Director: Andreas Fogarasi
Вorn in 1977 in Vienna. Lives and works in Vienna.
Selected personal exhibitions:
2010 — Andreas Fogarasi — Ludwig Forum für Internationale Kunst, Aachen
2008 — Andreas Fogarasi — 2008 — Museum für angewandte Kunst (MAK), Vienna
2007 — Kultur und Freizeit, Hungarian Pavillion, 52. Biennale di Venezia, Venice
Selected group exhibitions:
2010 — Transitland in Trieste — Studio Tommaseo — Istituto per la documentazione e diffusione delle Arti, Trieste
2006 — This Land Is My Land — Neue Gesellschaft für Bildende Kunst (NGBK), Berlin
2002 — Manifesta 4 — Frankfurt/Main — Manifesta — European Biennial of Contemporary Art,
Courtesy of Georg Kargl Fine Arts, Vienna
A tradition of so called working clubs establishment first appeared in the XIX century and became a part of socialistic administration doctrine within a program of free time management of working class. These facilities were created firstly to convert people’s personal time into a new mode of constant involvement into educational, activist and cultural activity of a new society. Almost all socialist countries had the network of such facilities that used quite innovative architectural design schemes.
As a part of an exposition for Hungary at the Venice Biennale 2007 they showed Andreas Fogarasi’s project Kultur und Freizeit (Culture and Leisure, 2006), devoted to cultural and educational institutions of Budapest as a controversial heritage of socialist era. The project consisting of several videos is mostly an aesthetically redeemed result of modern situation analysis that different institutions were placed into; they are declared as cultural life flagships in terms of socialist society. The artist points out the unusual status of these objects, that used to have several quite opposite functions, that were propaganda declaring socialist values and status of informal centers of alternative culture, creative spaces standing out from official art course. In spite of rather short historic period of those objects existence in their true function, their rather modern design has a certain archaic flare that refers to a certain epoch. Political changes derived from Eastern Europe countries democratization revealed clear ideological rigidity that denied any modification of these places actual functions.
Video “A machine for” is a part of Kultur und Freizeit that is focused on the relations between architectural design language, politics and management systems. A specific approach of the artist is based on a synthetic concept uniting documents, technical logics of research via fixation system that is genetically close to scanner or any other registering device functioning. The camera has almost tactile communication with architectural objects, interiors and cityscape of the former cultural center Óbudai Müvelödesi Központ, built in 1973-75 upon the design of György Kévés and Imre Kovács. Culturally functioning space is filled with avant-garde impulse of technical might; that fact is specifically pointed out by the author via observation of club space changes, that like a humongous machine can change its own appearance (club project was supposed to have complex structure; auditorium, classes could transform and serve for different purposes, but the system was not supposed to change club functioning radically). The artist centers his attention around machinery of the cultural institution essence with the function of taking time of a person free from work and convert it into his or her self-development. Publicly stolen time changes its status depending on economic and political structure that is legitimate at a certain period. But in these circumstances where the author describes a machine of time taking, the nature of free time in terms of human psychology becomes a central problem. Time taking is inherent for a person having only vague distinctive features and realization manner. Work clubs and cultural centers were replaced by new types of facilities having larger management potential.