société réaliste

Transcription

société réaliste

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2 RUE BEAUBOURG
F-75004 PARIS
+33 (0)9 8438 8774
[email protected]
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SOCIÉTÉ
RÉALISTE
PORTFOLIO
FERENC GRÖF & JEAN-BAPTISTE NAUDY © SOCIÉTÉ RÉALISTE
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BIOGRAPHY
Société Réaliste is an art collective founded by Ferenc Grof (1972) and Jean-Baptiste Naudy (1982).
Their work consists in appropriating and distorting the tools of communication of power structures (maps,
emblems, signs, architecturs). Société Réaliste create symbolic and visual confrontations to critically examine
such structures without resorting to easy denunciations.
They operate in subtle comparisons, extrapolations, and statistic interpretations, shedding light on historical
evolutions and trends and producing tools for reading the contemporary world.
Soiété Réaliste’s work has been shown in a number of exhibitions in France, at the Biennale de Lyon in 2009,
at the Jeu de Paume (their solo show «Empire, State, Building») in 2011, and at the Fondation Kadist, but also
in numerous exhibits abroad, at Budapest’s Ludwig Museum in 2012, at the Contemporary Art Museum of
Bucarest in 2011, at the Wroclaw Contemporary Museum in 2012, at the Dunaujvaros Institute of Contemporary
Art in 2012, the Sheila C. Johnson Desing Center in New York in 2012, at the Leon MUSAC in 2012, at the TOP
Contemporary Art Center in Shanghai in 2011, at the University of Maryland Baltimore Center for Art, Design,
and Visual Culture, at the Fondazione Pistoletto in Biella in 2010, and others.
SOCIÉTÉ RÉALISTE - GALERIE JÉRÔME POGGI, PARIS
View of the solo exhibition «Empire, State, Building», at Museum Ludwig, Budapest, 2012
Spectral Aerosion, 2011
Painted and engraved Necurite
104 x 64 cm
Edition of 3 + 2 A.P
The Fountainhead, 2010
Video DVD, 111 mn, produced by the Academy Jan van Eyck in Maastricht and directed by Greg Langlois
Edition of 5
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Société Réaliste’s full-length movie The Fountainhead (2010)
is based on the 1949 eponymous capitalist propaganda film
written by Ayn Rand, arch-priestess of American libertarianism
and author of some of its biggest cultural myths.
The original studio movie tells the story of a Promethean
modernist architect - a character based on the figure of
Frank Lloyd Wright - fighting against a surrounding collective
decadence in the name of his personal genius.
Société Réaliste has removed the sound and deleted every
human presence to reduce the film to its set and décor, its
ideological architecture.
Commonscript, 2011
Series of 48 pannels
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As an echo to the disappearance of the topic in the
film, Société Réaliste presents Commonscript (2011),
a series of 48 panels, equitably melting emptied
videograms extracted from The Fountainhead with
inscriptions. The images show stereotypical and
almost abstracted modernist architectural views
from a Prime City (New York), extracted from the
original 1949 film script. The sentences are the main
ideological affirmations personally stated by the hero
that have been systematically transcripted by Société
Réaliste in the plural form. Turning a supposedly
autonomous discourse into a generalized one, allows
to counter-balance the ideal views of a standardized
world. The link between the personal and the general
in the inscriptions is made in a new font designed
by Société Réaliste entitled Falling Haus (2011).
This centaur font is the hybridization of Frank Lloyd
Wright’s font named «Exhibition», and Josef Albers’
global-abstract font, known as «Universal».
A Gift from Birobidzhan, 2011
Steel sculpture, engraved manhole
Diameter : 60 cm ; depth : 6 cm
Detail
View of the exhibition «Empire, State, Building», Jeu de Paume, 2011
Photo credit : Adrien Chevrot
Empire of Soviets, 2011
Steel sculpture
24 x 40 x 30 cm
Csarba Makra Collection
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Empire of Soviets represents the visual translation in seven sister-steps of the phantasmagoric passage
between two contemporary towers, one which was built and the other never: the Empire State Building by
William F. Lamb, built in 1931 in New York, and the Palace of the Soviets by Boris Iofan, projected for Moscow
also in 1931.
The Palace of the Societs was supposed to be a huge congress hall glorifying the Revolution that was never
built. This architectural project, which was also meant to be a monument honoring Lenin, was certainly the
most ambitious of its time. Selected in 1933 among such candidates as Le Corbusier and Walter Gropius,
Boris Iofan’s project consisted in a 220-meter high skyscraper initially topped by a statue of «the liberated
proletarian», which was then replaced by that of Lenin. The original project was revised the following year on
Stalin’s instructions to reach an increadible height of 420 meters, thus becoming the world’s highest skyscraper,
higher than New York City’s Empire State Building, which was inaugurated in 1931.
The Palace of Soviets was to replace the Cathedral of Christ Savior, which had been blown up.
However, construction work which began in 1939, was suspended because of the war, and the
project was abandoned under Krushchev and replaced by an open-air swimming pool (1959-1995).
After the fall of the Berlin Wall, history rewinded with the reconstruction of the Cathedral of Christ the Savior,
completed in 2002 as an identical copy of the church built in 1883, a symbol of the desire to erase all traces of
the Soviet past.
Giovanna Zapperi, Temporal Architectures, in Société Réaliste
catalogue for «Empire, State, Building»
L’avenir dure longtemps, Appendix, 2010
View of the installation at the 2nd Biennial of Rennes, Couvent des Jacobins, 2010
Installation, 4.400 names perforated in the cement ground
Unique
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«L’avenir dure longtemps, Appendix» was realized in
the Black Friars Convent, on the occasion of the 2nd
Rennes Biennial, in the vicinity of an archeological
excavation which revealed that the site had been used
as a burial ground for a thousand years.
Having established a general map of the convent on the
basis of the alphabetical list - transcripted in Appendix
typeset - of the 165,000 inhabitants of the city who
were over 18 in 2009, the cooperative followed this
map to select the 4,400 patronyms located in the
exhibition room it had been attributed. Société Réaliste
and volunteers then methodically carved these names,
one by one, into the cement ground.
The experience sought to examine the futurological
effect on an ongoing cemetery, hosting people yet
living.
Map of the Black Friars Convent realized with the 165.000 names written in Appendix font
List of minor planets in Appendix: from 5666 (François Rabelais) to 6000 (United Nations), 2013
Perforated table and chairs
Table: 130 x 50 x 74 cm, chairs: 41 x 37,5 x 80 cm
Unique
View of the exhibition How High the Moon at Galerie Jérôme Poggi and detail of the perforated table
Cartophony of the Land of the Free, 2010
Table, digital print
150 x 150 x 70 cm
Proposal for a New Alphabetical Order based on
the Experanto writing system and pegged on the
Euro Rates at 2010-07-27 10:05:00 UTC, 2010
Enamel plate
80 x 65 cm
Nowhere, 2011-2012
Enamel plate
80 x 97 cm
The Future is... Futura Fraktur, 2011
Lightbox
73 x 105 cm
21st Fraktur of Futura, 2011
Enamel plate
50 x 15 cm
Edition of 3 + 2 AP
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The font « Futura Fraktur » merges two typographies : Futura, which was heavily used by the Bauhaus before
it was exiled from Germany in 1933, and Fraktur, which was the favorite font of the Nazis until 1941 when they
forbid it after the discovery that its inventor was Jewish.
Société Réaliste often forms ambiguous or ironic sentences on enamel plates using this hybrid font.
View of the exhibition «Empire, State, Building», Jeu de Paume, 2011
Zero Euro, 2011
Sculpture, painted Polystyrol
100 x 55 x 25 cm
Limes New Roman, 2009-2010
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«Limes New Roman» is a typographical
font elaborated by Société Réaliste. This
cryptography associates the 23 letters of
the imperial alphabet to 46 contemporary
walls representing geopolitical separations
in the world: 23 at the scale of towns are
the lower case letters, 23 at the scale of
countries are the upper case letters.
24 enamel plates
Each 15 x 30 cm
Edition of 3 + 2
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In this work, the sentence written in
«Limes New Roman» means «the future is
the extension of the past by other means»,
and takes the shape of the infinity symbol.
It reveals, not by reading but only by the act
of looking that the geopolitical separation
are cyclistic and continuous in the world
and time.
The Future is the Extension of the Past by Other Means,
2009-2012
Plaque émaillée
80 x 60 cm
Futurum Exactum, 2011
Oil painting on framed canvas
150 x 100 cm
Unique
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Futurum Exactum, whose title is taken from a book of Sándor Ujvári published in 1927, is a representation of
the nazi architect Albert Speer’s ‘law of ruins’ applied to the Germania model, his project for a capital of the
3rd Reich.
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«By using materials and by applying certain principles of statics, we should be able to build structures which,
even in a state of decay, after hundreds or (such were our reckonings) thousands of years, would more or less
resemble Roman models. [...] Hitler gave orders that in the future the important buildings of the Reich were
to be erected in keeping with the principles of this ‘law of ruins’.»
Albert Speer, Inside the Third Reich, New York, The Macmillan Company, 1970
View of Société Réaliste’s first solo show, «IGM = 1 : MDCCLXXIX» à la Karton Galéria, Budapest,
february 2005
Photo credit: József Ormos
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Organised for the Karton Galéria of Budapest with Thomas Baldner, this exhibition paid tribute to Restif de la
Bretonne and his practice of graffing his diary on the walls of l’Ile Saint-Louis between 1779 and 1789.
The central inscription, «Grammae», was made up with 40 graffitis and calligrammes written in 11 different
languages.
State of Shades: Hungarian National Painting Grey. Average Colour of 684 Major Paintings from the
Hungarian National Gallery’s Collection, 2012
Installation specific to the location of Museum Ludwig, Budapest
Quote / End of Quote, 2010
Steel sculptures
40 x 20 cm
Marka, 2008
Bronze sculpture
50 x 50 cm
Unique
Archiscripton, 2011
Aluminum sculpture on stone base
185 x 60 x 32 cm
Star of the Paradise, 2011
Photography and lightbox, documentation of a performance in Chisinau
104 x 64 cm
Edition of 3 + 2 E.A
Photo credit : Indre Klimaite
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Société Réaliste stumbled upon a photo of an ephemeral monument in the collection of
Tibor Horvath : a five-pointed star drawn by firemen using water jets. The image dates from the 1960’s; it
was taken somewhere in Hungary. It must have been taken on the occasion of May 1st, November 7th, or the
international day of Heroic Fireman as a materialist representative of Saint Georges slaying the dragon of fire.
[...] The star of this photo is not «red» but transparent, and made of water. Even if there are some «commie»
slogans in the background, this is not supposed to be a totalitarian symbol.
This temporary geometric monument was transposed to the banks of the dry Valea Molitor Lake 40 years
later. Local Firemen performed the task with their equipment. Picking up their hosepipes, they spouted water
in the form of a liquid pentagram above the muddy sands of Brezhnev’s lake. The action took only 6-7 minutes,
and several hundred desperate liters of water sank deep into the gravel.
Constructed in 1952 at the initiative of comrade Brezhnev, the First Secretary of the Party of the Moldavian
SSR, this artificial lake in the middle of a park used to be a favorite leisure spot in the city. By 2006, after the
lake had gone uncleaned for twenty years and after it had been used as a dumping site for construction waste,
its ecosystem had collapsed and its water had finally drained. Now the mud is drying and nature has started
to take over Brezhnev’s souvenir gift to Moldova.
There was never going to be any hope of refilling the gigantic pit, but the epehemal star of water is an
ambiguous reminder of this forgotten lake, and of the impossibility of giving it new life with this vain act.
Olivier Schefer, Utopia and language : politics of forms,
in Société Réaliste catalogue «Empire, State, Building»
Eugonics, 2009
Digital print mounted on dibond
200 x 100 cm
Ellipse by Eclipse, 2011
Lightbox
78 x 60 x 15 cm
Function as Fiction, 2011
Lightbox
78 x 60 x 15 cm
Runes of Ruines, 2011
Lightbox
78 x 60 x 15 cm
Voices for Voids, 2011
Lightbox
78 x 60 x 15 cm
United Nations Camouflage, «Loving Art,
Making Art», Einav, Tel Aviv, from 09.06 au
09.07 2012
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United Nations Camouflage revisits the flags of
the 192 States officially classified «Nation-States»
by the UNO, which are then reconstructed in a
camouflage version using their original colors according to a process based on the historical and
geographical narration of each country.
Stars of the World, 2012
Enamel plate
90 X 60 cm
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Each of these enamel plates has been made starting
from the superimposition of every flag comprising
moons, stars, and suns.
The superimposition has then been redrawn on one
unique plan to create new flags containing all the
moons, stars and suns of the world.
Moons of the World, 2012
Enamel plate
90 x 60 cm
Suns of the World, 2012
Enamel plate
90 x 60 cm
Windroad, (MA: Culture States), 2011
50 signal pannels, engraved map on base
View of the installation, BWA Sokol, Nowy Sacz, Poland
États-donnés, 2009
Digital print
103 x 120 cm.
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États-donnés is a map representing on the
same scale the 193 countries which are officially recognized by the UNO. Each capital is
indicated by a star.
By superimposing all the countries on one plan,
Société Réaliste gets to a new map where all
the frontiers overlap to create a square-shaped utopic territory.
Built upon this map, Société Réaliste built
«Cosmopolitans of all coutries, yet another
effort»;the 3D transposition of this calculation.
Cosmopolites de tous les pays, encore un effort, 2010
Aluminum sculpture on stone pedestal, sculptural transposition of États-donnés calculation
180 x 180 x 40 cm
Spengler / Somló collection
Tivoli Park, MGCL / Aksioma, Ljubljana
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Cosmopolites de tous les pays, encore un effort is a two-sided sculptural transposition of «États-donnés» calculation in which one side is engraved with the superimposition of national frontiers, while the other features
a list of adjectives defining each country.
The sculpture’s title is steeped in philosophical and political references as it is directly drawn from the eponymous book by Jacques Derrida, in which the author deconstructs Kant’s theory of cosmopolitism. It is also
influenced by the title of the communist manifesto written in 1848 by Marx and Engels : «Proletarians of all
countries, Unite!». In addition, this title quotes le marquis de Sade in his 1795 book «La Philosophie dans le
Boudoir» in which he writes: «French people, yet another effort if you want to be republicans».
This work is at once a utopic and a counter-utopic proposition. Taking up Thomas More’s notion of the Utopic
Island, Société Réaliste has created a fictional map from all the politically recognized territories of the world.
«Cosmopolitans of all coutries, yet another effort» stands at a crossroads of interpretations : on the one hand
it concretises the idea of a utopic country made up of all nations, and on the other hand, it calls for a political
awareness of the exclusive and arbitrary process of politically recognitionizing Nation-States.
Universal Date, 2012
Steel sculpture
130 x 25 cm
Universal Position, 2012
Steel sculpture
(2 x) 123 x 26 cm
View of the exhibition «Empire, State, Building», room #6: EU Green Card Lottery Green, Ludwig Museum,
Budapest, 2012.
EU Green Card Lottery: The Lagos File, view of the installation at the Biennial of Lyon, 2009
EU Green Card Lottery
Registration Office
Exhibition view, The man
behind the curtain, Mission 17,
San Francisco, 2009
Exhibition view, Article Biennale, Sølvberget Kulturhus,
Stavanger, Norway, 2006
Exhibition view, Katowice
Biennial, Upper Silesian Centre
of Culture,
Katowice, 2009
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SOLO SHOWS
2014
‘amal ‘ al-gam’, Acb Gallery, Budapest (HU)
Mottopsy, Tender Pixel, London (UK)
Universal Anthem, Tranzit.ro, Cluj (RO)
2013
FIAC, Paris - Galerie Jérôme Poggi (FR)
Universal Anthem, Tranzit.ro, Cluj (RO)
Art International Istanbul, exposition personnelle, Istanbul (TR)
L’art dans les chapelles, Chapelle Houssaye, Pontivy (FR)
Thelema of Nations, Galerie Jérôme Poggi, Paris (FR)
A rough guide to Hell, P!, New York (US)
The Shape of Orders to Come, Salon de Vortex, Athens (GR)
2012
Empire, State, Building, Ludwig Muzeum, Budapest (HU)
Empire, State, Building, MNAC, Bucharest (RO)
Monotopia, Galerie Michel Rein, Paris (FR)
Komfortkampf, Lokal 30, Varsovie (PL)
2011
Archiscriptons, Anne Mosseri-Marlio Galerie, Zurich (CH)
Empire, State, Building, Jeu de Paume, Paris (FR)
The city amidst the buildings, Akbank Sanat Art Center, Istanbul (TR)
2010
One-way World, Škuc Gallery, Ljubljana (SI)
Cosmopolites de tous les pays encore un effort (public monument), Tivoli Park MGLC/ Aksioma, Ljubljana
(SI)
The Fountainhead and other artworks, Platform3, Munich (DE)
Xenolalia, Kisterem, Budapest (HU)
2009
Transitioners: London View, uqbar, Berlin (DE)
Transitioners: London View, Hold & Freight, London (GB)
Pligatures, galerie Martine Aboucaya, Paris, 2009 (FR)
Over the counter, galerie Buy-Selff Art Club, Marseille (FR)
2008
Transitioners: Le Producteur, your-space / Van Abbemuseum, Eindhoven (NL)
MA: Culture States - Exposition des Arts et Techniques appliqués à la vie moderne, Labor Galéria, Budapest
(HU)
2007
Transitioners: Le Producteur, La Synagogue de Delme (FR)
Transitioners: Bastille Days collection, Galerie Martine Aboucaya, Paris ( FR)
Transitioners, Ze Dos Bois, Lisbon (PT)
Transitioners, Kunstpavillon, Innsbruck (AT)
2006
MA: Deuxième contact, Bureau d’hypothèses Michel Journiac (FR)
Transitioners, TRAFO Gallery, Budapest (HU)
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GROUP SHOWS
2014
Chrématistique, CNEAI, Chatou (FR)
La Fureur de Vivre, La Brasserie, Foncquevillers (FR)
Art Under a Dangerous Star, Mayakivsky 102, Budapest (HU)
Private Nationalism, Gallery m21, Pécs (HU)
Pensive Pictures, Good By, Higgs Field, Budapest (HU)
Monument : Aftermath of War and Conflict, The Undercroft /SCVA, Norwich (RU)
Too much money, Museum Quartier, Vienne (AT)
Private Nationalism, Kunsthalle Kosica, (SK)
ART ROTTERDAM, Galerie Jérôme Poggi (NL)
Get Up, KCB Belgrade (RS)
Report on the construction of a spaceship module, new Museum, New York (US)
Get Up, Mains d’oeuvres à Saint Ouen (FR)
Helsinski Photography Biennal ( SUE)
And I laid traps for troubadours who get killed before they
reached Bombay, Clark House Initiative, Bombay (IN)
2013
Rendez-vous, galerie Jérôme Poggi, Paris, (FR)
Hyphology, Sanatorium, Istanbul, (TR)
Get up, Fabrica de Pensule, Cluj, (RO)
Bookmarks, B55 Gallery, Budapest, (HU)
Crosstalk Video Art Festival, Toldi Art Cinema, Budapest, (HU)
Appropriated territories, Nida Art Colony (LT)
Footnotes for the break up, Motorenhalle, Dresden (DE)
By Any Means Necessary, ACB Gallery, Budapest (HU)
I have a dream, Art Center of Thessalonik (GR)
Arte:Affari, Lavoro o Perditempo, Furini Arte Contemporanea, Rome (IT)
How High the Moon, galerie Jérôme Poggi, Paris, (FR)
Where do we migrate to, exposition collective, Contemporary Arts Center, New Orleans (USA)
The Vertigo of Freedom, exposition collective, Situation Room / CHB, Berlin (DE)
Time(less) Signs, Contemporary Art in Reference to Otto Neurath, exposition collective, Künstlerhaus, Vienne
(AT)
9th Shanghai Biennial: Reactivation, exposition collective, Shangai Contemporary Art Museum (CN)
One Sixth of the Earth, exposition collective, ZKM Karlsruhe (DE)
2012
The Organism, open systems, Vienne (AT)
The Collective Eye, SUBTE, Montevideo (UY)
Kritik une Krise, Situation Room / CHB, Berlin (DE)
Drifting Identities, Muzeul Zemstvei, Chisinau (MD)
2nd Ural Industrial biennial, Ekaterinburg (RU)
I have a dream, Wroclaw Contemporary Museum - MWW, Wroclaw, (PL)
Chrématistique, Centre d’art 360m³, Lyon (FR)
Paper Jam #2, Cabaret Voltaire, Zurich, marke.6, Weimar, Treize & Ygrec, Paris, and Messy Shop, Bangkok (TH)
Holidays in Greece, STUDIOvisits, Berlin, (DE)
Half a dozen of the other, Magma, Sfântu Gheorghe (RO),
The Golden Cage, KunstBüroBerlin, Berlin, (DE)
Patterns of Time, ACB Contemporary Art Gallery, Budapest, (HU)
Atlas Critique, Parc Saint Léger, Pougues-les-Eaux, (FR)
La chispa que incendia la llanura, Centro de Arte Contemporaneo, Quito, (EC)
Creative experiences, Institute of Contemporary Art, Dunaújváros, (HU)
Enacting Populism in its Mediaescape, Kadist Art Foundation, Paris, (FR)
Public Domain, Supermarket - Kulturhuset, Stockholm, (SU)
Where do we migrate to?, Sheila C. Johnson Design Center - New School, New York, (US)
One sixth of the Earth. Ecologies of Image, MUSAC, León, (ES)
Art in the Parking Space, Pacific Standard Time / Standard Hotel in Hollywood, Los Angeles, (US)
State of affairs, AMT Project, Bratislava, (SK)
2011
Ai Weiwei is in China, Fichtebunker, Berlin, (DE)
Drifting Identity Station, Open Space, Vienna, (AT)
In dust we trust, within the frame of Nuit Blanche, Kiosque Lénine, Ivry-sur-Seine, (FR)
Architecture Film Festival, Rotterdam, (NL)
UFS (User Friendly Society), Galenica Gallery, Velika Gorica / Zagreb, (HR)
Lost Stories, BWA Sokol, Nowy Sacz, Poland, (PL)
Hybridity in the Carpathians, MODEM, Debrecen, (HU)
Alter///scrinium. 10 Theses Of The Architecture, International Film Festival, Vladivostok, 2011.
Trickster, European Culture Congress, Wroclaw (PL)
My Communism, TOP Contemporary Art Center, Shanghai (CN)
Speaks for itself, Hungarian National Gallery, Budapest, (HU)
Parallel Chronologies. Invisible History of Exhibitions, Latvian Centre for Contemporary Art - LCCA, Riga, (LV)
Horizons de classe, Internationale Surplace, Hamburg, (DE)
Where do we migrate to?, Center for Art, Design and Visual Culture, University of Maryland, Baltimore, (US)
For love not money, 15th Tallinn Print Triennial, Kumu, Tallinn (EE)
2010
Zum ersten mal, K4 Gallery, Munich (DE)
Pre-specifics: Access X! - Phase II, Onomatopee, Eindhoven (NL)
Flagpole, Plateforme, Paris, (FR)
Hyper Real, MUMOK, Vienna, (AT)
Wealth of Nations, Spike Island, Bristol, (GB)
Aviva Award, Mucsarnok, Budapest, (HU)
Politique Zéro, Espace Niemayer, Paris, (FR)
Hostipitality: Receiving Strangers, Muzeum Sztuki, Losz, (PL)
Cooperation, not Corporations, ITS Z1, Belgrade, (RS)
Pre-specifics: Access X! - Phase I, Onomatopee & Röda Sten Kulturförening, Göteborg, (SE)
Transient Spaces - The Tourist Syndrom, NGBK & Kunstraum Kreuzberg, Berlin, (DE)
All-lover, Galerie Martine Aboucaya, Paris, (FR)
Practicing Memory, Fondazione Pistoletto, Biella, (IT)
Over the counter, Mucsarnok, Budapest, 2010.
Reasonable Force, Room Gallery, Auckland - Aotearoa, (NZ)
2nd Rennes Biennial: Ce qui vient, Couvent des Jacobins, Rennes, (FR)
Celebration!, uqbar, Berlin,(DE)
Geography of Trans-territories, Walter and McBean Galleries, SFAI, San Francisco, (US)
Hypothèses / Vérifications, Laboratoria Art&Science Space, Moscow, (RU)
Vous êtes ici, Musée des Beaux-Arts, Dunkerque, (FR)
2009
ID: Ideology of Design, Museum of Contemporary Art of Vojvodina, Novi Sad, (RS).
Typopass - Critical design and conceptual typography, Dorottya Galéria, Budapest, (HU)
10th Lyon Biennial: The spectacle of the everyday, Lyon, (FR)
11th Istanbul Biennial: What Keeps Mankind Alive?, Istanbul, (TR)
28th Biennial of Graphic Arts, Gallery Jakopic, Ljubljana, (SI)
Splav Meduze, Likovni salon, Celje, Slovenia, (SI)
Rites de Passage, Schunck Glaspaleis, Heerlen, The Netherlands, (NL)
Bertha von Suttner Revisited, Schüttkasten, Harmannsdorf, (AT)
How many angels can dance on the head of a pin?, 2nd Athens Biennial, Athens, (GR)
«Wouldn’t be easier for the government to dissolve the people and elect another» (Bertolt Brecht), Gallery
Nova, Zagreb, (HR)
The man behind the curtain, Mission 17, San Francisco, (US)
Katowice Biennial, Upper Silesian Centre of Culture, Katowice, (PL)
The Inescapable Experience of Transition, Le Magasin, Grenoble, (FR)
Living Together, Marco, Vigo, (ES)
Princess Frog, Galerie Catherine Jozsa, Brussels, (BE)
Les frontières invisibles, Tri Postal, Lille, (FR)
Living Together, Montehermoso, Vitoria-Gasteiz, (ES)
2008
Try Again. Fail again. Fail better. Mucsarnok, Budapest, (HU)
Pancevo Republic!, 13th Biennale of Pancevo, (RS)
The Aesthetic Center, 6th Gyumri International Biennial of Contemporary Art, Gyumri, Armenia (AM)
Positive Critical Imagination, Edinburgh Sculpture Workshop, Edinburgh, (GB)
The Mechanics of the Canvas, Ernst Museum, Budapest, (HU)
Pro Eto, National Centre for Contemporary Arts, Moscow, (RU)
Be A Happy Worker: Work-to-Rule!, g-mk, Zagreb, (HR)
Na mi van?, Mucsarnok, Budapest, (HU)
L’Argent, Le Plateau, Paris, (FR)
World-ex-position, Open Space, Vienna, (AT)
MOBY Hosting, Museums of Bat-Yam, Israel, (IL)
Utopia Transfer, Kiscelli Muzeum, Budapest, (HU)
Economie 0, La Ménagerie de Verre, Paris, (FR)
Transmediale 08: Conspire, Haus der Kulturen der Welt, Berlin (DE)
2007
Emerging Wor(l)ds, Grey Zone, Prague, (CZ)
Living Magazine, Kunstverein in Hamburg, Hamburg, (DE)
The Other City, Hungarian Cultural Center, New York,(US)
AtL(e)As(T.) CoMpleX, Studio Gallery, Budapest, (HU)
Un_Space / Paraflows, MAK, Vienna, (AT)
Virtual Residency, Zentrum für Kunst und Industriekultur, Völklingen, Germany, (DE)
Démocratie? Faites-la vous-même!, Mains d’Oeuvres, Paris, (FR)
The Embassy / Apocalypse Now, &nbsp, Paris, (FR)
Between white and black / Bunker Design, MKTTK, 2nd Moscow Biennale, (RU)
2006
The Other City, TRAFO Gallery, Budapest, (HU)
Article Biennale, Sølvberget Kulturhus, Stavanger, Norway,(NO)
Intrusion / Apocalypse Now, &nbsp, Paris, (FR)
Transitory Operations, UMA, Ulaan Baatar, Mongolia, (MN)
How to do things? In the middle of (no)where...,
Kunstraum Kreuzberg/Bethanien, Berlin (DE)
NIKOLAJ, Copenhagen (DK)
CIAC, Bucharest (HU)
Center for Contemporary Art, Kiev (UA)
TRAFO Gallery, Budapest (HU)
NFO XPO, Version 06 : Parallel Cities, Version Kunsthalle Iron Studios, Chicago, (US)
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COLLABORATIVE PROJECTS
2012
ArtLeaks Assembly, collective project at Flutgraben and WestGermany, Berlin (DE)
Whose water is it?, in collaboration with Ulay, public art project, Maribor (SI)
2011
Artist Pension Trust, The Institute of Social Hypocrisy, Paris (FR)
2007
Manifesta 6.1: M6 D3 Abschlussball, WestGermany, Berlin (DE)
+
LECTURES
2013
Left Bank Valley: Exarchia, Occupied Embros Theater, Athènes (GR)
2012
Left Bank Valley: introduction, Jan van Eyck Academie, Maastricht (NL)
Culture States, tranzit.ro, Cluj (RO)
Linéologies, within the frame of «Vous êtes ici: le paysage comme forme politique», ESACM, ClermontFerrand (FR)
Forum des arts électroniques, Centre d’Art Contemporain, Genève (CH)
Aura u Oro, FLASCO, Quito (EC)
Invest / Invent / Interflugs / Salon Populaire, Berlin (DE)
2011
Observatoires des Nouveaux Médias, ENSAD, Paris (FR)
De quelques frontières, Chantier Mobile / EVENTO, Bordeaux (FR)
2010
Drachma: a fistful of motives (with Jorgos Papadopoulos), in The Marathon Marathon project, Acropolis
Museum, Athènes (GR)
Inscripcions, Couvent des Jacobins, Rennes (FR)
Liste, symposium Art&Research in Public Sphere, ksa:k - Centre for Contemporary Art, Chisinau (MD)
Burning & rupturing & looting & rapturing, symposium Laboratory of Singular Prospectives, National Centre
for Dance, Bucarest (RO)
Géopolitique vs/as cosmopolitique?, Sciences Po & NYU, Paris (FR)
Communisms Afterlives, Betonsalon, Paris
Tarif d’entrée, symposium «Real Poetic», ERG/Palais des Beaux-Arts, Bruxelles (BE)
Glyphs & Strata, Tranzit Free School for Art Theory & Practice, Budapest (HU)
2009
Bernard + Madoff durch die Dokumenta XIII, ETATW: We don’t., NABA, Milan (IT)
The Great Karaoke Swindle, Imal, Bruxelles (BE)
Glyphs & Strata II, Maska Institute, Ljubljana (SI)
Xenos / Xenia, Montehermoso, Vitoria-Gasteiz (ES)
Introductory dialogue between a philanthropist, living in the coutryside near Paris, and Jacques, his gardener,
Jan van Eyck Academie, Maastricht (NL)
2008
Glyphs & Strata, SFAI, San Francisco (US)
Eternal Tour / Boomerang Effect, Istituto Svizzero, Rome (IT)
Filigrammes: commentaires de L’Argent, Le Plateau, Paris (FR)
Towards a Greater Euregio, within the frame of Euregional Forum, a project by BAVO, Jan van Eyck Academie, Maastricht (NL)
Utopolitika, auditorium of the Van Abbemuseum, Eindhoven (NL)
e-POTHÈQUE, Art & Flux, Sorbonne University, Paris (FR)
Conversations européennes : sur les pratiques participatives, Jeu de Paume, Paris (FR)
MA: Soliton, The Upgrade! Paris / La Cantine, Paris (FR)
Spéculums pour spéculations, Maison Descartes, Amsterdam (NL)
Du goût ultraglocal du Gandhi Bürger, Tertulia, Café Pompier, Bordeaux (FR)
The artist, the scientist and the industrial, Bilderberg Salon, Transmediale 08, Berlin (DE)
Polisteries, uqbar, Berlin (DE)
Transitions, Opening Week, Jan van Eyck Academie, Maastricht (NL)
Spéculums et spéculations, ENBA, Lyon (FR)
2007
Spéculums et spéculations, Ecole des Beaux-Arts, Bordeaux (FR)
Spéculums et spéculations, Something you should know, EHESS, Paris (FR)
MA: Soliton, Documenta XII Magazine, Documenta Halle, Kassel (DE)
Ponzi’s, La Générale, Paris (FR)
+
WORKSHOPS
2012
Moscow Curatorial Summer School: Doing Exhibition Politically, V-A-C Foundation and Russian State University for the Humanities, Moscow (RU)
2011
No Order Summit, Spanish Pavillon at the Venice Biennial (IT)
Chercher...transférer, ENSA, Limoges, 2011 (FR)
2009
19?9, Tranzit Free School for Art Theory & Practice, Budapest (HU)
Random Curating, Université Paris-1 Panthéon Sorbonne, Paris (FR)
2008
Lineology, Parsons School of Art and Design, Paris (FR)
Least Common Multiples, IAA, Bucharest (FR)
2007
Stratégies économiques de l’art, Ecole des Beaux-Arts de Bordeaux (FR)
Disposition, Ecole Nationale Supérieure d’Art de Paris-Cergy, Paris (FR)
Discussions about Politics and Design, Ze Dos Bois, Lisbon (PT)
+
TEXTS
2013
New Alphabetical Order, in Art Papers n°37/01, Atlanta (US)
2012
Life, Domain, Kingdom, in Zootopia, London (US)
State of Shades, in IDEA #41, Cluj (RO)
2011
The city amidst the buildings, catalogue, Akbank Sanat, Istanbul (TR)
Commonscript, in Scapegoat, n°02 - Materialism, Toronto (CA)
Empire, State, Building, catalogue, Editions Amsterdam / Jeu de Paume / Ludwig Múzeum, Paris / Budapest
(FR-HU)
Experanto, in TINA 7: Argent, Paris (FR)
Random Curating, in No Order, n°01, Archive Books, Berlin / Milan (IT)
2010
Biblio, in Manual de Practic? Artistic?, Protokoll / ?PAC, Cluj (RO)
Currencies, in Volume One, Miami (US)
2009
EU Green Card Lottery: Spécimens aléatoires, portfolio in Art 21 n°24, Paris (FR)
Introductory Dialogue between an Educated Philanthropist Living in the Countryside near Paris and Jacques,
His Gardener, SFAI MFA catalogue, San Francisco (US)
Pligatures, Multitudes n°35, Paris (FR)
2008
EU Green Card Lottery, in Printed Project, issue 10, Dublin (IE)
Culture States: Prologue, Rajzlap n°8, Budapest (HU)
Gandhi Bürger, in Journal of Visual Culture: D12 Dissection, volume 7 No 1, London (UK)
Exclave, in The HTV, No 72: A Democratic Brand Paradox, Amsterdam (NL)
2007
Ministère de l’Architecture: Soliton, in Multitudes Icones, Paris (FR)
Ministère de l’Architecture: Deuxième contact, in Biennale de Paris XV, catalogue, éditions Biennale de Paris,
Paris (FR)
2006
IGM: Versade, in Exindex, Budapest (HU)
The Great Karaoke Swindle, in How to do things? In the middle of (no)where…, catalogue of the project,
Revolver Publishing, Frankfurt/Main (DE)
Conspire / Dear Jean-Baptiste, in In Action!, Sparwasser / TRAFO, Budapest (HU)
+
BIBLIOGRAPHY
2014
FÜLÖP Luca, Société Réaliste, in Elsewhere Magazine, Shanghai, 2014.
2013
DE LA BAUME Maia, Paris fair celebrates its fourty, in The International
New York Times, Paris - New York, 24.10.2013.
GODFREY LARMON Annie, Critics’ Picks, in artforum.com, New York, 10.2013.
BURLEIGH Paula, A rough guide to Hell by Société Réaliste, in The Brooklyn
Rail, New York, 10.2013.
PLAGENS Peter, Lyrical Forms, Social Commentary and Handiwork,
in The Wall Street Journal, October 2013.
MARKUS David, Rainbows to No Place: Société Réaliste and the Ayn Rand
Apocalypse, in Hyperallergic, New York, October 2013.
ROSZKOWSKA Magda, Praktyki Krytyczne, in Notes, Warsaw, n°83, May 2013.
PIGA Angela Maria, On The Fountainhead, in Casa Vogue, Rome, April 2013.
2012
Rosenmeyer Aoife, Société Réaliste at Mosseri-Marlio Gallery, in Art in America, New York, February 2012.
Somze Catherine, Dealing with Politics, History and Social Commitment, interview, in Art Pulse, No. 10
Stefan Olga, Société Réaliste - Archiscriptons, in Flash Art n°140, Milan
2011
Rehberg Vivian Sky, Société Réaliste - Jeu de Paume, Paris, in Frieze Magazine n°141, London
Ihler-meyer Sarah, Brouiller les identités, in zérodeux, Nantes
Alkema Hanna, Empire of signs, in Idea, No.38, Cluj
Schonwald Cédric, Empire, State, Building, in Art21, n°30, Paris
Kerekes Anna, Palimpseste, in exindex.hu, May 2011.
Tremeau Tristan, Empire, State, Building, in Art Press, Paris, May 2011.
Denet Muriel, Empire, State, Building, in paris-art.com, April 2011.
Picard grégory, Les signes du temps, in artinfo.com, April 2011.
2010
Lebovici Elisabeth, Boue et censures au pays du «youngest curator ever», Le Beau Vice, 1 June, 2010.
Unwin richard, Bucharest Biennale 4 Review, in Frieze Magazine n°132, London
Tucker Daniel, BB4: Getting Real, in Kunsthart, Antwerpen
Hauffen Michael, Transitioners - London View, in Springerin 1/10, Vienna
2009
Lucchetti Matteo, Random curating - interview with Société Réaliste, in undo.net, Milan
Sim esmen Yasemin, Drawing lines to do away with them, in Hürriyet, Istanbul
Van tomme Niels, Siding with the Barbarians, in Foreign Policy in Focus, Washington D.C.
Lebovici Elisabeth, Un projet de société, in Multitudes n°35, Paris
2008
Lassignardie Isabelle, Une démonstration critique par l’absurde, in Inter Actes If n°20, Paris
Stepanovic Tijana, Culturated States, in Muerto, 11 / 5, Budapest
Cserba Júlia, Triangular paranoia, in Balkon, 2008 / 3, Budapest
Vincent Cédric, Conspiratory Truths, in Conspire: Transmediale 08, catalogue, Revolver Publishing, Frankfurt/
Main
2007
Tremeau Tristan, Nouveaux Entrants, in Art21, No 15, Paris
Brunel Raphaël, Transitioners. Bastille Days Collection, in parisART, Paris
Somogyi Hajnalka, Chirurgie de l’illusion, in Art21, No 12, Paris
2006
WEITZEL Antje, Some points about the Ponzi’s project, in How to do things? In the middle of (no)where…,
catalogue of the project, Revolver Publishing, Frankfurt/Main
+
COLLECTIONS
Cité Nationale de l’Histoire de l’Immigration, Paris (FR)
FMAC, Paris (FR)
Ludwig Múzeum, Budapest (HU)
MNAC, Bucarest (RO)

société réaliste

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