Born 1975 Budapest
2005-2008 DLA Master School of Fine Arts University of Pécs
1999-2000 Postgraduate student University of Fine Arts, Budapest
1999. Diploma University of Fine Arts, Budapest
1993. Graduation degree Secondary School of Arts, Budapest
2018 "The nympha stage... ” / Fészek Gallery / Budapest
2018. Pop up /Rem Phases /Drei Raben
2017. "Resonance" Fuga, Budapest
2016. "Gloaming period" Galeria NEON, Budapest
2014."Elementary particles"Museum Kiscell / Municipal Gallery, Budapest
2012."NGC 7293"Rumbach Synagogue, Budapest
2011. Galerie Le Halle, Paris
„Дежавю”Fészek Artists’ Club, Budapest
2010.„Out of Africa” Virag Judit Gallery, Budapest
2009. „Happy Hunting Grounds” Virag Judit Gallery, Budapest
2007. Virág Judit Gallery, Budapest
Raiffeisen Gallery, Budapest
2005.Secco Gallery, Budapest
2003. U Gallery, Helsinki
Selected Collective Exhibitions:
2017.Jóvoltából- Fészek Gallery- Budapest
2015. Fén(ny)elvek Kepes Institut Gallery - Eger-Hungary
2015."More LIGHT!" New Budapest Gallery,Whale, Budapest - withBLOCK Csoport (SEBESTYÉN Zoltán | KATONA Zoltán | PALKÓ Tibor | NAYG István | NAGY Árpád Pika) | BORDOS László Zsolt–ERDÉLY Dániel | BORSOS János | BORTNYIK Éva–TUBÁK Csaba | CSÁJI Attila | DARGAY Lajos | DOMIÁNGyula | EPERJESI Ágnes | ERDÉLY Miklós | FALCONER XAVÉR Ferenc | FERENCZI Zoltán Zola | GALÁNTAI György | GYARMATHY Tihamér | HALÁSZ Péter Tamás | HOPP-HALÁSZ Károly | JÚLIUS Gyula | KECSKÉS Péter | KEPES György | Kiégő Izzók | KOMORÓCZKY Tamás | KORODI Luca | KUCHTA Klára | MÁTRAI Erik | MÉHES Lóránt | MENGYÁN András | PÉTER Ágnes | PPML (BERNÁTH Zsigmond | KRÁLL Szabolcs | KOÓS Árpád | JUHÁSZ András | ANTALL Gergő | MÓCZÁR Krisztián) | SUGÁR János | SZIGETI Gábor Csongor | SZILÁGYI Lenke–Dóra BERKES | SZTOJÁNOVITS Andrea | VÁRNAI Gyula | VICSEK Viktor | Zawar kollektíva (CSERNÁTONY-LUKÁCS László | GYARMATI Zsolt | LUCZA Zsigmond)
2012. „Made in Wunderland” Virag Judit Gallery, Budapest-Berlin –with Csató József, Erik Andersen, Franziska Klotz,
Gundy Gudmundsdottir, Király Gábor, Korodi Luca, Moritz Schleime, Radák Eszter
„The Trial” LigetGallery, Budapest–with Baranyai Levente, Braun András, Csiszér Zsuzsi, Forgács Kristóf,
Fuchs Tamás, Gajzágó Donáta, Haász Katalin, Korodi János, Korodi Luca, Kovács Lola, Ötvös Zoltán,
Szigeti András, Szabó Ágnes, Szabó Márton, Szilágyi Teréz
2011."Budapest Berlin 20" Hungarian Embassy in Berlin
"Paper panorama"Virag Judit Gallery, Budapest
"Budapest flow"Virag Judit Gallery, Budapest
2010. The second annual selection of the KOGART Contemporary Art Collection
2009."The World According To…" New York, Hungarian Cultural Center
Warsaw, Hungarian Cultural Center with Katalin Haasz, Eszter Radak
U Gallery, Helsinki with Katalin Haasz, Eszter Radak
"NOW" – with Donáta Gajzágó, and János Vető Gödör Club, Budapest
2008. Katalin Haasz, Luca Korodi, Eszter Radak groupe exhibition Virag Judit Gallery, Budapest
„Outter Space” Virag Judit Gallery’s painters, Pecs
Virag Judit Contemporary Gallery is on Budapest Art Fair
2007. „Independent Painting” Virag Judit Gallery, Budapest
„Fresh Painting” Virag Judit Gallery, Budapest
French Institute, Budapest
2004.One-Weeker Kunsthalle, Budapest
2003.MEO Art Fair 2003, Budapest
2002. „ We choose yellow rather than bluish-white” with Janos Korodi APA! Gallery / Ateliers Pro Arts Gallery, Budapest
2001. Gallery Dovin, Budapest
1999.Vác, Gallery of the Greek Temple
1998. „Black money” Polish Institute, Budapest
1998. Hungarian Institute, Berlin, Germany
1997. „K” AS CHIMÉRA Art Gallery of Szombathely
Collection of Ministry for Foreign Affairs, Budapest
KOGART Contemporary Art Collection, Budapest
Four Seasons HotelCollection, Budapest
Virag Judit Gallery kollection
I graduated in 1999 at the Painting Program of the Hungarian Academy of Fine Art, in the class of Zsigmond Károlyi. I was not in the monochrome program, but the department with an “existential approach”. Róbert Ferenczi, Csaba Ungár and János Korodi were in my class in the same studio, though I am a few years younger than them.
During the college years I spent a year in London after winning the school’s paining grant (the Koller Grant). There I applied and was admitted to the Royal Academy of Arts.
Between 2005 and 2008, I was a PhD student under the supervision of Ernő Tolvaly. It was primarily because of his person that I applied, because I was aware that his neo-avantgarde acitivities were fairly important (Rózsa Presszó around 1975 and the early 1980s). In addition to the authentic painter’s career, his knowledge covers a wider spectrum than is the case with a lot of other colleagues. (This is not my own realization only, as several publications have come out in collaboration with Attila Menesi, and several (2) retrospective exhibitions and books also support this.) His unfortunate sudden death put an end to the three-year friendship. I finished my coursework, but I have not started the doctoral procedure since then. I am still planning to finish the program.
I have had working relationships of varying duration with several galleries. I first exhibited in Dovin Gallery. (2004)
I was focusing on patterns and Rorschach-teszt at the time. To sum it up briefly: Butterfly wings are photographs of nature, developed in endless formations, codes, and presented with pigments. The pictures are medium and large format, the materials are pigments and glue.
I also had a joint exhibition with János Korodi in 2001 at the gallery then called A.P.A. Here I mixed carpet patterns and butterfly patterns side by side in the same space. One is pure nature, the other is the creation of human nature.
Another main theme that was recurring later on was the study of motives, systems of patterns, as an important area of our times, the world of algorithms, artificial intelligence, or codes.
During this time I was invited to put on a show at Virág Judit Gallery, where I signed a three year contract later on. This was a serious grant period, the first exhibition was opened by the art historian István Hajdú. I also traveled and exhibited in cities in the countryside in Hungary as well as in Europe and the United States. This period was characterized by high intensity.
„My Utopian Forest Series”/e.g.: „Checkered Forest Utopias”, V.J.G., or „When the sun shine”/ (2009./N.Y.C. )
This was an excellent period for learning about the presentations of concealment, the underlying, or the transparent, the expressions of layered thinking, for gaining experience and experimenting with these. In connection with this, I accomplished, for example, the exhibition Kraftwerk-pop interferences, featuring the picture titled „Tour de France”, and the „Out of Africa” exhibition, which was a basis for my subsequent light works.
The series „Happy Hunting Ground” – screenprinted-painted-Persian patterns from the 16th century. The use of cultural relics, impressions, embedding them in contemporary objects, with traditional techniques. I started to deal with patterns from the point of view of cultural anthropology or the history of patterns. I acquired a huge collection of patterns, part of which I printed and used as the ground for painting, or I acquired printed textiles and used it as a painting ground after priming (I bought printed fabric from Africans, etc.).
In the meantime I made light and movement based works: I was involved in something to which the space of the Synagogue in Rumbach Sebestyén Street came in handy. This was the exhibition, interim space, installation titled „NGC7293(cosmic fog)”. Its material was glass fragments, of which I formed an elliptical Earth on the pavement like a mandala. From a certain point of view it seemed to be circular, and its surface corresponded to the Dymaxion map (the pattern of the Earth), the cape of the Earth as I see it. http://www.korodiluca.eu/2010-2013.html
(The Dymaxion map Buckminster Fuller. The March 1, 1943 edition of Life magazine. It is not identical to my installation formally. Also featured in the California publication (68-?) of the large scale exhibition at the Berlin HKW)
Further details: two pieces on the borderline of picture and object titled „Panorama Target” (landscape, with a panorama with holes shot in it). This is also connected to the paintings I referred to above, which were made around the same time.
The spirit of church-like spaces, their original mission evokes in us a sense of being the medium. Instead of the adequate religions, it reminds us of the existential questions. Therefore I took advantage of this in the given spaces.
'The Whole Earth' took place in 2013 at the HKW in Berlin. I was very happy with this exhibition, because a lot of my intuitions and assumptions that would justify a shift of approach, which were driven by the continuous changes in the world were verified there. I really liked how the whole event was organized.
Another exhibition that I would mention from 2014 was put on in the church space of the Kiscelli Museum: its title was „Elementary Particles”. Here I tried to shed light on the transitional state of the intermediate time from the point of view the Human. I would call this a sketch of physical meta-existence. I used 3 cubic meters of fragmented glass to spread out a carpet of the Antarctica, and the reflection of this resulted in an effect resembling a planetarium on the ceiling and in the space. We used a projector to project its own image, and image of the Antarctica on it. The movement of the wooden boards hung in the apse recalled the image of a fleeting ghost city. A pointillist world map was hung and floating in the other end, and we staged a performance by a fluid free jazz formation: the Ribbentrop, which is famous for being able to play 24 hours on end, while the members are continuously changing. This took place in February 2014.
2009. Élet és irodalom
2009. 168 ÓRA
2006. Élet és Irodalom