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Péter Tamás HALÁSZ Born 1969, Budapest Lives and works in Budapest Education 1990 Vocational Secondary School of Visual Arts 1998 Hungarian University of Fine Arts, class of Dóra Maurer 1999 Member of the FKSE (Studio of Young Artists Association), Budapest 2000 Hungarian University of Fine Arts, post-graduate studies Solo exhibitions 2014 LIGHT GLOBE, Budapest Gallery, Budapest 2013 Clear head, Parthenon-fríz Hall, Hungarian Academy of Fine Arts, Budapest 2012 Solution, Art9 Gallery, Budapest Dirty light, acb Gallery, Budapest 2010 VOLTA NY 2010, New York 2009 Partition_, acb Gallery, Budapest 2008 Lopakodó – First Form 3, Irokéz Gallery, Szombathely, Hungary 2007 First Form 2, K.A.S. Gallery, Budapest 2006 First Form, Tűzraktér, Budapest Real Simulation, Studio Gallery, Budapest 2004 Out of Range, Óbudai Társaskör Gallery, Budapest 2000 Protokoll Contemporary Art Studio, Cluj-Napoca, Romania Group exhibitions 2015 MORE LIGHT! Light Environments, New Budapest Gallery, Budapest 2014 10th madeinhungary + 3rd meed, DESIGN WITHOUT BORDERS, Budapest Gallery, Budapest The Most, Studio Gallery, Budapest ArtPlacc 2014 NUIT BLANCHE 1-2, art quarter budapest, Budapest 2013 user experience, Csikász Gallery, Veszprém, Hungary Budapest Immersion, New Budapest Gallery, Budapest HATÁRTEREK / INTERSPACES, Vasarely Museum, Budapes Isteni formula, a fény, Kepes Institute, Eger MÖBEL X KUNST - collaboration of acb Gallery and MÖBELKUNST, Budapest Tér-viszony, art quarter budapest, budapest Art Market Budapest 2013 2012 Quadratic Equations- Reloaded, Kepes Institute, Eger Art Market Budapest 2012 2011 ART HK 11, Hong Kong VIENNAFAIR, Vienna Outpost- A kritikai tér, Trafó Gallery, Budapest TRANSZPARENCIA-ÁTLÁTÁS, Vasarely Museum, Budapes Libero Arbitrio, Paris, France

2010 2009 2008

2007 2006 2004 2003 2002 2001 2000

1999

Hybridity in the Carpathians, MODEM, Debrecen, Hungary Good Hunt!, Nitrianska Gallery, Nitra, Slovakia Art Market Budapest 2011 ART HK 2010, Hong Kong Viennafair 2010, Vienna Small is beautiful, acb Gallery, Budapest Feltételes jelen, Hungarian Institute, Paris 4 Humours, acb Gallery, Budapest Budapest Art Fair 2008, Kunsthalle, Budapest Gallery by Night 2008, Studio Gallery, Budapest The brand new disclaimer of time, Hungarian National Gallery, Budapest Lenmechanics, Ernst Museum, Budapest Reload – technical renaissance, Csikász Gallery, Veszprém, Hungary Reload – technical renaissance, Studio Gallery, Budapest Teleportation, Gallery Pic-Ant, Kassel, Germany Pop, Stuff, Etc. reloaded, Irokéz Gallery, Szombathely, Hungary Pop, Stuff, Etc., acb Gallery, Budapest Boulevard Festival 2006, Budapest Notes and Drafts, Studio Gallery, Budapest Instant, Irókéz Gallery, Szombathely, Hungary Klub VH, Institute of Contemporary Arts, Dunaújváros, Hungary Klub VH, Dinamó, Budapest Klub VH, Fészek Club, Budapest Klub VH, Duna cinema, Budapest Klub VH, Hold utca Market, Budapest Klub VH, BEIK, Budapest Permanent light-projection installation at the Collégium Budapest apartment-house (with Zoltán Zsári) Media Modell, Kunsthalle, Budapest Pax Danubia, Folyamat Gallery, Dunai Vízmérőház, Budapest Man, Surrounding, Technique, Platán Gallery, Budapest Geo, Institute of Geology, Budapest Schwebe, Haus Ungarn (Hungarian House), Berlin

About his works (selected) http://www.voltashow.com/Peter-Tamas-Halasz.5883.0.html http://www.youtube.com/watch?v=-5OYyAmcf_c&feature=g-upl http://www.cnngo.com/hong-kong/play/art-hk-walking-tour-hong-kong-art-fair-915176 http://issuu.com/elnfree/docs/balkon_2013_01 http://issuu.com/elnfree/docs/balkon_2012_06/31 http://mozgovilag.com/?p=4364 http://petertamashalasz.com/ [email protected]

LIGHT GLOBE

Selection of Light-Based Works 1999–2014 Exhibition of Péter Tamás Halász Opening: 10 October – 9 November 2014 Opening speech by: Endre Lehel Paksi Curator of the exhibition: Gábor Andrási Budapest Gallery, 1036 Budapest, Lajos utca 158. http://budapestgaleria.hu/_/exhibitions-2014-budapest-gallery/peter-tamas-halasz-light-globe/?lang =en

LIGHT GLOBE

Selection of Light-Based Works 1999–2014 Exhibition of Péter Tamás Halász Opening: 10 October – 9 November 2014 Opening speech by: Endre Lehel Paksi Curator of the exhibition: Gábor Andrási Budapest Gallery, 1036 Budapest, Lajos utca 158. http://budapestgaleria.hu/_/exhibitions-2014-budapest-gallery/peter-tamas-halasz-light-globe/?lang =en

LIGHT GLOBE

Selection of Light-Based Works 1999–2014 Exhibition of Péter Tamás Halász Opening: 10 October – 9 November 2014 Opening speech by: Endre Lehel Paksi Curator of the exhibition: Gábor Andrási Budapest Gallery, 1036 Budapest, Lajos utca 158. http://budapestgaleria.hu/_/exhibitions-2014-budapest-gallery/peter-tamas-halasz-light-globe/?lang =en

Iron globe, 2014 installation, 120x120x150 cm steel wire, halogen bulb, indoor plants Globe-shaped planter in the middle of a high-performance halogen bulbs. The bright light is projected on the environment of the globe shadow.

Supremacy (suprematist weapon), 2014 (photo: György Orbán) installation, 120x60x30 cm wood, bar Clamps, EUR pallet

Triptych, 2014 (photo: György Orbán)

installation, 3 pieces, 55x95x6 cm /p. EUR pallet, plexiglas, wood frame, LED strip, electronics

https://www.youtube.com/watch?v=3kiOviJsurw

Three window-shaped light-box, exploded EUR pallets "boarded". The decking read: KGB or RGB's. The random rhythm lights flashing and change the brightness.

Hot Tower I-II., 2009 hot plates with heatpipe based cooling systems For the components of recent computer technology (which are the bases for the computer information systems) the adequate cooling is essential. Nowadays the heatpipe based cooling is the most widespread in the world. In the project two hot- plates with cooling systems have been built with the help of Guntner AG, Tata (Gyula Domján) and the Department of Energetic Equipment and Systems, University of Technology (Sándor Könczöl). The hot-plates with heatpipe based cooling systems take the shapes of two skyscrapers in New York: the Empire State Building and the Chrysler Building. The cooling systems are heatpipe based, their capacity is enough to conduct the heat of the hot plates with the performance of 1,5 KW. Regarding their fundamental function, these monstrous cooling systems are pointless but their additional function, the conduction of the heat can be used up. The hot plate-coolers raise social concerns like damage environmental pollution, problems of the consumer society and the tension resulting from the unequal distribution of wealth.

Hot Tower I-II.,

2009

hot plates with heatpipe based cooling systems

Solution, 2012 installation, 8x2,2x1 m chain made of worn-out car tires

Piszkos Fény/ Dirty Light Exhibition of Péter Tamás Halász

Opening: 18 oktober 2012, 19h, Opening speech by: Fenyvesi Áron On view: until 16 november 2012 Acb Gallery, Budapest 1068 Király u. 76.

Wood Destroyer, 2012

heat & lightbox, 123x36x43 cm

a working wood-fired iron stove made of used engine block http://www.youtube.com/watch?v=S1YGwE3YLGk https://www.youtube.com/watch?v=-4rCq1Mef9I

The Promised Land, 2012 lightbox, 59x99x16,5 cm reflective and darkening films, mirrors, LED spots, LED strip, electric motors, PVC components

https://www.youtube.com/watch?v=404rYvg7VDU

Behind a glass covered with reflective and darkening films there are mirrors placed at an angle of 120 degrees. This produces a kaleidoscopic mirroring system. Behind the mirrors there are electric motors moving the parts made of PVC. The whole is built in a TV-shaped wooden box.

https://www.youtube.com/watch?v=8RFWRN4izbQ

Wind Plot, 2012 lightbox, 59x99x16,5 cm reflective and darkening films, mirrors, LED spots, electric motors, PVC components

Behind the glass backed with reflective and darkening films there are mirrors placed at an angle of 120 degrees. This produces a kaleidoscopic mirroring system. Behind the mirrors there are electric motors moving the parts made of PVC. The whole is built in a TV-shaped wooden box.

Energy Wood, 2012

lightbox, 59x99x16,5 cm reflective and darkening films, waterjet cut mirrors, fluorescent lamps

Behind a glass covered with reflexive and darkening films there are mirrors which are placed at an angle of 120 degrees. This produces a kaleidoscopic mirroring system. The mirrors are cut out in tree shape by waterjet, behind them fluorescent lamps are shining. The whole is built in a wooden box.

Infinite Power, 2012 granite station, 52x36x5 cm, 32,5x27, 5x10 cm Playstation 3 made of black granite

Gesamtkunstwerk 5.1, 2012

installation, 38x32x21 cm, 85x52,5x3 cm, (4x)80x25x15 cm Home cinema made of black granite

Granitelight (granite bulb), 2010 object, monolite granite, 6x6x10 cm,

The bulbs are lathe-turned and made of granite, they fit both for the European (E27) and American (A26) standards. Any bulb in a household can be replaced by them.

Alley, 2011 lightbox, 100x80x7 cm reflective and darkening films on waterjet cut glass, mirror, LED strip Between a tree-shaped glass mounted with reflective and darkening films and a mirror there is a LED strip. The whole is built in a special wooden box. The mirror tunnel multiplies the image of the light-sources which produces a spatial effect. The object, through a picturial ambivalence, represents the contradictory relation of the industrial and consumer society to the nature. The object uses up those materials which have a more and more important role in the creation of the artificial surroundings (the separation of the inner space and the outside). The artificial surroundings detach people from their natural environment and make them independent from the annual and daily cycle (by the artificial lighting systems). The ’Alley’ uses a technological metonymy and the metaphory of alley to represent the automatized artificiality of the contemporary urban surroundings.

Light Globe, 2011 lightbox, 100x100x7 cm reflective and darkening films on glass, mirror, flexible LED tube Between a round glass covered with reflective and darkening films and a semicircular mirror there is a flexible LED tube whose image is multiplied by the mirror tunnel. The mirrors are not parallel with the glass which produces the visual effect of a spatial hemisphere made of flexible LED tubes.

Light Tent, 2007

lightbox, 2 db, 126x35x6 cm/db. reflective and darkening films, mirrors, T8 fluorescent lamps

The object consists of two parts. Between a glass covered with reflective and darkening films and a mirror there is a fluorescent lamp whose image is multiplied by the mirror tunnel. The mirrors in the boxes are not parallel with the glass which produces an image of a tent made of fluorescent lamps.

Perpetual Spinner, 2012 lightbox, 2 pieces; 62x62x12 cm/p. reflective and darkening films, mirroring hemispheres, LED strip, worn-out car tires Behind a glass covered with reflective and darkening films there are mirroring hemispheres. The LED strips placed inside in circle are controlled by a 9-channel electronic system and a kaleidoscopic luminous effect is produced. The whole is built in worn-out car tires.

Partition_

Exhibition of Péter Tamás Halász and Péter Szarka Opening: 29 oktober 2009, 19h, On view: until 4 december 2009 Acb Gallery, Budapest 1068 Király u. 76.

Partition 1-2, 2008, 2009 Partition series, object, 53x33,5x20 cm, 60x20x20 cm Reliquary made of worn out computer components (motherboard, heatsink, etc.) in which there is a pendrive. The mirror tunnel multiplies the image of the pendrive.

Partition 6, 2010 Partition series, object, 60x38x21 cm Reliquary made of worn out computer components (motherboard, heatsink, etc.) in which there is a pendrive. The mirror tunnel multiplies the image of the pendrive.

Babel, 2009 object 45x20,5x20,5 cm Intel Atom N230, 13 GB HDD -mini ITX A castle-shaped reliquary made of worn computer components (motherboard, heatsink, etc.) in which a working computer can be found (mini ITX). The cooler flutters a silk lit by LEDs which produces a view similar to a flame.

https://www.youtube.com/watch?v=lZdeeEnEtw4

Monstrance 2, 2012 object, 69x28 x20 cm

Monstrance made of worn out computer components (motherboard, heatsinks etc.) In the monstrance there is a creditcard and is multiplied by the mirror tunnel (by using reflective film).

Monstrance 1, 2011 object, 45x17x17 cm

Monstrance made of worn computer components (motherboard, heatsinks etc). Inside the monstrance there is a SIM card which is multiplied by the mirror tunnel of reflective film.

Chalice 1, 2011

object, 33,5x21x21 cm sinks stb.). The inner side is polished and mirrors its surround.

Stealth Aircraft, First Form 3., 2008

installation, 160x700x500 cm plastic foil, wood, EUR pallet, a project with Gyula Domián

The top of the means of defense systems of the first world are the Stealth aircraft. The meaning of their invisibility is the increase of their hitting-power. The marginalized groups of the society are outside of its border and use the junk to build. Their colonies are outlaw and hidden- because nobody wants to notice them though they are visible. The modelling of one of the most effective weapon by the recycling technique of the homeless people presents a paradox: this society can make homeless the whole humanity.

First Form 1-2., 2006-2007

installation, 140x240x50 cm plastic foil, carton, wood, a project with Gyula Domián

Formula 1 is on of the biggest industries, the developing environment of car industry, where the cars are not used for any transport. The car manufacture and trade habving multinational interests are the most environmentally destructive industry among all the fake needs of the consumer society. The posession of a car, the private space of locomotion, provides the passenger or the luxury homeless with the security and familiarity of home. However, the social homeless sliding down to the most vulnerable layer of social networks is forced to give up their private space, excluded to the public transport space, most likely condemned to immobility. The homeless’undying desire for the private space embodies in tin shacks built of the junk of the society, excluded to the margins of it. The appereance of the speed on the forms can be seen first ont the vehicles that help people to change their place (see Virilio: The Aesthetic of Disappearance) The remaking of the formal specifity of the streamlined racing cars by the recycling technique of the homeless represent one of the basic paradox of our society.

Sun of a Beach, 2008, installation, 100x65x8,5cm From a disctance one can see a frame made of fluorescent lamp in a mirror tunnel; by approaching it a spotlight turns on giving light to the viewer. At the same time the fluorescent lamp turns off so the viewer see him- or herself in a mirror tunnel.

Real simulation

Exhibition of Péter Tamás Halász Real simulation is the reality of simulation – our everyday life in the total hegemony of the media. According to Baudrillard’s description of the representational principle of the consumer society the image does not have any relationship with reality, it is its own sheer simulacrum. The structures and objects of human environment, from the smallest to the largest ones, are mostly designed in CAD (Computer Aided Design) system. First the computerised 3D representation was modelled upon the material world, but now the material world is getting assimilated to the idiosyncratic universe of computer design. The two does not map each other but they get blurred in the play of modelling. The disembodied mathematical (structural) counterpart of the objects can always be retextured as you wish. Anything can be anything, anyone can be anyone.Péter Halász creates forms that reflect on the methods of computerized 3D modelling. His works exhibited in the Studio Gallery are exploring the question what role the surface-texture plays in the interpretation of an object, and how this meaning changes as the surface is replaced. Opening: 6 June 2006, 19h, Opening speech: Péter Fuchs On view: until 24 June 2006 Studio Gallery, Budapest 1053 Képíró u. 6.

Light Collector, 2006 installation, rear-view mirrors, reflector Nowadays the ecological crisis seems to indicate the limits of industrial increase. The motor industry manufacture more and more cars though the shortage of fuel is more and more ralistic. In the cities the endless stream of cars are common sight- noboy can build a city that could keep pace with the growth of manufacturing of cars. The more cars can be found on an area, the more important is the rear-view mirror which is an index of the relation to the other during driving a car . The sun/light concentrator made of rear-view mirrors recycles scrap and presents the paradox of the motor industry.

Barrels, 2006 installation, C print outdoor banner In the cultic computer game ’Half-Life 2’ an important element of the sceneries of the unpopulated cities are the barrells that are almost everywhere. In the space of the gallery the objects imitate the representation strategies of the 3D sceneries but highlight the strangeness that everything is prepared of two-dimensional surfaces. If we look at the unfolded textures it is as if a world would be skinned – this experience refers back to the strangeness of our familiar world.

Wooden Coat (Fakabát), 2005 object, 65x90x5 cm

wood pattern plastic foil

Trophy 3, 2007 object, 55x53x14 cm The’trophy’ is made of two models of pistol and is covered with a wood patterned film and is placed on an oval base. The recognition oscillates between the two readings.

Trophy 1-2, 2004 object, 55x46x14 cm, 55x55x14 cm The’trophy’ is made of two models of pistol and is covered with a wood patterned film and is placed on an oval base. The recognition oscillates between the two readings.

Out of Range

Exhibition of Péter Tamás Halász Opening: 15 June 2004, 19h, On view: until 11 July 2004 Óbudai Társaskör Gallery, Budapest

Out of Range, 2004 installation, 120x75x33 cm és 150x150x25 cm a pistol covered with reflective film, round glass plate, mirroring hemispheres, electronic system, engine of disco ball Behind a glass covered with reflective and darkening films there are mirroring hemispheres. The spotlights placed inside in circle are controlled by a 16-channel electronic system and a kaleidoscopic luminous effect is produced.

Highway, 1999/2010 object, 95x20x10 cm, 120x20x10 cm In front of four rear-view mirrors there is a glass plate on which reflective foil is mounted; between the mirrors and the plate there are 4 pairs of LEDs. The mirrors multiply the image of the LEDs. The expanded version of the object contains six rear view mirrors and was made in 2010.

Black View on White Walls, 1998

installation, camouflage industrial camera system

Ten enlargements of a photograph of a real camera have been placed – following the composition of Malevich’s Black Square – inside shallow aluminium and glass cases. "The black square on the white field was the first form in which nonobjective feeling came to be expressed. The square = feeling, the white field = the void beyond this feeling." (K. Malevich: The Non-Objective World) The final code: binary 0:1 – black square on a white field – is the building block of an intuitive universe – the final distinction. Dead line: all codes until now – the end time of the entire domain of the mirror stage and the symbolic order, in which everything disappears only to reappear again in the eternal present time of the loss of meaning. In the recoding – digitalization – everything loses its form, as the possibility of wholeness, it falls into its fundamental elements – digits, then to be built again and again, as the “cancerous metastasis of its base formula”. (Baudrillard) Fordította: Szegedy-Maszák Zsuzsanna