The Hungarian Cultural Institute Brussels presents to its public the artistic aspirations of the Hungarian neo-avant-garde of the sixties and seventies through the works of the Vojvodina based Bosch + Bosch group. The exhibition, which opens online on November 19, will be followed by a number of discussions, performances, a series of lectures and screenings related to the topic.
“SLOW LIFE. Radical Practices of the Everyday” is a group exhibition with an international scope, a commitment that reflects on today’s pressing global issues.
The exhibition Hidden Patterns aims to present the last 20 years of research based on the so-called Barabási networks mainly related to the activity of physicist and network researcher Albert-László Barabási.
Keeping the Balance is a temporary exhibition presenting about sixty works from the Art Collection Telekom. Most of the works are by artists of Eastern European roots.
The exhibition Dialektik der Bilder / The Dialectic of Images examines artistic identities and positions in Hungary from the 1970s to the turn of the millennium, investigating the art scene of the end of socialism and the impacts of the fall of the Iron Curtain.
BOTH WAYS is a contemporary art exhibition that contributes, within the Science in the City Festival, to the edition of the EuroScience Open Forum (ESOF2020) in Trieste.
The aim of the exhibition is to highlight the environmental impacts and exploitative practices that have led to the current global environmental, economic and social problems. Our other main objective is to provide a broader platform for artistic positions, which emphasize sustainability and offer alternative lifestyles.
Alban Muja’s new video installation digs deep into personal and collective memories of the Kosovo War (1998–1999) interrogating the role that images and the media have in constructing and shaping narrative, identity and history, especially in times of conflict.
The Ludwig Museum continues its practice of presenting the Hungarian exhibition of the Venice Biennale to the public in Budapest. In 2019, Tamás Waliczky’s exhibition Imaginary Cameras was on display at the Hungarian Pavilion (curated by Zsuzsanna Szegedy-Maszák).
How will the at once dematerialized and delocalized dynamics of power structures be impacted in both their evident economic and inevitably political manifestations if the network is disconnected? But also, what can still be said or done in the meantime? How does one occupy—or not— what is essentially borrowed time and space, a space-time henceforth to be shared between digital and physical realities.