#Kata Tranker

[esztersipos]

Short List 2019 Esteházy Art Award

https://www.facebook.com/events/571204290121177/

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2019. december 12. 18 h – Díjátadó ünnepség 2019. december 13. – 2020. január 26. - Kiállítás a Ludwig Múzeum – Kortárs Művészeti Múzeum 2. emeletén 

A 2009-ben megalapított díj célja a kortárs képzőművészet és a nemzetközi párbeszéd támogatása. Az egyenként 5000 euróval jutalmazott díjat kétévente, három, 45 év alatti képzőművésznek itéli oda a független szakmai zsűri. A pályázaton festészettel és festészettel határos technikákkal lehet indulni. A zsűri 260 pályázóból választotta ki a díjra jelölt 25 művészt, akinek 2019. december 13-tól 2020. január 26-ig lesz látható a kiállítása a Ludwig Múzeum – Kortárs Művészeti Múzeumban. A Short List 2019 kiállítás alkalmából a művészek ezúttal első alkalommal dönthettek arról, hogy térinstallációval is kívánnak-e pályázni. Az ennek keretében benyújtott, komplex művészeti alkotások magas színvonala egyértelműen megmutatta, mennyire összhangban állt ez a bővítés a művészek aktuális alkotói törekvéseivel. A kiállítás ennek megfelelően megpróbál minden nevezett művésztől lehetőség szerint több, egymáshoz és a térhez egyaránt illeszkedő művet is bemutatni. A 2019-es díjra jelölt művészek / The Nominees of 2019 are: Adam Albert, Róbert Batykó, Sári Ember, István Felsmann, Mark Fridvalszki, Kitti Gosztola, Andrea Éva Győri, Daniel Halasz, HeyWeSeeAskShowandDie (Csaba Árpád Horváth és Eszter Sipos), Dorottya Kalocsai, Adrian Kiss, Gábor Miklós Kristóf, Áron Kútvölgyi-Szabó, Mátyási Péter, Judit Lilla Molnár, Zsolt Molnár, Nagy Barbara, Marton Nemes,  Peter Puklus, Anikó Süttő, Robotto Szabó Ottó, Péter Szalay, Gergo Szinyova, Kata Tranker, Adam Ulbert. 

Founded in 2009, the Esterházy Art Award supports contemporary Hungarian art and its international exchange. It consists of three prizes of €5000 each, awarded every two years to artists selected by an independent international jury. It is an open call eligible to all Hungarian artists below the age of 45 working in painting and other associated techniques. 260 Applications were received for the “Esterházy Art Award – Short List 2019” An expert jury nominated 25 artists from this impressive pool of potential applicants for this year’s Art Award. The anniversary exhibition from the works of the 25 artists  will be open to the public from 13 December 2019 until 26 January 2020. On the occasion of the “Short List 2019” exhibition, the artists were free to also submit installation entries for the first time. The high quality of the more complex groups of works submitted clearly illustrated how fitting this extension was to the current creative efforts of the young artist. Accordingly, the exhibition attempts to present preferably several works, coordinated with each other and with the space, by the nominees.

[andraskiraly]

Diszkrét VÉGTELEN - Tranker Kata, Király András - Viltin Gallery - Budapest - jan 30-ig #exhibition #viltingallery #budapest #trankerkata #kiralyandras #birodavid #contemporaryart #art #kunst #discrete #infinity https://www.instagram.com/p/CJpWXfJBc08/?igshid=dqw7frtd434g

[katatranker]

Lucy in the Sky with Diamonds

solo show at New Hungarian Gallery, Székesfehérvár (HUN)

2021

photos by Dávid Biró

-

“A little preschool boy, Julian, drew a picture of a girl, Lucy, then he showed the drawing to his father, John. John liked the picture a lot and asked Julian what it was showing. Julian said: ‘Lucy in the sky with diamonds’. It made John very excited, so he wrote a song immediately with the title: ’Lucy in the Sky with Diamonds’. The song was released in 1967 on the album ‘SGT. Pepper’s Lonely Hearts Club Band’ by the Beatles and became popular at once.   

Six years later an international group of researchers was listening to this song in Ethiopia while they were looking for fossils of human ancestors. When they finally managed to find a group of fossilized bones they were celebrating with this song and gave the name ‘Lucy’ to the owner of the skeleton.

We can’t be sure if Lucy was our ancestor or not, many say she was just an extinct primate, an Australopithecus Afarensis. Her DNA could tell more about our relationship, but in fact her bones are too old to say anything closer about her genetic material with our current resources. But maybe one day we’ll be able to dive into her sequenced mitochondrial DNA and like a sparkling kaleidoscope sea at the end of a long wormhole, in ourselves we’ll find Lucy. “

The solo exhibition of Kata TRANKER shows installations made mostly of sculptures about becoming human both in biological and cultural ways. In the spaces artist created we face problems like uncertain borders between species, taxonomic chauvinism, meaning of objects without knowing their function or relevance of our current concept of ‘art’.

[martinaracz]

Kata Tranker: La Mére Qui Flâne

[xtro-realm]

xtro realm

xtro realm

FKSE – Stúdió Galéria Rottenbiller u. 35., Budapest, 1077 2017.11.07–30.

Az xtro realm kiállítás az azonos nevű programsorozat része, amelyet októberben egy három alkalmas nyilvános és nagy érdeklődésnek örvendő olvasókör vezetett fel. A moderátorok által bemutatott szövegek olyan új filozófiai irányzatokat idéztek meg, amelyek az emberközpontú világszemléletet problematizálják, és az emberi érzékelésen kívül eső valóságok lehetőségét vizsgálják. A tizenegy kiállító művész az olvasókör tapasztalataira építve hozta létre a kiállításon megtekinthető munkákat.

Rózsás díszmárna úszkál a fekete függöny mögötti plexigúlában, bele-belevész a kiszakított térszelet mélységeibe. Hogy tényleg halról van-e szó, csak akkor merül fel, miután percekre elmélyedtünk az izgő-mozgó kivetülés látványában. Akárha másodpercekre is, vajon elhittük-e, hogy Seemann Adrienn munkája valóban egy hal, és ha halként bíztunk meg benne, mi történik vele, ha a videóloop véget ér?

Alapvető episztemológiai kérdés: hogyan rendszerezheti az ember az ökoszisztémát, amelytől függ, amelynek önmaga is része? Az összeférhetetlenség ellenére a tudományos megismerés nem elképzelhető bizonyos mértékű optimizmus nélkül. A világ megismerhetőségébe és számszerűsítésébe vetett hit azonban egy feltételezett külső nézőpontot követel meg, például a műhold nézőpontját: az online fogyasztó felfújható égitestet vásárol, nincs is ebben a birtoklási vágyban semmi rendkívüli. Süveges Rita festményein a felfújható Föld és Mars viszonyul a világegyetem egészének festészeti ábrázolhatóságához.

Birtokolni a múltat, a jelent és a jövőt: emberi perspektíva. Rohonyi Demkó Iván szimulációjának algoritmusa a jövőre tett spekulációk alapján alakítja a jelent. Ha a jelen a jövőről alkotott számításokra épül, hogyan osztható fel mégis az időbeliség? Az ember által alkotott algoritmusok, programok, robotok túlmutatnak az emberi tudáson, akármelyik pillanatban túlnőhetnek az emberi faj keretein, az emberi életöltő végességén. Ám mégis tárgyként, objektumként tekintünk rájuk. Hol húzódik a határvonal ember és robot között, honnan tudhatjuk biztosan, hogy mi az előbbi, önkényesen megszabott kategóriába tartozunk? Ezeket a kérdéseket teszi fel többek között Szimán György videórészlete, amely mindenképp elbizonytalanít minket a fenti határvonalat illetően.

Az élet határa, az időbeliség emberközpontúsága, a természet megismerhetősége, a világ értelmezésének elengedhetetlen romantikája – az xtro realm kiállítás a spekulatív realizmus, objektumorientált ontológia és ökológiai elképzelések mentén kíván tematizálni olyan kérdéseket, amelyek az antropocentrikus megközelítésmód legitimitásának megkérdőjelezésében érnek össze.

Kiállító művészek: Barna Orsolya – Gosztola Kitti – Pálinkás Bence György, Horváth R. Gideon, Keresztesi Botond, Rohonyi Demkó Iván, Seemann Adrienn, Süveges Rita, Szimán György, Tranker Kata, Zilahi Anna

Az xtro realm csoportos kiállítás november 7. és 30. között látogatható az FKSE – Stúdió Galériában. A programsorozat szervezői Horváth R. Gideon, Zilahi Anna és Zsámboki Miklós.

A kiállítás támogatója az Edgite Kft.

xtro realm

FKSE – Studio Gallery Rottenbiller u. 35., Budapest, 1077 07–30 November 2017

The xtro realm exhibition is a part of a series of events of the same name. It was preceded by three successful reading circles that were open to the public. Moderators introduced texts focusing on new philosophical approaches, which problematised human-centric world views and examined the opportunities of realities beyond human observation. The eleven exhibiting artists created the works presented at the exhibit, based on their reading circle experiences.

A rose barb swims in the plexiglass-pyramid behind the black curtain, disappearing from time to time into the depths of space’s ripped out slices. The notion that this is indeed a fish only surfaces when we spend immerse for minutes into the sight of the projection. If only for seconds, but did we believe that Adrienn Seemann’s work is indeed a fish and if we have trusted it to be a fish, what happens when the loop ends?

A fundamental epistemological question is: how can humans systematize the ecosystem, which they themselves depend upon? Which they are also a part of? Despite this conflict, scientific inquiry cannot be imagined without a dash of optimism. The belief that the world is comprehensible and quantifiable necessitates an external point of view, for instance the view of an orbiting satellite: the online consumer purchases an inflatable orb in virtual reality—there is nothing unusual in this desire for possession. In Rita Süveges’ paintings the inflatable Earth and Mars relates to the artistic representability of the universe’s entirety.

To possess the past, present, and the future: human perspective. Iván Rohonyi- Demkó’s simulation’s algorithm defines the present based on speculations of the future. If the present is based on calculations of the future, how can we partition temporality? Capabilities of man-made algorithms, programmes, robots extend beyond humans’ knowledge, any minute now they will be able to surpass the boundaries of the human species, passing beyond the finiteness of a human life. But we still view them as objects. Where is the boundary between human and robot, and how can we be sure that we are a part of the former—an arbitrarily created grouping. György Szimán’s videoclip asks these questions, amongst others, which definitely discourage our understanding of this boundary.

The boundaries of life, temporality’s human-centeredness, the ability to grasp nature, the indispensable romanticism of interpreting the world—the xtro realm exhibition aims to thematize questions, guided by speculative realism, object-oriented ontology, and ecological ideas that are conjoined in questioning the legitimacy of an antropocentric approach.

The exhibition xtro realm is open between the 8–30 November 2017.

Artists: Orsolya BARNA – Kitti GOSZTOLA – Bence György PÁLINKÁS, Gideon R. HORVÁTH, Botond KERESZTESI, Iván ROHONYI DEMKÓ, Adrienn SEEMANN, Rita SÜVEGES, György SZIMÁN, Kata TRANKER, Anna ZILAHI Organizers: Gideon R. HORVÁTH, Anna ZILAHI, Miklós ZSÁMBOKI

The xtro realm reading circles have been organized in cooperation with the József Attila Circle.

The exhibition is sponsored by Edgite Hungary Kft.

[andraskiraly]

Diszkrét VÉGTELEN - Tranker Kata, Király András - Viltin Gallery - Budapest - jan 30-ig #exhibition #viltingallery #budapest #trankerkata #kiralyandras #birodavid #contemporaryart #art #kunst #discrete #infinity https://www.instagram.com/p/CJsok8bhcmI/?igshid=ifwijo2t18fv

[andraskiraly]

Diszkrét VÉGTELEN - Tranker Kata, Király András - Viltin Gallery - Budapest - jan 30-ig #exhibition #viltingallery #budapest #trankerkata #kiralyandras #birodavid #contemporaryart #art #kunst #discrete #infinity https://www.instagram.com/p/CJloX0eBctH/?igshid=zs5i8is4g08w

[andraskiraly]

Diszkrét VÉGTELEN - Tranker Kata, Király András - Viltin Gallery - Budapest - jan 30-ig #exhibition #viltingallery #budapest #trankerkata #kiralyandras #birodavid #contemporaryart #art #kunst #discrete #infinity https://www.instagram.com/p/CJdVyBlh13L/?igshid=6x2i5lii5u8c

[andraskiraly]

Diszkrét VÉGTELEN - Tranker Kata, Király András - Viltin Gallery - Budapest - jan 30-ig #exhibition #viltingallery #budapest #trankerkata #kiralyandras #birodavid #contemporaryart #art #kunst #discrete #infinity https://www.instagram.com/p/CJZbBaLBCii/?igshid=105tzc3p0rkd9

[andraskiraly]

Diszkrét VÉGTELEN - Tranker Kata, Király András - Viltin Gallery - Budapest - jan 30-ig #exhibition #viltingallery #budapest #trankerkata #kiralyandras #birodavid #contemporaryart #art #kunst #discrete #infinity https://www.instagram.com/p/CJNxF0lh1m1/?igshid=1t5h6j1oqo02a

[andraskiraly]

Diszkrét VÉGTELEN - Tranker Kata, Király András - Viltin Gallery - Budapest - jan 30-ig #exhibition #viltingallery #budapest #trankerkata #kiralyandras #birodavid #contemporaryart #art #kunst #discrete #infinity https://www.instagram.com/p/CJLUuHPBXA2/?igshid=x5l46x5u3r1u

[andraskiraly]

Diszkrét VÉGTELEN - Tranker Kata, Király András - Viltin Gallery - Budapest - jan 30-ig #exhibition #viltingallery #budapest #trankerkata #kiralyandras #birodavid #contemporaryart #art #kunst #discrete #infinity https://www.instagram.com/p/CJIpvnbhQDk/?igshid=19lj3mvo4p5l

[andraskiraly]

Diszkrét VÉGTELEN - Tranker Kata, Király András - Viltin Gallery - Budapest - jan 30-ig #exhibition #viltingallery #budapest #trankerkata #kiralyandras #birodavid #contemporaryart #art #kunst #discrete #infinity https://www.instagram.com/p/CJGTufrBRyV/?igshid=1mb1v23j83twa

[katatranker]

A hairy line 

duo exhibition with Katrin Plavcak 

curated by Barbara Horvath 

at Kunstverein Eisenstadt (AT), 2020

paintings by Katrin Plavcak, sculptures by Kata Tranker size of the pedestal: 1190x100x60cm 

photos by Alfredo Barsuglia 

“What if all organisms, including humans, were interwoven? What if there was a hairy line that created a connection that allowed us to care for each other? Katrin Plavčak and Kata Tranker take these questions as the starting pointfor their artistic reflections, and they fabulate a future in which the border between species becomes fluid. It is, as it were, the twilight of a “world in transition” and a “becoming with others”, a world in the sense of the philosopher Donna Haraway, acting and reacting to each other along an imaginative connecting line. “

Barbara Horvath

[katatranker]

Sarcophagus 

paper pulp, smashed stone, flowers

85x48x100cm 

2020 

photos by Mátyás Gyuricza

“The allegorical resonating space of these fresh works brings me back somewhere before the bronze age. Maybe even further, towards times where humanism is receding, to be precise when and where humanism didn’t even exist - to the collective unconscious of humanity where myth is taking command, to its instinctual experiences and to its irrational projections. (...) The work of Kata Tranker does not take us into militant alternative time-travel of science-fictional past or future (as if an easy reference of the Planet of the Apes would suggest that). It is rather alluding to a timeless drama unfolding by tender gestures. The smaller anthropomorphic relief works of Kata Tranker with its half-human half-monkey figures are becoming the characters of a mythical family story. (...) Evoking the anthropoid figures of monkeys she is preferably making it more archetypical. She is generalising the fragments of a family story, the new characters of the work are showing the universal relations between family members. It does so both with the figures of wondering and returning monkey children and with the flowered tomb of the couple.” 

Áron Fenyvesi 

[katatranker]

THE HOCHSTÄDTERS

solo show at the Hungarian Jewish Museum, 2019

curated by Zsofia Farkas

photos by David Biro

The exhibition shown in the Hungarian Jewish Museum and Archives wants to introduce the visitors the activities and research into family history and family memory from a special point of view. The exhibition aims to uncover the meaning conveyed by the different layers of family/private photography, highlighting its significance in the personal and collective historical remembrance. 

The installation on display offers a subjective approach to the history of the Hochstädter family, the central topic of the exhibition. Superseding her role as an artist, Kata Tranker almost assumes the role of the curator or the archeologist in presenting the photo album. In a similar vein as the hiatus, the gaps in the family history of the Hochstädters call for filling in, her paper mache slabs span the missing elements, the history of family members. The synthetic resin preventing oblivion, like a fossil, perpetuates the memory of the family. The stonelike plaques, reliefs, statuettes have a specific function: they literally frame the photos. Taking a closer look at the motifs, one can identify the personal themes of family history appearing on the reliefs and statues: the façade of the synagogue of Gálszécs (now Sečovce in Slovakia), or the portraits of Bora Hochstädter and Antal Hochstädter (Hódosi), the two protagonists of the album. The elements of the installation highlight such personal aspects of the lives of Antal and Bora as the twin fate or life path choices in the 20 th century by men and women.

The collection of the Hungarian Jewish Museum contains family memorabilia, including photos. These photos, whether organized into albums, or left in unorganized piles, are kept in grey boxes with inventory numbers on the shelves of the Archive. The prospect of these private photos is heart-rending for many reasons. These personal images are not viewed by the descendants of the families, due to the fact that a family member, often left alone, bestowed them the Museum, along with the task of keeping their memories, thus enriching the artistic, anthropological and communal functions of the Museum and Archive.

Due to the traumatic history of the 20th century and the changes in geographical boundaries, identification and issues of identities of Hungarian families have become increasingly complicated and ambiguous. That is why family photos have often become identity forming objects: the role of photos have appreciated, becoming the first and foremost chroniclers of the Weltanschaung of family members, their relationship to their home and homeland, to their national identity, while leaving a lasting legacy of otherwise unknown families, sites, family objects. The family and the family memory have thus become the central elements of cultural memory research.