - vagy csak azon, hogy ők is hasonlóan végzik, mint a szegfűk. És egyesek - ebben biztos vagyok - túlélik még önmaguk halálát is. Talán mert akkor vagy azóta nem a virágok színét, a dolgok materiális maradandóságát keresték-keresik. A Szellem meg? Kikandikál.
* „Errefelé”, „arrafelé” - ezek a szavak meghatározatlan helyeket, bizonytalan célokat jelölnek, melyeknek se irányuk, se határuk nincs, de a portugálok számára mégis tökéletesen pontosak. Érdekes módon az „arrafelé” egy kis, (fizikailag és mentálisan) bejárható területre vonatkozik, mely láthatatlan módon el van szigetelve, de közben tökéletesen szabad is. Ebben a redukált térben az egyén csak úgy sétálgat, nagyokat szippant a levegôbôl, hagyja, hogy a látható dolgok elérjenek hozzá, beül egy kávézóba újságot olvasni, és ezzel kétség kívül elôre láthatóan váratlan és nyugodt találkozásokat fog kiprovokálni, ahol a többiek ugyanígy csak épp „arrafelé” sétálgattak. (A másik kifejezés, mely találóan jellemzi a luzitán andalgás furcsa ál-véletlenszerûségének jelenlétét, így hangzik: „ha úgy alakul”). José Gil Portugáliáról (részlet) Lettre, 2008, ôszi (70.) szám
Illusztráció: Xinhua Photo
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Red Carnation (Dianthus caryophyllus) 2014 | oil, acrilyc and on canvas, wooden board | 20x30x4,5 cm
SERIOUS POPPYFIELDS OF THE WESTERN FRONT after 1918
Flanders Poppy (Papaver Rhoeas) 2014 | oil, acrilyc and on canvas, wooden board | 20x30x4,5 cm
THE FLOWER OF THE CUBANS “Four beautiful flowers are in competition, all of them exceptional. But as soon as their contention is realized, a pathetic sarabande of rivalry and all sorts of traison breaks loose among them.” The Author To all Cubans, from whom we, even loving them, keep taking away their island flower. It is a real scandal that at the end of the century Cuba, that is considered the second richest island in botanical species following Madagascar, would keep on declaring the “Mariposa” (“butterfly”, Hedychium coronarium) as its national flower. The great writer, Guillermo Cabrera Infante has asked: “who said culture is necessary?”, and without letting us hesitate too much he adds “of culture only propaganda is necessary , all that is being done in Cuba is feeding the propaganda of the regime”. And this is exactly what is being done to this dreadful and popularized flower. The “Mariposa”, (white ginger lily) original from India, was made popular in Cuba during the last century. Very different from the aristocratic Roses, the elegant Madonna lilies, delicate Gladioli and the Iberian Carnations, the cultivation of this plant has never required a specific season or fertilized soil, nor careful pruning, frequent watering, or the use of supporting canes. On the contrary, this plant, considered almost a weed, has escaped controlled cultivation and has penetrated not just even the most neglected and vulgar gardens but into any ditches and wet places it could find.
Galician Cuba of that time there would ever be a festival for the Kekenhoff tulip? Has anyone been aspiring in the colonial Cuba to come across a garden of tea roses? Impossible. Legend says - supported even more by revolutionary propaganda-, that the criollo conspirators were hiding tiny messages rolled into the ovary of the flower, or snugly folded in its bracts (that are like the leaflets accompanying inflorescence), which served as an argument to name it the flower of the nation. Popular, abundant and illusorically “autochthonous” (which is not something that anyone cares to debate right now), the Mariposa has become, for and adventurer illuminated by Pilón, the flower of the “mambises”, their flower, the undeniable flower of their Revolution. And in fact, Celia Sánchez Manduley, who has earned the fame of having wasted public funds in such baffling projects as that marijuana-induced delirium of La Güira (which later surrendered to the fragile swaying of the branches trapped by the shacks and to a species of termites that surely was brought to Cuba by the yankees), liked to seize hold of plants, trees and flowers in the same way as she did with the houses of Miramar and Kohly, and with the same natural ease with which she commercialized all our fauna via the EMPROVA. Let’s not forget the well-known “Flamboyán Azul”, a South-American tree of the Güira family, which became her exclusive property, in a time when Tonino Quintana, Girona and other “architects of the revolution” planted Flamboyán Azul’s even in our beaches, with the only goal of ingratiating themselves with the lady. Of course, none of those Brasilian jacaranda’s has survived, but this, as all know, was not what mattered. For this bottle-picker appointed “Secretary of the Presidency” the vital, the really crucial thing was to realize such hallucinations as the “Flowers Plan” which was basically nothing else than wallpapering her sister Flavia’s walls with orchids (on the occasion when her daughters Alicia and Elenita had married and in times when it was impossible to get a piece of flower to the grave of a loved one).
Similar to its stem of rapid growth, rhizomatic and branched, Celia Sánchez Manduley has organized a legend around the Mariposa (just as dense as its sapling) in which nobody could interfere. A history as invasive as the plant itself and rooted as it is in some of those muddy human minds that are impossible to change. To pick it up, it was made popular among vague and lazy people by a cheap flower. “Yo no tumbo caña, / que la tumbe el viento, / que la tumbe Lola, /con su movimiento.” (“I won’t sway the cane / let the wind sway it / let Lola sway it, / with her moves.”) A flower so limited as its culture and as lazy as the Revolution.
After Celia has departed to a better world (better than the one she was in before?) portraits (not known if done after real photos or by hands of romantic painters) were abundant on which Manduley was represented among Mariposa flowers. To be highlighted, there is one example from the hands of the distinguished Otón A. Suárez, for which he was paid an amount worth two months salary, and on which he only had to work a couple of hours, as he told me: “Célia Sánchez was so ugly that any caricature would have made her shine a lot more”. “Artifact” or not, what is without doubt, is that the “First Secretary of the Country” was identified, in her life, and afterwards, with the damned Mariposa.
It is true that the aforementioned white ginger lily was a flower admired by the slaves and some creoles of the lower classes, who, seeing it grow wild and mundane, perceived in it some kind of symbol of Cubanism. Its white clothing was suited for Sundays and for the witchcraft business. Just as with the blue warbler and the sparrow, the butterfly was thrown in to fight with our wildest flowers; the beret and sandal kind. Picked by the million in baskets or bouquets, the Mariposa, more popular for its abundance than its beauty, has become the flower of colonial squares in the island. Has anyone been expecting that in the Mestizo and
Besides, this assumed “National Flower” has lent itself wonderfully to the canonization of the deceased: the immaculate purity of the flower, its genuine “Cuban-ness” and its already mentioned mambis roots have definitely been an influence to this. This is how this monster of a slogan has been coined, which would always accompany the image of Celia Sánchez in the Cuba of castrism: “the most authentic flower of the revolution.” Nothing more and nothing less than an invasive indoasiatic flower for an adopted Russian revolution. Disgusting! If anyone would have bothered to ask the specialists, surely all would have agreed on identifying
White Ginger Lily (Hedychium Coronarium) 2014 | oil, acrilyc and on canvas, wooden board | 20x30x4,5 cm
Was verbindet die schwarze Rose mit dem Anarchismus?
Die Schwarze Rosen, das Székler Metal und die Welle von Kirchenbrandstiftungen in Skandinavien Interview mit dem Historiker Andreas Folberth it verblüffenden Neuigkeiten über die Geschichte des Black Metal wartet das jüngst erschienene Buch eines deutschen Historikers auf: „Schwarze Rosen, das Siebenbürger Metal, Ursprung von Death Metal in Ceau�escu’s Rumaenien.” Andreas Folberth, Forscher der Albert-LudwigsUniversität Freiburg, behauptet nichts weniger, als dass das Székler Metal Ende der 1980er den stärksten Einfluss auf die - in den 1990er Jahren durch Brandstiftungen in christlichen Kirchen bekannt gewordene norwegische Black Metal Szene ausgeübt habe. Folberth behauptet indirekte Beweise dafür zu haben, dass der junge mit anarchistischen Ideen sympathisierende ungarische Frontmann der Metal-Band „Fekete Rózsák” (Schwarze Rosen), Levente Savanyú, im Dezember 1989 die Holzkirche von Gyergyószentdemeter angezündet habe. Die Kirche war während der rumänischen Revolution von 1989 von Unbekannten in Brand gesetzt worden. Das in der Weltpresse verbreitete Foto der brennenden Holzkirche in Siebenbürgen hatte die Phantasie von Varg Vikernes, der Ein-Mann-Band Burzum, derart bewegt, dass er drei Jahre später selbst begann, Kirchen in Brand zu setzen. Die Welle der skandinavischen Kirchenbrandstiftungen eskalierte 1994/95. Mittlerweile waren seinerzeit auch bereits in Schweden mehrere Kirchen von Black Metal gelegten Feuern zum Opfer gefallen. Laut Andreas Folberth ist nicht so sehr die Idee, vielmehr deren Werdegang interessant. Von Székler Metal hat man bisher noch nicht viel gehört… 62
Wie in Kádár-Ungarn wurden auch im Rumänien Ceaușescus die meist mit extremistischen, verworrenen Ideen sympathisierenden musikalischen Strömungen, darunter der in den 1980ern aufgekommene Black Metal, nicht geduldet. Die erste Platte, besser gesagt Kassette, der legendären Budapester Gruppe Tormentor, „Anno Domini“, fand ihren Weg Ende der 1980er Jahre irgendwie nach Norwegen und - wie sich später herausstellte - erregte in härteren Metal-Kreisen ziemlich großes Aufsehen. Alles passierte so, dass von einem offiziellen Erscheinen der Platte keine Rede sein sein konnte. Allerdings hat die Black Metal Gemeinde immer informelle Kanäle gefunden, mittels derer man sich problemlos und rasch austauschen konnte. Das einzige Album der im Frühjahr 1988 gegründeten Band Fekete Rózsák wurde mit Hilfe von kopierten Kassetten verbreitet. Erst Anfang der 1990er Jahre hatte sich die ungarische Black Metal Szene in Rumänien, die wir heute Székler oder Siebenbürger Metal bezeichnen, gefestigt.
Was haben schwarze Rosen mit den Fekete Rózsák zu tun? Leiter der dreiköpfigen Gruppe Fekete Rózsák war der 19-jährige Levente Savanyú. Durch meine Interviews mit seinen Familienmitgliedern und Freunden zeichnet sich das Bild eines empfindlichen, intelligenten, mehrere Sprachen beherrschenden, introvertierten jungen Mannes ab, der sich nur während der Proben der Band und während ihrer wenigen illegalen Konzerte hatte öffnen können. Nach Angaben derjenigen, die ihn kannten, war er trotz seiner Verschlossenheit eine sehr suggestive Persönlichkeit, der seine frischen Leseerlebnisse, die in seinen Kopf ein wirres Sammelsurium bildeten, vortragen konnte. Er hasste nicht nur die Kommunisten, sondern auch die Christen. Savanyú hatte sein Problem nicht so sehr mit dem Christentum, sondern mit den Christen. Für ihn war es eindeutig, dass seine Gruppe nur nach dem AnarchistenSymbol, der schwarzen Rose, benannt werden könne.
Die Gruppe Fekete Rózsák im Herbst 1989 in Temesvár (Levente Savanyú in der Mitte)
26.4.2014
Black Rose (Rosa 'Black Baccara') 2014 | oil, acrilyc and on canvas, wooden board | 20x30x4,5 cm
Es gibt ein altes politisches Lied der Iren, das im 16. Jh. geschrieben wurde, gegen die Engländer gerichtet war und „Róisín Dubh“ (kleine schwarze Rose) hieß. Dieses Symbol hatte in den irischen Unabhängigkeitskämpfen eine große Tradition. Auch die Irische Republikanische Armee, die IRA, benutzte dieses Symbol, das in den 1970er und 80er Jahren in anarchistischen Kreisen eine kleinere Renaissance erlebte. Kein Wunder also, dass sich dieser Széklerbursche in Ceaușescus Rumänien so leicht damit hatte identifizieren können.
in Temesvár (auf Deutsch: Temeswar) veröffentliche endlich 1991 das einzige Album der Band unter dem Titel „Por és hamu” (Staub und Asche) auf Kassette. Auf dem Cover sind die Ruinen der ausgebrannten Kirche von Gyergyószentdemeter zu sehen.
Wie kamen Sie zu dieser in einen romantischen Roman passenden Geschichte?
Cover, Fekete Rózsák, Por és hamu, 1991
Das Symbol Schwarze Rose (Wikipedia)
Worauf gründet Ihre Vermutung, dass die Kirche von Gyergyószentdemeter von Savanyú in Brand gesetzt wurde? Seine Freunde sahen Savanyú zuletzt am Heiligen Abend 1989. Im lokalen Bewusstsein gibt es mehrere Versionen über sein Verschwinden bzw. seinen Tod. Laut einer von ihnen hat ihn die rumänische Geheimpolizei, die Securitate, ermordet, laut anderen Meinungen hat er Selbstmord begangen. Nach Angaben seiner Mutter hatte er damals dem Mädchen Ilonka Szép den Hof gemacht und der ganze Aufwand mit der Band diente lediglich dazu, das Interesse des Mädchens zu wecken. Leider konnte ich das Mädchen nicht auffinden - sie müsste heute eine Mittvierzigerin sein. Die Familie, auch die einstigen Freunde, erwähnten, dass der junge Mann vor Weihnachten Molotow-Cocktails vorbereitet und betrunken mehrmals über seinen Plan gesprochen habe. Die 300 Jahre alte Kirche wurde am 22. Dezember angezündet, Savanyú verschwand am 24. Ein kleiner Verlag
auf, verschwand und kehrte dann nach einer Minute mit einer Originalkassette von „Por és hamu“ zurück. Er sagte, ein von seiner Tournee in Osteuropa zurückgekehrter Freund habe ihm die Kassette im Mai 1992 in Bergen in die Hand gedrückt. Noch vor dem Abhören des Materials habe ihn das Cover derartig beeindruckt, dass er vor Ort beschloss, die Holzkirche von Fantoft anzuzünden. Seine Tat erfolgte am 2. Juni 1992. Im nächsten Jahr erschien das „Aske“ (Asche) betitelte Album von Burzum - mit dem Bild der zu Asche abgebrannten Holzkirche von Fantoft auf dem Cover.
Ich bin in Temesvár geboren, wir verließen Rumänien 1989 und zogen nach Deutschland. Die Familie meiner Mutter ist ungarischer Abstammung, mein Vater Siebenbürger Sachse, ich wuchs schon in Stuttgart auf. Bei meinen Besuchen in Siebenbürgen hörte ich oft über die geheimnisvolle Geschichte von Levente Savanyú und beschloss vor fünf Jahren, ihr nachzugehen. Das Buch „Schwarze Rosen” entstand eigentlich auf Basis meiner Doktorarbeit. Zoltán Pallag
Cover, Burzum, Aske, 1993
Womit begründen Sie, dass „Por és hamu“ als Inspiration für die Welle von Kirchenbrandstiftungen in Skandinavien gedient habe? Im vergangenen Jahr gelang es mir, ein Interview mit Varg Vikernes zu führen. Er lebt nach seiner Entlassung aus dem Gefängnis zur Zeit in Süd-Frankreich: Er war für die Ermordung des Mayhem-Gitarristen Øystein Euronymous Aarseth und die Brandstiftung bei drei Kirchen zum in Norwegen höchsten Strafmaß von 21 Jahren verurteilt worden. Nun, als wir so in seinem mit Hirschgeweihen und Symbolen der Rechtsextremisten vollgestopften Wohnzimmer saßen, sprang er plötzlich Mitten im Gespräch
Varg Vikernes, 1992, 2014 26.4.2014
63
Flower Power (Flos Potentia) 2014 | oil, acrilyc and on canvas, wooden board | 20x30x4,5 cm
Vitrine with books and other textual materials referrin to the flowers, Edwin Sharff Museum, Neu-Ulm (DE)
Towering 2008- | project
The central motif of the project is the form of a rocket, one of the metaphors of human will, what is familiar in every culture in the World and has countless forms from space research through sacred and profane architecture to the form system of military equipment. The seemingly similar attitudes though represent radically diverse intentions and stories. BORSOS LÔRINC's purpose is to collect and cut out these motives from their historical background and process them in different kinds of media, and then reorganize them in a specific collection. In this context the motives can start a new kind of discussion with each other about their collective story.
rocket highness 01. 2012 | glaze, oil and acryllic on wooden board | 30x20x5 cm
rocket highness 02. 2012 | oil and acryllic on wooden board | 30x20x5 cm
And the Greatest Freedom is... (Washington Monument) 2008 | oil, enamel and acryllic on canvas, wooden board | 30x20x5 cm The painting is one of the Strabag Award winning Mask Series made by Lilla LÔRINC in 2008.
In The Garden (AGNI V.*) 2013 | oil, enamel on wooden board | 30x20x5 cm *Three stage intercontinental ballistic missile of India from 2012 with 6000 km operational range.
Caspar Airlines 2013 | oil on canvas, wooden board | 30x20x5 cm The motif is taken from the painting Winter Landscape by Caspar David Friedrich.
Empowering Women (Safety Cabin) 2013 | oil on wooden board | 30x20x5 cm
Place for Emptyness (Buddhas of Bamiyan) 2013 | oil on canvas, wooden board | 30x20x5 cm
Human Propellant Power (Rashtrapati Bhavan*, Delhi) 2013 | oil, acrylic on canvas, wooden board | 30x20x5 cm * President House of India
Appartion (Block of Flats) 2013 | oil, acrylic on canvas, wooden board | 30x20x5 cm | in private collection
Rocket Woman (Hommage á Amrita Sher-Gil) 2012 | glaze, oil and acryllic on wooden board | 30x20x5 cm Amrita Sher-Gil was the pioneer of the indian modern painting. Although she was born in Hungary, only few people know Her work here. On the 100th anniversary of Her birth BORSOS LÔRINC was working in India, so he decided to make a paraphrase of Amrita's well known painting "Hungarian Village Market". The paraphrase was made beside the original painting for three days in the National Gallery of Modern Art in Delhi, with the extraordinary permission of the director of the museum.
Rocket Woman / Action in NGMA with the original painting
Cars 2008- | painting series
Presidential limo (and the greatest freedom is...) 2010 | oil, enamel, acrylic, canvas on wooden board | 20x30x5 cm | in private collection The painting is one of the Strabag Award winning Mask Series made by Lilla LÔRINC in 2008.
Popemobil 2008 | glaze, oil and acryllic on wooden board | 20x30x5 cm
Schwarzkopf 2012 | glaze and acryllic on wooden board | 110x1110x5 cm
INVISIBLE CAR 2012 | glaze and acryllic on wooden board | 110x150x5 cm
heArse 2012 | glaze, oil and acryllic on wooden board | 20x30x5 cm
WATER CANNON Diptich Oldschool / before siege, Newschool / after siege 2010 | oil, canvas on wooden board | 20x30x5 cm each | in private collection
ouT of order 2012 | glaze, oil and acryllic on wooden board | 20x30x5 cm
Mask 2009- | painting series
The social engaged series evokes the leading events of the recent political situation, cultural themes, religious conflicts from the view point of substitutability and impersonality. I just cut out some details / motives from the pictures putting on the virtual clippboard where a black hole was created, painted by a vivid black glaze. The pictures were made in different styles and techniques depending on the atmosphere of the evoked situation constructing a sharp contrast between the drawn and the cut-out forms.
Oval Office 2008 | oil, glaze on canvas | 100x150 cm | in private collection
DICTATOR HEAVEN 2010 | acrylic spray, glaze on canvas | 150x200 cm
HABEMUS PAPAM 2010 | oil, glaze on canvas | 150x200 cm | in private collection
UNKNOWN HUNGARIAN POLITICIAN 2010 | glaze on canvas | 30x25 cm | in private collection
NATIONAL
From 2010 I concentrate on the daily and current Hungarian social problems researching the public well-being. My goal was to detect the conflicts, deficiencies and exaggerations besides all I tried to find and present the real human way of thinking. The sense of humour directed me in the whole process.
Hungary 2010- | project
HUNGARY I. 2008 | unpolished and birght glaze on canvas | 150x200 cm | in private collection
HUNGARY III. (series) 2009 | mixed technique, canvas, wooden board | 7 pieces | 20x30x5 cm each | in private collection
HUNGARY III. / Memento (2009.08.03. Kisléta) 2009 | pencil, wooden board | 20x30x5 cm
Mária Balogh was one of the gypsy victims of the violent murder-series in Hungary in 2008-09.
HUNGARY III. / CORDON CARRYER 2009 | oil, canvas on wooden board | 20x30x5 cm
Between 2006 and 2008 I saw a lot of cordon carryer cars like this living not far from the building of the Parliament. They just were bringing the cordons because there were daily demonstrations.
HUNGARY III. / Optional titles: A.: Slovakia / B.: HUNGARY 2009 | oil, acrilyc, canvas on wooden board | 20x30x5 cm
Reflection on the facebook campaign of a Slovakian student titled "I want a Sea instead of Hungary". At the beginning it was a funny game but soon more than 50 000 people joined and became the basis of the Hungarian-Slovakian nacionalistic abusive public speach.
HUNGARY III. / Pantokrator Hungaricum 2009 | oil, wooden board | 20x30x5 cm
The cardinal motive of the painting is based on the symbol structure of the Hungarian Holy Crown, with Christ (Pankrator) on the top. I converted the figure of Christ to Mary indicating leading role of Mary against Christ in the so-called Hungarian holy system.
HUNGARY III. / fashionable autocracy sign 2009 | oil, glitter, canvas on wooden board | 20x30x5 cm
The use of autocracy signs are prohibited by law, unless the educational, scientific or artistic purposes. I played with this possibility.
HUNGARY III. / PROGRAM GUIDE (The escape in One or two years) 2009 | oil, canvas on wooden board | 20x30x5 cm
There is program guide in the corner of the TV screen. The subtitle is based on the advertisment of the American series Prison Break (in Hungary as: The Escape). My moral question is: staying here in Hungary or emigrating?
HUNGARY III. / Tricolor 2009 | oil, canvas on wooden board | 20x30x5 cm
After finishing my painting I discovered many contemporary examples evoking the same visual and political questions in connection with the Hungarian flag.
Immovable Land 2010 | intallation | chamotte model of the hungarian Parliament in 1:300, vibrating table, motion detector| 50x100x130 cm
“I shake not only the earth, but also the heaven;' and this -- `Yet once' -- doth make evident the removal of the things shaken, as of things having been made, that the things not shaken may remain;” Hebrews 12:26-27 The artist built the model on a metal core to ballast it, but by activating the vibrating table he also made it vulnerable for the inevitable destruction. According to the concept the fallen pieces and the dust gets collected, but the model's renovation is forbidden. The process is over when the last mote has left the table. After shaking through two exhibitions without significal damage, the building started to collapse on the third show "What is Hungarian?" Kunsthalle, Budapest in 2012.
after the first exhibition
on the Third Exhibition
Pitch 2013 | objects The project focuses on the commonplace topic of football as a metaphor of social dialogue. Through this aspect, such phenomena can be analysed that otherwise would be impossible among humans due to social, political or religious disagreement. These situations are demonstrated through specially transformed pitch-models where the games become absurd in various ways. To these confusing pitches are invited symbolically the actors of our society’s conflict, according to the nature of the dispute to be able to dislocate themselves - by the commonly experienced game and comic - from the insistence to their own aspects. The new aspect of the debate may give motivation to understand the other side and offers room for interpretation.
PITCH 2013 | objects | photos by Erdey Gábor (Artdetektor)
Change of Court 2013 | engraved beech, beewax | 94,5x40x30 cm | ed 3 + 2AP
Kickoff 2013 | engraved beech, beewax | 114x40x30 cm | ed 3 + 2AP
Offside 2013 | engraved beech, beewax | 97x40x30 cm | ed 3 + 2AP
Unreal Ground 2013 | engraved beech, beewax | 106x40x30 cm | ed 3 + 2AP
High Ball 2013 | engraved beech, beewax | 107x40x30cm | ed 3 + 2AP
The Emperor's New Apparel (Light Edition) 2013- | Not bullet-proof safety cabine for politicians with good conscience installation with folied glass, powder painted, acid-proof steel construction, plexi pulpit, microphone and tripod | 60x1500x2000 mm Collection of the Institute of Contemporary Art, Dunaújváros The artwork was made for the exhibition with the same title, held in Trafó Gallery in Budapest 2013, and in Karlin Studios in Prague, Czeh Republic in 2014. The exhibitions were curated by Borbála Szalai.
Exhibition view
CERtIfICAtION
Four One Minute Silences 2010 | video installation | four channel | 1' each The videos are a symbolic process toning down the leading hungarian parties spokesmen because their conflicts are poisining the society. They can join and sign peace in the silence. The request was refused only by Péter Szíjjártó (Hungarian Civic Union / FIDESZ, governing party in that time).
three ScreenSHOTs and a black screen
FOUR one minute silences, Uniform / Exhibition View 2010 | "Immovable Land" | Viltin Gallery, Budapest
The artist replaced the absent video with a screenshot of the spokesman of FIDESZ.
Cute Little Aquarelles 2012- | aquarelle, paper | 13x20 cm | in private collection
The voice of the leader is the voice of God
HEROES
COmes or Goes?
AMOK
Liberty 1.
Liberty 2.
Let There Be a World Famous Hungarian Contemporary Artist! 2010- | project
LET THERE BE A WORLD FAMOUS HUNGARIAN CONTEMPORARY ARTIST! 2010 | project | tinsel on wood | 150x200x5 cm | in private collection
H as NOBLE character 2010 | tinsel on wooden board | 20x30x5 cm | in private collection
Gold covered international vehicle registration code of Hungary, as the image of a desired new Hungaricum.
BORSOS LÔRINC János BORSOS & Lilla LÔRINC +36 20 996 7731 | +36 70 770 8454
[email protected]
Studio 50 Nagytétényi Street, Budapest 1222 Hungary aqb.hu
borsoslorinc.com
