Antal Lakner
Born in 1966 – Budapest, Hungary
Lives and works in Budapest and Paris
2006 | Art in General, artist in residency, New York |
2004 | Drac Ile-de-France aide individuelle á la creation |
2004 | Le Recollets- Grant by Direction des Affaires Culturelles, Mairie de Paris |
2004 | Eötvös grant |
2002-2003 | Residency Cité Internatinale des Arts, Paris |
2001-2002 | Künstlerhaus Bethanien, International Studio Programme, Berlin |
2000 | D.C.A. – Gammel Dok, Artist in Residence Programme, Copenhagen |
1999-2002 | Derkovits prize |
1996 | In and out of touch, Artist in Residence Programme, London |
1993 | Scholarship, Koninklijke Academie van Beeldende Kunsten, The Hague |
1992-1995 | Post – Graduate in Painting, Hungarian Academy of Fine Arts, Budapest |
1988-1992 | Degree in Painting, Hungarian Academy of Fine Arts, Budapest |
2006 | INERS- Elevator stretching, Art in General, New York |
2005 | States of micro- and double gravity,Trafo Gallery, Budapest |
PASSIVE DRESS – habit de gravitation double, Galerie Frank, Paris | |
2004 | HER– Plankton class marine unit, MEO Contemporary Art Collection |
2002 | Art Mobile, Künstlerhaus Bethanien, Berlin |
2001 | INERS – Passive Working Devices, Art Mobile-Human Powered Biennale Vehicles Hungarian Pavilion & Giardini di Castello, XLIX. Venice Biennale |
2000 | EUROFARM, Hal Antwerpen |
1999 | HER – The Icelandic Army, Zenit Gallery, Budapest |
Altered states, Skuc Gallery, Ljubljana (with Attila Csörgô) | |
1998 | INERS – the power, Studio Gallery, Budapest |
1997 | UGAR, Neuer Berliner Kunstverein, Berlin (with Georg Winter) |
1994 | Bartók Travel, Bartók 32 Gallery, Budapest |
1993 | Pope Collection, Gallery ’56, Budapest |
Emmental Expedition, Studio Gallery, Budapest (with Georg Winter) |
2007 | 10th Triennale Kleinplastik, Fellbach |
Made in, made out, Projectroom, Berlin | |
Dorchester Festival, GB | |
Lost and found, Modem, Debrecen | |
2006 | 27th Sao Paulo Biennale, Brasil |
Lost and found, Kunsthalle Baden-Baden | |
Big City Lab, Art Forum Berlin | |
99 Év, Modem, Debrecen | |
Positioning - In the New Reality of Europe, Museum of Contemporary Art Tokyo | |
Techno-d, Institute of Contemporary Art, Dunaujvaros | |
Post_modellism, Kunsthall, Bergen | |
2005 | Art Forum – (with Galerie Frank), Berlin |
PEACE gerollt - euroPART, billboard project in public space, Vienna | |
Post_modellism, Krinzinger Projekte, Vienna | |
DOMICILE: Privé/Public, Musée d’Art Moderne, Saint-Etienne | |
Positioning - In the New Reality of Europe, National Museum of Art Osaka | |
2004 | Buy Sellf, Ateliers d'Artistes de la Ville de Marseille |
Passage d’Europe, Musée d’Art Moderne, Saint-Etienne | |
Open borders,Tri Postal, Lille | |
The new ten, Museum Küppersmühle, Duisburg | |
Szappanopera, Mûcsarnok, Budapest | |
Metro, Gallery Priestor,Bratislava | |
Breakthrough, Grote Kerk, The Hague | |
Errances, Le Carrosse, Paris | |
Call me Istanbul, ZKM Karlsruhe | |
Body Works, The Nicosia Municipal Arts Centre, Cyprus | |
Observatorium, Palais des arts, Dresden | |
Publikus, Desidea Studio, Budapest | |
2003 | Cruising Danubio, Comunidad de Madrid |
Hungary Unplugged, Cotthem Gallery, Brussel | |
Kaap Helder, Rijkswerf Willemsoord, Den Helder | |
Real utopia - Art in the Graz District Gries, Rotor, Graz | |
2002 | MANIFESTA 4, Frankfurt am Main |
Body Power / Power Play, Württembergischer Kunsverein, Stuttgart | |
September Horse, Künstlerhaus Bethanien, Berlin | |
Borderlife, Rhizom, Graz | |
Dévoler, Mücsarnok, Budapest | |
2001 | Parti pris, FRAC Languedoc-Roussillon, Montpellier |
Digitized bodies, Ludwig Museum, Budapest | |
Léger différé, Centre Régional d’Art Contemporain, Séte | |
2000 | Uncontrolled, Gallery North, Copenhagen |
Intuíció, innováció, invenció, Mûcsarnok, Budapest | |
After the Wall, Hamburger Bahnhof, Berlin | |
Cooperativ, Stadthaus Ulm | |
Und ab die Post, Postfuhramt, Berlin | |
1999 | Budapest – Berlin ’99, Akademie der Künste, Berlin |
Zeit spiel, IFA Gallery, Berlin | |
After the Wall, Museum of Modern Art, Stockholm | |
Public district, Usti nad Labem | |
Bloomsday , Karmeliterkloster, Frankfurt am Main | |
1998 | Gallery by Night ’98, Studio Gallery, Budapest |
Cartographers, Ernst Museum, Budapest | |
Observatory, Centre for Contemporary Art, Ujazdowski Castle, Warsaw | |
Stöd til stödvar, Living Art Museum, Reykjavik | |
Art Forum Berlin (with Knoll Gallery, Vienna) | |
1997 | SIC., Kiscelli Museum, Budapest |
5. International Istanbul Biennial, Istanbul | |
Porn, Liget Gallery, Budapest | |
1996 | Junge Szene Budapest, Galerie 5020. Salzburg |
Permutations and Combinations, Ballgame Hall, Prague | |
Millecentenárium, Bartók 32 Gallery, Budapest |
Antal Lakner
The machines in Antal Lakner’s INERS Passive Working Devices series transform seemingly meaningful human activity—the individual phases of repetitional production processes—into meaningless physical exertion, leisure activity and entertainment, whilst immaterialising work itself. The idea of buying a wall-painting workout machine and turning work into sport by painting a non-existent wall, sawing, or pushing a make-believe wheelbarrow is, of course, no more absurd than being the proud owner of an indoor bike or a rowing bench. However, the question arises just what exactly we are working on (or out) when sweating away on these reality-replacing, virtual machines? Obviously ourselves. The reason why we give ourselves up to the early-1960s creation of post-modern technological civilisation, the cult of physical fitness, is to reclaim everything that our bodies—lazy and alienated by over-consumption—have lost as a result of technological development and industrialisation.
Made specially for the 49th Venice Biennial (and for hire on the exhibition grounds), the Art Mobile—Human Powered Biennale Vehicle causes culture-consumption, entertainment, and seemingly effortless meandering to become physical exertion, and as a consequence it contributes to our experiencing the art and perception rituals of the Giardini di Castello as effective and practical use of means.
Antal Lakner
Passive Dress: double gravitation
Passive Dress by Antal Lakner looks like a spacesuit. And true enough, the suit comprises ergonomic weights that increase normal earth gravity by 150 to 200%. So wearing the Passive Dress is a considerable physical effort.
Says Antal Lakner, "the movements of a person wearing the suit become slower and more meditative." You have to focus on their body position and the basic movements. The envelope or shell hampers these basic movements. But it is also an opportunity to form new links with space, and new ways of occuying it.