For Kristóf Szabó (KristofLab) analytical observation is also an image creating method. His works are based on photographs or videos that function as a certain memory bank, but they are reconsidered, transformed from time to time, and compressed into a specific, sometimes utopian-like concept. The works interpreted through the observer environment represent an aesthetic line in which the different stacking layers change the original meaning of the starting point. Carrier surfaces and materials for which digital imperfections, reflections, light, and sound are stacked, create works that sometimes go beyond genre boundaries. His work focuses mainly on two major themes: the cornerstone of man’s identity and his living environment. Social sensitivity is a crucial basis for the grouping of questions around these concepts. It covers topics such as alienation, self-image distortion, ecological problems. The visual interactions that appear on his installations, paintings and projectors, create a real relationship with the observer and often cause a special space experience. Site-specific works define their work, often transforming the exhibition or performance space into a particular world.Locked Pro Plan feature
Kristóf Szabó – KristofLab was born in 1988 in Győr. He is a visual and media artist. Graduated from University of Fine Arts, as a graphic designer (2012) and as an art teacher as well (2013). He won an Erasmus scholarship in 2011 to study in Dresden (Hochschule für Bildende Künste Dresden). Kristóf is member of the MAMŰ and Hungarian Artist’s Book Associationand the Ziggurat Project member which groups are experimenting with various co-artistic collaborations. He is fond of working with dancers or representatives of other branches of art. He took part in number of solo and group exhibitions in Hungary and abroad. More recently he is experimenting with the relationship of painting and new media art.
Ziggurat Project is an independent, interdisciplinary art collective connecting contemporary dance to other fields of art (theatre, visual arts, digital arts, music and literature). Our main focus is to create site-specific or site-sensitive performances and socially conscious projects. The company is based in Budapest, Hungary, but involved in many international cooperations. In recent years the company participated in international cooperations such as Picture Project (HU, NO), FAR - Fight Against Radicalisation (HU/FR/IT/PT), Performing Arts residency of Visegrad Fund (HU/SK), CAPP - Collaborative Arts Partnership Programme (UK, IE, FI, DE, ES, HU), and presented works for PLACCC festival (HU), Trafó House of Contemporary Arts (HU), European Parliament, Strasbourg - EYE2018 (FR), Art&Tech Days Kosice (SK), White Night (SK), D-CAF Festival (EG), Spotter Trip (A), Valley of Arts (HU), Let me in Performing Arts Festival (DE), L1dance Fest (HU), etc. Legal representative of the company is Platform Cultural Association. ARTISTIC STATEMENT Our main focus is to create site-sensitive or site-specific performances as we are willing to contribute to an art that exists out of the walls of a theatre or a museum. Site-sensitive dance creation gives us the possibility to engage with people in a more democratic, but mainly in a more personal way. As an art collective we believe in cooperative and research-based cultural and art projects. It is important to us to search for innovation and for that not only cross artistic fields, but to step into other sectors. Interdisciplinary cooperation means that we go out our comfort zone, that we try to understand and work together with someone who thinks in a different way. It means to be challenged, to be confronted by conflict and learn to negotiate without losing intention. We also believe that only good art can communicate with people and only good communication can create art based on real cooperation. By doing art we are able to surprise ourselves. From one's initial research through to the creative process and into the doing we should not forget to be courageous. As most of the time it is the only way to get society's attention to matters at hand.
The Ludwig Scholarship Program, created in 2010, aims to provide opportunities for students interested in contemporary art to get acquainted with a contemporary art museum during their studies in the field of museum history, exhibition organization, museum pedagogy, communication and international relations. Trainees can benefit from the experience gained through the Program at later stages in their work at private galleries, exhibitions or museum facilities.
Mission Statement The Hochschule für Bildende Künste Dresden (HfBK Dresden) is an autonomous fine arts academy. Its autonomy is based on the constitutionally guaranteed freedom of art and freedom of education and research in art and science. Founded in 1764, the academy is committed to a liberal-minded, international, free, creative and scientifically methodological mission statement. We strive towards regenerating awareness about our rich yet problematic tradition, and understand art and science as independent yet interrelated systems of knowledge. The key goal of our educational programme is to pave the way for multi-talented, creative personalities whose capabilities exceed the limits of their respective core discipline. The academy promotes interdisciplinary cooperation in artistic and scientific research projects. For us, artistic research is the practice of artistic development more than anything else. We see art as an indispensable part of civil society and attach great importance to making it accessible to the public. With this in mind, the academy has three galleries and an extremely well-equipped laboratory theatre with a capacity of 100 seats. OKTOGON is an outstanding art gallery. Its reconstructed historical rooms are spread across 800 square metres and it holds primarily exhibitions of contemporary art that is related to what is taught in the academy. The academy has a wide network of connections to international universities and institutions. Its members actively participate in international discourse on questions related to art and society. As an institution, we stand firmly against any form of discrimination and see the pursuit of equality as a priority task. At present, HfBK Dresden has about 120 employees. In addition, there are student, art and research assistants as well as lecturers. Approximately 550 students are currently enrolled in the study programmes of Fine Arts, Art Technology, Preservation and Restoration of Artistic and Cultural Assets, Stage Setting and Costume Design, Theatre Setting (technical college) and the postgraduate programme Art Therapy. This course profile is complemented by the subject areas of Art History, Philosophy/Aesthetics, Architecture and Interior Design as well as Applied Theatre Studies/Production Dramaturgy. The key facilities that are available are the Archive and the Custody with the historical anatomical collection, the Library with a Media Centre, the Exhibition Department, the Laboratory Theatre, Career Service and the Electronic Data Processing Centre. The individual fields of study are spread over three different locations in Dresden. These too have 23 labs and workshops pertaining to the disciplines. The academy attaches great importance to the quality of its staff and the material equipment in its laboratories and workshops, and strives to keep them up to date with the latest technologies at all times. The art academy, which has a university status, has the right to award doctorates in scientific disciplines, Restoration and Conservation (also Habilitation) and Art Therapy.
The Hungarian University of Fine Arts provides education and training to the future actors of the Hungarian cultural scene in all areas of the visual arts. Our institution, during the course of its history, has preserved the traditional basis on which its educational program has been founded, while also seeking and cultivating continuous renewal, as evidenced by our new departments which began their operation in congruity with the fresh trends of contemporary arts in the past few decades. In addition to practical training, theoretical subjects comprise a fundamental component of education at the HUFA. Extending far beyond a general scope, a firm background in the specialized visual art-related branches of history, theory, sociology and psychology are of indispensable importance for our students. A high standard training for such a gifted group of students (chosen from an immense pool of applicants) demands more than a general grasp of art theory: it requires a strong theoretical grounding that is worthy of our students’ abilities and organically relates to the particularities of visual art. The last 100 years in the history of fine arts has seen a rich array of fresh styles and trends. The emergence of a new style, whoever, has never resulted in a complete disappearance of the old: all approaches have remained “valid,” insofar as the talent of the artist allowed. While art cannot be rigid – outside influences must always be reacted to with sensitivity –, there have always been artists, who persisted in their use of a personally developed style, continuously shaping it, adjusting it, and increasing its complexity by incorporating new elements, but never quite surrendering the original concept. It seems that a clearly dominant, popular contemporary style has not crystallized. The plurality of various forms exists on multiple levels; they can coexist with each other, side by side. Experimenters never quite fit in and it is natural for them to always encounter difficulties. Artists who wish to satisfy the demands of the general public must provide entertainment. Those nonconformists, however, whose art meets other functions, remain unique. In this way, old renegades and timid youngsters equally exist among artists. Talented individuals are among the most highly prized treasures of a country; they determine the course of development and mark the direction in the arts. Society must seek to understand and support them. They must be given time for contemplation, for their personality to unfold and strengthen, so that they can prepare for a professional career, cultivate their heritage, and create new qualities. This is a challenging task not only for young talents, but also for the University, as, we are living in times when taking responsibility for ideas originating from one’s inner conviction is once again of import.