KITTI HARMATI

The focus of the reasearch is on the iconic chairs of the Hungarian University of Fine Arts, which infiltrate in the collective memory of the students just like Belvedere Apollo in classicism. These ordinary objects have a share in the life of the students for decades.

This work entertains with a physical manifestation of classification and institualization in the history of the Hungarian University of Fine Arts. The work supposes that these burocratical marks could be the imprints of the institution. If they are how do they appear? The album contains 23 screenprint.

Herein I was interested in the unconscious colour using and detection, I created the pictures in a dark room whereabouts was just one light for the take. Through the drawing process I was seeing just a kinda greyscale picture that follows from this the colours of the drawings isn’t conscious.

This work reflects on our syllabus and the changes which was applied in that, Every picture belongs to a sentence – „Is this aesthetic?” , „Do we need this?” , „Is this community?” – the sentences reveal some problems in our educational system. The pictures query the legitimity of these certain courses.

In 1978 the Cultural Foundation of Hungarian People’s Republic with the Assotiation’s Graphic Deparment published a Printmaking Guide for students and artists which contains rules how to mark, number and exhibit prints. These orders were the preconditions for most applications. I picked three sentences and fragments from this Guide and I consumed them for my compositions – „The Cultural Foundation of Hungarian People’s Republic”, „The Assotiation’s Ethic Delegation should check up and take enforcement in these cases.”, „Here worthy of note that the current copyrights state: the number of the proof prints limited in 7 before the standardized production.”

Art colony project 19