Lives and works in Budapest, Hungary.
Adrian Kiss at Art+Text Budapest: anthropots
2012 BA (Honours) in Fine Art, Central Saint Martins College of Art and Design, London, UK
2009 Foundation Diploma in Art and Design, Central Saint Martins College of Art and Design, London, UK
SELECTED SOLO EXHIBITIONS
2017 Futura Gallery, Prague, CZ (forthcoming)
2017 Art + Text, Budapest, Hungary (forthcoming)
2015 Sunfucked, Horizont Galery, Budapest, Hungary
2015 Dawn, Trafó House of Contemporary Art, Budapest, Hungary (with Nik Timková)
2014 MAN 2, Makeup Gallery, Kosice, Slovakia
2014 MAN, Art Factory + ArtGuideEast, Budapest, Hungary
2013 Horizont from the panel house, A.P.A. Gallery, Budapest, Hungary
SELECTED GROUP EXHIBITIONS
2018 Orient, Kim?, Riga, Latvia (forthcoming),
2018 Orient, Bunkier Sztuki, Krakow, Poland (forthcoming),
2018 Orient, Bozar, Brussels, Belgium
2018 Tronc Mental, CAN / Centre d'art Neuchâtel, Neuchâtel, Switzerland
2017 Esterházy Art Award 2017, Ludwig Museum, Budapest, Hungary
2017 Abstract Hungary, Künstlerhaus, Graz, Austria
2016 Limbo Fever, Horizont Gallery, Budapest, Hungary
2016 Standing in front of objects, Deák Erika Gallery, Budapest, Hungary
2015 Esterházy Art Award 2015, Hungarian National Museum, Budapest, Hungary
2015 The Dys-Picture Generation, Art+Text Budapest, Budapest, Hungary
2015 Disfiguring, Kelenföld Power Plant, Boiler Hall III., Budapest, Hungary
2015 Community space, Miskolc Gallery, Miskolc, Hungary
2014 Haunting Monumentality III, Museum of Contemporary Art, Zagreb, Croatia
2013 Steinbach&Syer launch exhibition, Hoxton, London, U.K.
2013 Silwex Exhibition, Quaker Street, London, U.K.
2013 Ornamental Status III, Shoreditch, London, U.K.
2012 Art Grap Exhibition III, Hoxton, London, U.K.
2012 There is no plan, Central Saint Martins, London, U.K.
2011 at TBW, Trinity Buoy Wharf, London, U.K.
'My current work deals with picturing different shapes characterized with human, and mostly masculine properties; it is a project about form that explores portraying objects with anthropomorphic attributes.
I believe that when creating and depicting vases and such containers there is an unconscious or instinctual way that the creator of such objects embodies them with gender in spite of the fact that gender is a social construct. These very qualities made me interested in the ‘gender of objects’ and how this classification changes our perceptions of it.
By emphasizing specific, already existing attributes, I was able to entrust the object with customized human characteristics. These discarded scales of human properties often suggest a gender and by the use of common connotation the audience will make their own judgment of the portrayed abstract figures.
The labour in the project can be found in the selection of materials and shapes to be used. These are deliberate and include a research of their historical use, and its current functional and material value. Most relevant elements have been appropriated from fashion design, automotive design, sports equipment and pottery.
The 'problem' and the exciting part in the project can be found in the communication of the idea. The selection of the elements might be well developed, although its reconstruction has been done in an intuitive style resulting in an obscene and often childish language.
Tools of concept formation and cognitive learning were used during the process of making; the works present a number of ‘signs’ to create an image and for the viewer to find a self-initiated explanation of the artwork. When the mind makes a generalized assumption of the work, it extracts similarities from numerous examples and by this process simplifies the observed object. This process enables the audience to subtract the work to a few shapes, words or feelings allowing the formation of concept.' – Arian Kiss