El Kazovszkij (Műszaki Egyetem, Budapest, 1977)

Address: Budapest, Dorottya u. 11. 1051 Phone: 186-706 1970-1977 Studies at the Hungarian Academy of Fine Arts Since 1977 has been the founder and creator of the toy-series "Dzsan wax-works show". Since 1976 has been the member of the Young Artists' Studio as well as the Arts Fund. Since 1978 has been the member of the Association of Hungarian Artists 1978-1982 Holder of the Derkovits scholarship 1982 Smohay Prize 1984 Prize of the Novi Sad Scenery and Costume Triennial El Kazovszkij: Wandering animals in the great still-life, 1986 El Kazovszkij: Vándor állatok a nagy csendéletben, 1986 Individual exhibitions 1977 E Gallery of the Budapest Technical University, Budapest Dózsa György House of Culture, Budapest 1978 MOM Cultural Centre, Budapest Fészek Club, Budapest 1979 Studio Gallery, Budapest Cultural Centre, Szentendre Club of the József Attila University, Szeged 1981 Ferencváros Cellar Gallery, Budapest Pécs Gallery, Pécs 1982 Palace of Exhibitions, Győr 1983 Studio Gallery, Budapest Black Eagle Pharmacy, Székesfehérvár 1984 Savaria Museum, Szombathely Fényes Adolf Gallery, Budapest 1985 Szolnok Gallery, Szolnok 1986 Cultural Centre, Eger Cultural Centre, Nyíregyháza Liget Gallery, Budapest Group exhibitions 1976 Duisburg 1979 Exhibition of Hungarian Fine Arts, Vienna 1980 Wilhelmshaven Sopot 1982 Drawing Biennial of Young Artists, Nürnberg Biennale de Paris 1982 "New sensibility" I—II—III—IV, Budapest 1983 Exhibition of Hungarian Small Sculpture, Spain and Portugal 1984 Cuba Theatre Scenery and Costume Triennial, Novi Sad "Landmarks", Eisenstadt Studio Exhibition, Warsaw 1985 Prague, Brno Contemporary Hungarian Fine Arts, Glasgow 1986 Small Sculpture Triennial, Fellbach "Eclecticism", Hungarian National Gallery, Budapest “In quotation marks". Csók István Gallery, Székesfehérvár Catalogue 1. Vajda-pages, 1983-85 landscapes and still-lives (15 pieces) drawing, mixed technique, 50x70 cm 2. The good shepherd and the pointed animals, 1986 18 pieces, oil, mixed technique, 90 x 90 cm 3. Pandora-box II, 1987 or an internal dialogue in the deseart ballet installation, wood, oil, mixed technique, 790 x 360 x 360 cm 4. Storeyed stoa, 1987 installation, wood, cardboard, etc. mixed technique, 400 x 300 cm We see a desert sandy play-ground. That’s the place of the desert ballet. Though it's a mute genre, now, in our times, it’s being stiffened into the space for a long internal dialogue. This dialogue is about Pygmalion’s Galatea. About Galatea’s monument. About the monumentns monument. Or was it only Coppelia? Then about Coppelians monument. Or Eurydice? About Eurydicens monument? Let the subject of this internal dialogue be the Desert Venus herself. All the desert animals are gathering around her, too. The numerous wandering animals. Then is this Venus perhaps the good shepherd himself? The good siren. A siren-body in the desert. By the way, it’s very cold here. Poor animals are pinning back their ears, their noses, their tails, their teeth, all of their thoughts. They must not move: their moving should jeopardize their set-up, the monument, the idol. And this is forbidden. The pointed animal has stiffened still. And he is longing only for movement. The smallest movement would take him nearer to the subject of his desire. But even the thought of the movement itself is bringing forth desire. The relation of a pointed animal to its idol turns into an idol as well which one can be related to. (Is this how idols get multiplied?) This is the desert ballet. The monuments on the sand-hills exist because the animal sees them. He doesn't see anything else. The monuments, these desert stars are twinkling and growing in time, the last animal is howling under them. By and by the sand turns into dust. The hills, the pedestals of the idols are built of cold dust. The poor animal performs his part, he builds his monument, then dies off. The further fate of the idol is unknown, no one knows how it falls down.

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