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Tamás Kaszás / Anikó Loránt (Ex Artists Collective)

Maja and Reuben Fowkes: Why is it important, from an environmental point of view, to build bird houses and place them in the trees?

Tamás Kaszás: Certain bird species do nest in natural tree cavities. Woodpeckers can make a hole for themselves but they make a new hole every spring so other species (kind of) recycle these spaces. Because of the industrial-agro forestation there is much less old wood. Rotten and scooped out trees are not welcome at all in the human environment (such as in cities and around other settlements), often for safety reasons. This is why there are much fewer opportunities for many kinds of bird to brood. Placing birdhouses and feeder boxes around our garden or orchard is not only a help for the birds to reproduce themselves and survive the winter, but also has benefits for ourselves as well. More birds means better control of pests (worms, insects and rodents), and in this way they might be an important part of the natural balancing system in organic horticulture.

MRF: Your bird houses have a distinctive Bauhaus aesthetics, how did that come about?

TK: Different species need different birdhouses which have to be placed in different ways. There are many studies on this and the different standards are available for amateur builders as well. My birdhouses are based on these scientific standards determining the measurement of the inner space and the size and shape of the entrance. So I can play with the rest and deal with the quality of the available recycled materials I always use. To be economic with materials and time really fits with the constructivist (or Bauhaus-like) style. Despite their geometric structure, it is possible to build organic shapes through the way they are constructed. Finally I like to imagine a tribal culture which uses modernistic aesthetics. I can see these birdhouses like African masks, or other cultic objects. And I also dream about a whole Bauhaus animal farm...

MRF: How does building dwellings for birds connect to your earlier practice involving creating or thematising shelters in gallery settings?

TK: I never thought about this but it is true: many of my own and our joint projects deal with shelters or “home-made homes”. What I prefer in the birdhouse is that after a show they can be placed outside so they can really make sense in reality out of the alienated white cube.

MRF: The birds in your drawings appear as very fragile creatures that need nursing and care, while at the same time they are indistinguishably interconnected with humans, how does this reflect your ecological vision of the world?

Anikó Loránt: My characters are rather mythical creatures of a personal world rather than eco-actors. Still they are connected to my relation with nature in similar way to that found in many different traditional tribal cultures, where we can find motives that can be interpreted as unconscious environmentalism. Something that we just take as alienated knowledge was basic for peoples a long time ago, just by being in harmony with nature.

MRF: How has moving out of the city affected your relationship to nature and wildlife?

AL: Nature was always important for both of us, but we grew up and lived for a long period in an urban environment, so we could be only occasional visitors to nature. Although we don’t live in a deep forest or on a high mountain, nature is still part of everyday life. We can observe its creatures day by day and continuously learn small things. We also collect goods from nature more regularly. This way we are rather part of it. It is good to see our children learning fast and unconsciously things that we started to learn from books before.


Tamás Kaszás and Anikó Loránt
Szárnyas létem ott susog, madár lábon futni fog, 2013

ex-artist's collective
Loránt Anikó and Tamás Kaszás

started to work toghether in 2003. The collaboration named ex-artists' collective since 2010.

Live in Szigetmonostor (Hungary)

Born in 1977.Székesfehérvár / 1976 Dunaújváros (Hungary)

Hungarian Academy of Fine Arts, Intermedia Departement 1998-2004 / 1997-2003

2008-10 / 2005-07 The Derkovics Gyula Grant of the Hungarian State

Selected collaborative participation on exhibitions:
2013.06. Stúdió Galéria, Budapest Itt jön a néptudomány (solo show)
2013.03. Paksi Képtár, Paks (H) – Konceptualizmus ma
2012.10. Muzeum Sztuki, Lodz (PL) – Untimely Stories
2012.06. Onomatopee, Eindhoven – WHO TOLD YOU SO?! #2 Truth vs. Organisation
2011.09. 12th Istanbul Biennial – Untitled,
2011.03. SMAK, Gent (B) – Joy and Disaster
2007.11. Liget Galéria, Budapest – Erősebb-e a vízesés nélküli.. (solo show)
2007.08. Collegium Hungaricum, Berlin – Plusz; Kapitalistische Freundschaft
2007.06. Műcsarnok / Kunsthalle, Budapest – The Projection Project: Budapest episode (as June 21 Collective)
2007.02. ICA, Dunaújváros (H) – 1/4 Hungarian
2006.06. SPACE, London – The Sweetest Dream -unity and dissonance in Europe
2005.09. Liget Galéria, Budapest – Shelter of hope, (solo show)
2004.12. W139, Amsterdam – Traveling without moving
2004.02. Pelikán Galéria, Székesfehérvár (H) – Rather go to the future (solo show)
2003.08. Stúdió Galéria, Budapest – Do it well!, A Children squat model (solo show)






copyright 2005-13