Extension of the present – in external sites

Exhibits at the Ludwig Museum Extension of the present – fleeting facts for international selection.

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The Ludwig Museum Extension of the present – fleeting facts On the sidelines of his international exhibition, and in parallel with him three external site He takes the gallery concept even further by incorporating it into the urban fabric of Budapest.

first of all, KEK – Center for Contemporary Architecture In collaboration with Bartók Béla út Otto Hodik Slovak creative Installations From July 22 to August 14 2022. then it is EJTECH formation Installations The Vorosmarti Square Comes together in a unique soundscape Workshop / Onyx entrance hall with him From August 3, 2022. Both telegram events have been waiting for visitors with unique opening hours for only a few weeks.

Finally, it opens as the closing event of the exhibition on display at the Ludwig Museum Janet Christensen Installation of a Norwegian gel by a Norwegian artist at the end of summer, which will transform before the eyes of visitors next month in an unusual vault, and the exhibition as a whole runs until the end of September (Present Extended – Transitional Realities Closes September 4th at the Ludwig . Museum).

The three compositions are organically related to the experience of time in the present, with their experiences that can be seen in artistic practices, and highlight questions that help reveal certain features of perpetual time.

Otto Hodik The multimedia artist’s paintings and drawings explore personal and social themes; He also makes videos and public works on, among other things, migration, refugees, and the impact of globalization on the environment.

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Presented in Budapest in collaboration with KÉK – Center for Contemporary Architecture Nomadic installation The tent evokes as an original form of temporary architecture: among other things, the tents of people living a nomadic way of life, refugees and hikers. The installation symbolically gives space to populations oppressed by states and corporations, such as the disappearance of nomadic or immigrant cultures. These fragile structures convey the stories described in the documents presented with them, which are complemented by paintings and postcards created by the artist at the respective stations (Greetings from Nomadya).

In special cases, institutions that are considered stable and permanent (such as museums) may have to relocate or emigrate. Attachment to one place has become a relative matter, and in addition to historically formed life forms, modern travel companions search for their place in the changing world, in a state of permanent transition nature.

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EJTECH: From the waves
Site sound field installation
Opening performance: August 2, 2022, 5:30 PM – 7:00 PM
say hello: Joseph Kisman
Site: ONYX Workshop/Hall (1051 Budapest, Vörösmarty tér 7-8.)
Opening hours: 08/03/2022 – 08/16/2022, every day 5:00 pm – 7:00 pm.

Audio “processing” cannot be separated from a specific location. Sound fields do not result from the reception of sound, but arise from the sound itself, either by raising it to a cognitive or internal level. Ironically, the sound generated by EJTECH Studio installations cannot be recorded as we imagine it to be. Moreover, each person experiences something different in the same installation. Spaces of sound are not physical, but ephemeral, ever-evolving spaces, brought to life by the presence of sound.

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The From matter in waves It is a site-specific installation created in collaboration with Műhely / Vestibule ONYX, which propagates material in the acoustic range through a textile sound system. EJTECH’s work builds a space to explore the extended present with the help of electromagnetic air sculptures. A spatial sound setting that evokes the invisible geometries of emerging acoustic towers through multi-channel compositions. An openness in space and time in which we can experience the entanglement, the dissolution of the duality of subject and object. A device with which we can weave sound fields.

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Janet Christensen His installation of Budapest is not only site-specific, but also ‘time-bound’ – although such a definition does not really exist in contemporary art. The Every day is a miracle The titled work uses a completely ordinary material, an edible gel, to create objects that appear as simple sculptures, which begin to live an “independent life” in the basement, the site of the exhibition, under the influence of the atmospheric characteristics of the place. As a result of biochemical processes that begin in the gel, the installation appears differently to the viewer almost at every moment, who can never see the work in its “completeness”, but can only perceive it at the moment when they are in an exhibition. However, the installation is the sum of all those moments that represent the temporality of the decomposition process and thus direct the viewer’s attention to the temporality of receiving the work itself. Since at the end of the process – and thus the exhibition – the work itself is virtually destroyed, temporality raises additional questions not only from the point of view of reception, but also from the point of view of the work’s survival and, ultimately, its disappearance.

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Two other works by Janet Christensen are A present extended It can be seen in the gallery