Attila Galbovy Pli Barna PORTFOLIO ATTILA GALBOVY ATTILA

Attila Galbovy – Péli Barna PORTFOLIO

ATTILA GALBOVY

• ATTILA GALBOVY • born 1969, , Simleu Silvaniei, Rumania • lives and works in Budapest studies: : 1992 -1994 Academy of Visual Arts Cluj (R), 1994 -1998 Hungarian Academy of Fine Arts, 1999 Kunstakademie Nürnberg, • BARNA PÉLI • born 1972 Oradea, , Rumania • lives and works in Budapest • studies: 1994 – 2000 Hungarian Academyof Fine Arts

Installations: • • • • • • • 2001 MANUS, Kis Varsó, Budapest (H) HORSERADISH, Kis Varsó, Budapest FREEBANK, Liszt Ferenc Square, Budapest FOUR CHAIRS, Shopwindow of Writers Bookstore, Budapest 2002 THE BIG JUDASEAR, M. E. O. , Budapest NIETZSCHE AND DÉTÁRI, M. E. O. , Budapest ADVERTISEMENT, Shop-window Gallery, Budapest 2003 MUS. Kunsthalle, Budapest (with Gergô Kovách) 2004 DELEGATION, Trafó Gallery Budapest (with Gergô Kovách and Robert Ferenczi) 2005 TECHNOLOGICAL STORY, Studio Gallery, Budapest CIAOS, Contemporary Art Institute, Dunaújváros (H) 2006 URNAMENTAL, Tûzraktér, Budapest (with Gergô Kovách) CHESSCLINIC, Factory, Krems(A) Prizes: 2000 Hermann Lipót Prize 2004 Herczeg Klára Prize 2004 -2006 Derkovits Prize Publications: N. Forian Szabó, Balkon 2001 (5)9 -14 K. Dékei, Beszélô 2001 (12) Zs. Bán, Mûértô 2002 (4)6 K. Dékei, Exindex. c 3. hu 2002(4) M. Fejôs, Echo 2003 (3) D. Romek, Új Mûvészet 2004 (4) K. Dékei, Balkon 2004 (1/2) L. Százados, Mûértô 2004 (2) E. Paksi, Exindex. c 3. hu 2006 (4)

(The Two-headed stagehand) Even the most authentic spheres of the visual arts, even those least touched by commercialism, are run by the art industry and its institutions, a complex system, with performers active at various levels. Under such circumstances – should you feel discouraged – individuality is not a secure refuge, , as it can be easily commercialized, and it has an especially inflexible market value, because it is in itself a complex system. Art directly dependent on individuality thus starts with a handicap, and is consequently deformed in several aspects, becomes classicized. One way to keep freedom is "creative marriage"or "institutional friendship" (V. Missiano), of which we can find several examples. By adopting the strategy of joint work, Attila Galbovy and Barna Péli in effect create their own workplace. They produce works of art, in a manner similar to the socially established modes of production, where the objects produced come to be as the result of processes and decisions of incredible complexity. This complexity is modelled by the two artists method of mutual association, an extensive economy of ideas. Ideas are democratic (even when received and handled by a single person, though they tend to purify in such cases and become private property, parts of the private economy), so they are most secure in joint ownership. This extensive process of joint work may not result in clear-cut works, but provides enough material until the time comes (if it does)to finish it. Galbovy and Péli together are as creative as two people can be one of whose head, when its turn comes, rests in a shopping bag; or as an (!)abandoned two-headed stagehand before he is(they are)submerged by the falling scenery. Miklós Erhardt

PICTURES LIST • 1. MANUS, 2001. Installation in Kis Varso, Budapest. Mixed media • 2, 3. THE BIG JUDAS EAR, 2002, Installation in MEO, Budapest. Mixed media • 4. NIETZSCHE AND DÉTÁRI, 2002, Installation in MEO, Budapest. Mixed media • 5. MUS. , 2003, Installation in Kunsthalle, Budapest. Mixed media • 6. DELEGATION, 2004, Installation in Trafo Gallery, Budapest. Mixed media • 7, 8. TECHNOLOGICAL STORY, 2005, Installation in Studio Gallery, Budapest. Mixed media • 9, 10. CIAOS, 2005, Installation in Contemporary art Institute, Dunaújváros. Mixed media • 11, 12. URNAMENTAL, 2006, Installation in Tûzraktér, Budapest. Mixed media • 13 -16. CHESSCLINIC, 2006, Installation in Factory, Krems, Mixed media