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Ghost Veil

Ghost Veil

2015  

80 diapositive slides

details

 

 

Cart, 2013

Cart, 2013

Cart, is a live project and this is key in understanding this object. The piece stretches the idea of the 'ready made'. A Romanian cart maker was commission to produce the piece which was exported for exhibition in 2009 to Berlin, Germany. After the exhibition the cart was sold to a Romanian farmer in 2010.  In 2014, Istvan visited the owner and the Cart to observe the changes that the object went through. The Cart is not only fulfilling its functional purpose but it is also an active and transforming sculpture. 

more

 

 

Diadem, 2012

Diadem, 2012

manipulated photograph, created for a gathering (curated by Maria-Thalia Carras & Olga Hatzidaki), poster project, The Athens Festival and the Macedonian Museum of Contemporary Art, Thessaloniki.

 

 

Star, 2011

Star, 2011

video loop, 3’06”, still

Star is a piece that visualizes the act of getting rid of something unwanted while using a suggestive symbol that changes the context to a socio-political one. The act of unsuccessful flushing underlines another act, one of correcting, rewriting, history and the possibility of the facts surfacing again. It also works as a time-traveling exercise trough the artist's memories, memories about guilt and shame, mistakes and wrong doings. Actions that are motivated by desire and curiosity. This particular memory symbolizes the permanent trance of these actions, the strong symbol of the star depending on its color, it was a reward or punishment. This memory is a reconstruction of the act to getting rid of the black star but being unable to do so.

more

 

 

Self Portrait, 2011

Self Portrait, 2011

video loop, 30’, stills

The work is not conceived to directly analyze the self, its constructed to act as a bridge between the individual and masses. In this thirty minute video a self portrait is created and documented to illustrate the contrast between creation and destruction. The video is edited down from days of modeling to a half an hour and finished with the real time destruction of it which in contrast it only takes less than a minute. If we open our perspective and place this act to larger scale ex: Otakar Švec’s Stalin Sculpture or Kadhim al-Jubori act on the Saddam statue we can draw a parallel between  crowd and individual, between how long it takes for a social system to form and how suddenly it can crash taking down its monuments and symbols. A parallel is drawn between historical monuments  and individual art pieces. The project is also a reconstruction of a previously performed act by the artist and colleagues in the years of study.

more

 

 

We’ll Meet Again, 2011

We’ll Meet Again, 2011

video loop, 0’55”, still

more

 

 

Global, 2010

Global, 2010

14.5 x 6.8 cm

The six prints that are in the recognizable banknotes format, function for some viewers as a possibility for other viewers as impossibility yet for others as a threat of loosing cultural identity and values.  The prints are in fact studies of line, color, shape and design. With careful consideration for nothing new, to create a visual that looks perfectly acceptable at the first glance. The designs are studies of how ones association mechanism can trigger different responses to semiotic renderings. 

more

 

 

 

 

 

Erased 89, 2010

Erased 89, 2010

one of six lenticular prints, 56 x 67,5 cm

manipulated photographs

The series is focusing on the ephemeral nature of historical moments. Through capturing the moment photographically we remain with an out of context visual which can be turned in to an icon to fuel propaganda.

Furthermore, the lenticular print technique, that we know so well from postcards and advertising boards, acts like an agent for the viewer, who experiences a different image with changing position in relation to it. Through this, emphasizing the importance of one's position towards a subject . The prints also draw upon past cases, when images where manipulated to bent the course of history.

more

 

 

Soldier, 2009

Soldier, 2009

 46 x 43 x 6,5 cm

The picture is part of a series of photographs that deal with deception. Laszlo is interested in the image of power and especially the process of manipulation that was largely used by totalitarian systems in the first half of the twentieth century. The best known examples were carried out by the Soviet regime under the Stalin era (manipulating photographic material, leading to the deletion of old comrades). Since then, this method has become widely popular to the point where we are saturated by visual manipulation to the level that it can become impossible to track the reality behind the guise of visual documentation.

 

 

Revolution 89, 2007-09

Revolution 89, 2007-09

Stamps, 56 x 67,5 cm

The image of the truck on the postage stamp appeared in many newspapers and magazines as an icon of the Revolution in Romania in 1989. The vehicle, filled with cheering people waving the Romanian flag, looms up out of the mist, like a ship on the sea. 

more

 

 

Revolution 89, 2007-09

Revolution 89, 2007-09

video loop, 3’00”

more

 

 

Cart, 2009

Cart, 2009

Cart, is a live project and this is key in understanding this object. The piece stretches the idea of the 'ready made'. A Romanian cart maker was commission to produce the piece which was exported for exhibition in 2009 to Berlin, Germany. After the exhibition the cart was sold to a Romanian farmer in 2010.  In 2014, Istvan visited the owner and the Cart to observe the changes that the object went through. The Cart is not only fulfilling its functional purpose but it is also an active and transforming sculpture. 

more

 

 

Capitalism, 2009

Capitalism, 2009

video loop, 1’18”

The video transforms Iconic mass entertainment logos, to a view in which we can take a few seconds to to think about the cinematic mechanisms enormous power to propagate, and infiltrate ideology. 

more

 

 

All Time Best Seller, 2009

All Time Best Seller, 2009

Bible,  17 x 11 x 3 cm

The intervention suggests the probability that the bible is the best selling book of all time. In contrast to the minimal intervention, it proposes the idea of how belief-systems can go hand in hand with financial power, that rule, balance or create chaos on a global scale. More powerful then the selling aspect of the book, is the notion of how well spread an ideology can be and it underlines the mechanisms that can control our beliefs.  As an object it becomes threatening and frightening with just a few words, which draws our attention to the power of text and the technologies behind information spreading and accesability.    

 

 

Trei Culori, 2008

Trei Culori, 2008

video loop, 3’25”

more

 

 

Bisnitar, 2008

Bisnitar, 2008

resin,  30 x 15 x 10cm

Bisnitar is a trophy like statue. It is based on a few photographs from a series created in a spy-like fashion with a phone in Cluj and Tirgu Mures (Romania). Bisnitari are wheeler-dealers in romanian, a loanword from english, business. The Bisnitars generally exchange money on the street, as well as engaging in a multitude of other activities with an eye out for opportunities to scam their clients while still maintaining a good reputation.

 

 

SK, 2006

SK, 2006

video loop, 1'40"

SK is a video and performance piece that stitches together a visual in which layers of meaning are composited together with cinematic techniques to illustrate references to cinema filtered through an individual point of view. It also comments on the issues of surveillance, and self-exhibitionism before the time of social media frenzy. 

more

 

 

Elvisceau, 2004

Elvisceau, 2004

print, dimension variable

Elvisceau combines two images of powerful individuals, a political icon and a popular icon, reflecting on different vehicles and ways of becoming popular with the aid of visual propaganda. Through the juxtaposition of the two images the result is an absurd portrait that uses humor to touch on the sensitive issues of socio-political icon fabrication. 

 

 

MI$$ING, 2002

MI$$ING, 2002

sticker, dimension variable

The piece was created in response to an invitation to an exhibition. At the time of it's making, it had a clear reference to the reality and the then present of the artist.  Yet as soon as it was exhibited, it opened up to a larger concept and it continues to redefine itself through time. The work is an embodiment of the minimal means to a maximum effect and a trigger to unleash meanings in a socio-political and artistic landscape.

 

 

Ghost Veil

2015  

80 diapositive slides

details

 

 

Cart, 2013

Cart, is a live project and this is key in understanding this object. The piece stretches the idea of the 'ready made'. A Romanian cart maker was commission to produce the piece which was exported for exhibition in 2009 to Berlin, Germany. After the exhibition the cart was sold to a Romanian farmer in 2010.  In 2014, Istvan visited the owner and the Cart to observe the changes that the object went through. The Cart is not only fulfilling its functional purpose but it is also an active and transforming sculpture. 

more

 

 

Diadem, 2012

manipulated photograph, created for a gathering (curated by Maria-Thalia Carras & Olga Hatzidaki), poster project, The Athens Festival and the Macedonian Museum of Contemporary Art, Thessaloniki.

 

 

Star, 2011

video loop, 3’06”, still

Star is a piece that visualizes the act of getting rid of something unwanted while using a suggestive symbol that changes the context to a socio-political one. The act of unsuccessful flushing underlines another act, one of correcting, rewriting, history and the possibility of the facts surfacing again. It also works as a time-traveling exercise trough the artist's memories, memories about guilt and shame, mistakes and wrong doings. Actions that are motivated by desire and curiosity. This particular memory symbolizes the permanent trance of these actions, the strong symbol of the star depending on its color, it was a reward or punishment. This memory is a reconstruction of the act to getting rid of the black star but being unable to do so.

more

 

 

Self Portrait, 2011

video loop, 30’, stills

The work is not conceived to directly analyze the self, its constructed to act as a bridge between the individual and masses. In this thirty minute video a self portrait is created and documented to illustrate the contrast between creation and destruction. The video is edited down from days of modeling to a half an hour and finished with the real time destruction of it which in contrast it only takes less than a minute. If we open our perspective and place this act to larger scale ex: Otakar Švec’s Stalin Sculpture or Kadhim al-Jubori act on the Saddam statue we can draw a parallel between  crowd and individual, between how long it takes for a social system to form and how suddenly it can crash taking down its monuments and symbols. A parallel is drawn between historical monuments  and individual art pieces. The project is also a reconstruction of a previously performed act by the artist and colleagues in the years of study.

more

 

 

We’ll Meet Again, 2011

video loop, 0’55”, still

more

 

 

Global, 2010

14.5 x 6.8 cm

The six prints that are in the recognizable banknotes format, function for some viewers as a possibility for other viewers as impossibility yet for others as a threat of loosing cultural identity and values.  The prints are in fact studies of line, color, shape and design. With careful consideration for nothing new, to create a visual that looks perfectly acceptable at the first glance. The designs are studies of how ones association mechanism can trigger different responses to semiotic renderings. 

more

 

 

 

 

 

Erased 89, 2010

one of six lenticular prints, 56 x 67,5 cm

manipulated photographs

The series is focusing on the ephemeral nature of historical moments. Through capturing the moment photographically we remain with an out of context visual which can be turned in to an icon to fuel propaganda.

Furthermore, the lenticular print technique, that we know so well from postcards and advertising boards, acts like an agent for the viewer, who experiences a different image with changing position in relation to it. Through this, emphasizing the importance of one's position towards a subject . The prints also draw upon past cases, when images where manipulated to bent the course of history.

more

 

 

Soldier, 2009

 46 x 43 x 6,5 cm

The picture is part of a series of photographs that deal with deception. Laszlo is interested in the image of power and especially the process of manipulation that was largely used by totalitarian systems in the first half of the twentieth century. The best known examples were carried out by the Soviet regime under the Stalin era (manipulating photographic material, leading to the deletion of old comrades). Since then, this method has become widely popular to the point where we are saturated by visual manipulation to the level that it can become impossible to track the reality behind the guise of visual documentation.

 

 

Revolution 89, 2007-09

Stamps, 56 x 67,5 cm

The image of the truck on the postage stamp appeared in many newspapers and magazines as an icon of the Revolution in Romania in 1989. The vehicle, filled with cheering people waving the Romanian flag, looms up out of the mist, like a ship on the sea. 

more

 

 

Revolution 89, 2007-09

video loop, 3’00”

more

 

 

Cart, 2009

Cart, is a live project and this is key in understanding this object. The piece stretches the idea of the 'ready made'. A Romanian cart maker was commission to produce the piece which was exported for exhibition in 2009 to Berlin, Germany. After the exhibition the cart was sold to a Romanian farmer in 2010.  In 2014, Istvan visited the owner and the Cart to observe the changes that the object went through. The Cart is not only fulfilling its functional purpose but it is also an active and transforming sculpture. 

more

 

 

Capitalism, 2009

video loop, 1’18”

The video transforms Iconic mass entertainment logos, to a view in which we can take a few seconds to to think about the cinematic mechanisms enormous power to propagate, and infiltrate ideology. 

more

 

 

All Time Best Seller, 2009

Bible,  17 x 11 x 3 cm

The intervention suggests the probability that the bible is the best selling book of all time. In contrast to the minimal intervention, it proposes the idea of how belief-systems can go hand in hand with financial power, that rule, balance or create chaos on a global scale. More powerful then the selling aspect of the book, is the notion of how well spread an ideology can be and it underlines the mechanisms that can control our beliefs.  As an object it becomes threatening and frightening with just a few words, which draws our attention to the power of text and the technologies behind information spreading and accesability.    

 

 

Trei Culori, 2008

video loop, 3’25”

more

 

 

Bisnitar, 2008

resin,  30 x 15 x 10cm

Bisnitar is a trophy like statue. It is based on a few photographs from a series created in a spy-like fashion with a phone in Cluj and Tirgu Mures (Romania). Bisnitari are wheeler-dealers in romanian, a loanword from english, business. The Bisnitars generally exchange money on the street, as well as engaging in a multitude of other activities with an eye out for opportunities to scam their clients while still maintaining a good reputation.

 

 

SK, 2006

video loop, 1'40"

SK is a video and performance piece that stitches together a visual in which layers of meaning are composited together with cinematic techniques to illustrate references to cinema filtered through an individual point of view. It also comments on the issues of surveillance, and self-exhibitionism before the time of social media frenzy. 

more

 

 

Elvisceau, 2004

print, dimension variable

Elvisceau combines two images of powerful individuals, a political icon and a popular icon, reflecting on different vehicles and ways of becoming popular with the aid of visual propaganda. Through the juxtaposition of the two images the result is an absurd portrait that uses humor to touch on the sensitive issues of socio-political icon fabrication. 

 

 

MI$$ING, 2002

sticker, dimension variable

The piece was created in response to an invitation to an exhibition. At the time of it's making, it had a clear reference to the reality and the then present of the artist.  Yet as soon as it was exhibited, it opened up to a larger concept and it continues to redefine itself through time. The work is an embodiment of the minimal means to a maximum effect and a trigger to unleash meanings in a socio-political and artistic landscape.

 

 

Ghost Veil
Cart, 2013
Diadem, 2012
Star, 2011
Self Portrait, 2011
We’ll Meet Again, 2011
Global, 2010
Erased 89, 2010
Soldier, 2009
Revolution 89, 2007-09
Revolution 89, 2007-09
Cart, 2009
Capitalism, 2009
All Time Best Seller, 2009
Trei Culori, 2008
Bisnitar, 2008
SK, 2006
Elvisceau, 2004
MI$$ING, 2002