The Style is the Pillar Itself, Parthenon-Frieze,
Hungarian University of Fine Arts, Budapest
Stirring Still, Art Quarter Budapest Gallery, Budapest

Revealing Intuition – Immanence Catches Transcendence and Thereby Determines Himself, Óbudai Társaskör Galéria, Budapest

Au soi-męme, private studio, Budapest
au cours de / közben, LLPlatform, Budapest
Megjelenés / Appearance, acb Attachment, Budapest
elé / prê, Everybody Needs Art Viewing Space, Budapest

Logos, Tekhnos, Textos, Videos, Audios, Lajos, Budapest Gallery, Budapest

Vectors - Inscription on a future ancient skull II. New Budapest Gallery
The Blood is Red / The Patterns of Blood Neon Gallery, Budapest

Milksoup as a Forced Existentialist Metaphor Higgs Field Gallery, Budapest
Vectors - Inscription on a future ancient skull Miskolc Gallery Municipal Museum

Pecs Gallery M21, Pécs

Everything eats, everything is eaten
Trafo Gallery, Budapest
Ghost Trap
Neon Gallery, Budapest

Escape Attempt
Museum Kiscell - Municipal Picture Gallery Cordially
Flying Carpet
Videospace Gallery, Budapest

Anticipated Target Concepts
Vajda Lajos Studio, Szentendre
Constellation of Bones
Neon Gallery, Budapest
A Poem About Nothing
Liget Gallery, Budapest

Delusion with Chord Suite
Pixel Gallery, Millenáris, Budapest

The Phantom of the Museum
Vasarely Museum, Pécs
Schkitz #2
Irokéz, Szombathely

Lada Gallery, Berlin
Hunting Trip, Impex Gallery, Budapest

When Johnny Goes Marching Home, video installation for the 'Generally Believed' exhibition, Mongolischen Botschaft in Berlin, Berlin

Dr.Sample & Mr.Shooter,
Künstlerhaus Bethanien, Berlin
Summer Wine
MEMO, acb Gallery, Budapest

God speed, acb Gallery, Budapest

Turboreflex - Supercut, acb Gallery, Budapest

Oscillatory, Compensation, Dream, XXV Bienal de Sao Paulo
Supervision, Gallery Display, Praha
Then Nothing Else but the Buzzing of the Bees, RAM Gallery, Rotterdam
Things fall out now this way, now that, BBS, Budapest
Supervision, Galleria U, Helsinki

Obsessive Compulsive Disorder, Social Intercourse - 49. Biennale di Venezia, Hungarian Pavilion

The Carnival…, City Gallery, Szombathely
PSVMK Gallery, Győr (H)

6 pictures/ordo/c3/999, ICA - Institute of Contemporary Art, Dunaújváros (H)

Site Transitoire, Italian Insitute, Budapest
Monument or a bit of Masturbation, Knoll Gallery, Budapest

Gallery by Night (with Lang/Bauman) Studio Gallery, Budapest

Alibi Fashion, Studio Gallery, Budapest

The House of Alibi, Bartók 32 Gallery, Budapest

Logo, Mű-Terem Gallery, Budapest

Schkitz #1, Tűzoltó 72. Gallery, Budapest

6 Channels, Tűzoltó 72. Gallery, Budapest

Untitled, Újlak Cinema, Budapest
Untitled, Young Artists’ Club, Budapest

Resistance I., Bercsényi College, Budapest
Resistance II., private studio, Budapest

Untitled, Young Artists’ Club, Budapest

Megjelenés / Appearance
acb Attachment, Budapest
Appearance, 10 min

Tamás Komoróczky’s exhibition at acb Attachment is the second chapter in his series of four exhibitions. Entitled elé/prê, the first event was on view in May this year at the outdoor venue of ENA Viewing Space. The third chapter of the exhibition cycle is the installation au cours de, which will be realized in the frame of the LL Platform initiative, while the closing chapter of the series will take shape in a one-night show at the artist’s studio.

Each piece of the series has been inspired by the same idea in which a prominent role is given to the influential work by Jean-Paul Sartre, Being and Nothingness. The soundtrack of the video on display at acb Attachment is also composed of excerpts and fragments from the text of the aforementioned seminal phenomenological essay. The exhibition Appearance, however, is neither some footnote or illustration of a previous work, nor an elaboration, a more precise exposition or mere reiteration of the first exhibition elé/prê. It is an independent unit, a unique environment shaped by the space accommodating it.

In terms of their media, the pictures and objects on display at the exhibition – neon inscription, ceramic prints, and objects positioned as in an archaeological/museum set-up – are quotidian. Although their presence may seem random, they postulate an enigmatic order which transforms them into common elements of some event or manifestation. More direct references, such as the video mentioned above or the name of Hythlodeus, one of the key characters in Thomas More’ Utopia­, inscribed into one of the pseudo-archaeological objects, may serve as pointers. This sense of connection is further emphasized by the numbers placed everywhere like at a crime scene, seemingly offering a recommended route or defined chronological order, but in fact they represent only one of countless permutations.

Tamás Komoróczky (1963) graduated as a painter at the Hungarian Academy of Fine Arts in 1990, then took a postgraduate course at its Mural Department until 1992. He was a founding member of the Újlak Group. In 2001 he represented Hungary at the 49th Venice Biennale and in 2002 he participated at the São Paolo Biennale. His works can be found in a number of Hungarian private and public collections. He regularly exhibits in Hungary and abroad, most recently at the group exhibition Abstract Hungary of Künstlerhaus Graz.

Ferenc Margl