This is an art movement during which I have smuggled in 14 carat gold plated bronze roaches into the Tate Modern, Tate Britain, British Museum, MUMOK (Museum Moderner Kunst Stiftung Ludwig Wien), Hamburger Bahnhof, Centre Pompidou and Louvre making them part of current exhibition, and souvenirs (postcards, brooches, stickers, badges) into museum shops, fashion retail outlets as fake items for sale. This should bring the attention to a reverse situation, where an effective and valuable object will be smuggled in on the way in to the museum. The young artist gets into the sanctuary of visual arts like a cockroach. The roach as a carrier of the message is not a random choice, and naturally the used material itself has multiple symbolic values. The roach is one of the most disgusting insects, which is capable of getting inside anything, and also earned a doubled fame in public awareness by its imperishability. People treat the roach as a synonym for disgust because of the common repugnance it causes, but at the same time, as an insect which is capable of adapting the most extreme situations, it is a symbol of survival. Naturally, other insects from the history of art also act in a live picture about my work, for example the scarab from Egyptian culture, where it is showed as a godly symbol, and therefore it is mainly made of gold. But, for my ideas an insect of the opposite meaning was more suitable. This is why I chose the roach at the end. It is found anywhere in the World, considered everywhere as a pest and a source of infections, and exterminated anywhere possible. Opposite to this, the roaches in my creations go through multiple changes. Walking into the culture’s holy space, they turn to gold in the museums, which represent art, and this pushes the question of art. At this point the action is made classic and contemporary at the same time. The smuggling effect is “roachy” and reflects a contemporary approach, while in materials and workmanship it recalls of classic art pieces. Again, altering pieces of art. The spontaneous participation in museum exhibitions is not unprecedented in history of arts. Yet, one of the basically important principles of my actions is that I don’t want to better. That is why I put a great emphasis on boards keeping the museum’s walls unharmed, and the pieces of art have to be nicely designed, made from noble materials, so that the pieces of art which I put in the citadels of fine arts don’t only have an artistic value, but a real value too. It is the most important part of the project, that I smuggled artworks with a real value, I smuggled gold into the museums! In the given project I always design the table with the informations graphically, typographically and by shape, to fit the museum tables. Thank you for Adam Nemeth, Balint Nemeth, Csoka Zita, Eszter Monoki, Fanni Bisztriczky, Gabor Csongor Szigeti, Gabriella Palos, Ferdinand Jakab, Richard Kiss, Jean Terrenoire, Kristof Gajdo, Szentpetery Annamaria, Tatlin (Ferenc Gabor Gorog), Zsofia Kovi, Zsombor Kiss and Jozsef Tamas Balazs, Andrea Gombos the help, support, photos, videos, and programming.
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