Installation and video 18″

The Blue Room is the result of a project started in 2017, aimed at the re-examination of our relation to architectural and material cultural heritage. The project merges two narratives: on the one hand, the story of the Hungarian Museum of Fine Arts’ plaster cast collection of antique sculptures, and on the other hand, that of the 18th century synagogue of Tata, which served to house the ‘temporary’ exhibition of life-size copies of antique sculptures for more than forty years.

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A project by Katarina Šević and Gergely László – 2017

The street play The Curfew is an alternative form of public demonstration.
A troupe roves the streets of Budapest. They push in front of them a three-meter high egg-shaped, multiplayer megaphone. They make great noise. They stop at busy public squares to perform their play as a speaking choir about the transfiguration of a group of security guards. The members of the group vow to give back the voice to the people from whom they previously took it away. With their presence, the troupe, in and of itself are proof that today Budapest’s streets and public squares can indeed be spaces of independent self-expression.

Motto: “Don’t save your skin, get it off your back!”

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At the end of the 19th Century a school in Rennes, today referred to as the Lycée Émile-Zola, became a point of intersection of two historical tendencies: the birth of the avant-garde – through the presence of Alfred Jarry as a pupil – and the crisis of the Republic – through the 2nd Dreyfus Trial that took place there.

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The installation is based on the 1958 drama by Max Frisch, Biedermann und die Brandstifter (The Fire Raisers). The appropriated texts are quotations from the play: seven chosen admonitions of the fireman, a choir of seven that expects a disaster to happen, but only has the means to give warnings, to extinguish the fire, but not to prevent it.

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“We reanimated the figure of Moses, in order to make the figure talk to us and the people of the city of Kecskemét about itself, himself and its, his present day significance and context.”

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Gasium et Circensens is a piece that focuses on an abandoned open-air stage that we fell in love with, when we found it. On the edge of our city, for us it was the stage of the periphery. It became the subject and at once the setting of our interventions.

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„WE are in a mine, where the shaft has collapsed because of a gas explosion. A group of miners are stuck underground, waiting helplessly for the assistance to arrive. Having nothing else to do, they entertain each other with stories, for tales are the best cure against hunger, anxiety, and boredom. This cycle is about these miners, and their stories are about the rough outside world, about coexistence, isolation, vileness, failure, fortune and hope.” (excerpt from the prologue of The Heroes of the Shaft performances)

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The Collective Man systematizes the results of a rather long process of collection and research. It is the reconstruction of the history of the failing of Kibbutz Yad Hanna, a kibbutz that was founded by a small group of 100 Hungarian communists in 1950.

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We started working on of the largest garage-streets of Dunaújváros. The garage-settlement is a union of 1200 garages adjacent to the Duna Iron Works, upon which the development and construction of the entire city of Dunaújváros was built in the early 50s.

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In 2003, thirteen years after the fall of Yugoslavia, Serbian citizens were allowed for the first time to enter Croatian territory without a visa. Already in the first year, many took the opportunity to visit their abandoned properties and summer houses. Often the returnees met with the new owners who had taken possession of their former homes or the ruins of their houses. Serbian houses had often been destroyed by the joint efforts of the local communities and the army.

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