2017
elé / prê, Everybody Needs Art Viewing Space, Budapest

2016
Logos, Tekhnos, Textos, Videos, Audios, Lajos, Budapest Gallery, Budapest

2015
Vectors - Inscription on a future ancient skull II. New Budapest Gallery
The Blood is Red / The Patterns of Blood Neon Gallery, Budapest

2014
Milksoup as a Forced Existentialist Metaphor Higgs Field Gallery, Budapest
Vectors - Inscription on a future ancient skull Miskolc Gallery Municipal Museum

2013
Occasion
Pecs Gallery M21, Pécs

2012
Everything eats, everything is eaten
Trafo Gallery, Budapest
Ghost Trap
Neon Gallery, Budapest

2011
Escape Attempt
Museum Kiscell - Municipal Picture Gallery Cordially
Flying Carpet
Videospace Gallery, Budapest

2010
Anticipated Target Concepts
Vajda Lajos Studio, Szentendre
Constellation of Bones
Neon Gallery, Budapest
A Poem About Nothing
Liget Gallery, Budapest

2009
Delusion with Chord Suite
Pixel Gallery, Millenáris, Budapest

2008
The Phantom of the Museum
Vasarely Museum, Pécs
Schkitz #2
Irokéz, Szombathely

2007
Recorded,
Lada Gallery, Berlin
Hunting Trip, Impex Gallery, Budapest

2006
When Johnny Goes Marching Home, video installation for the 'Generally Believed' exhibition, Mongolischen Botschaft in Berlin, Berlin

2005
Dr.Sample & Mr.Shooter,
Künstlerhaus Bethanien, Berlin
Summer Wine
MEMO, acb Gallery, Budapest

2004
God speed, acb Gallery, Budapest

2003
Turboreflex - Supercut, acb Gallery, Budapest

2002
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

2001
Obsessive Compulsive Disorder, Social Intercourse - 49. Biennale di Venezia, Hungarian Pavilion

2000
The Carnival…, City Gallery, Szombathely
PSVMK Gallery, Győr (H)

1999
6 pictures/ordo/c3/999, ICA - Institute of Contemporary Art, Dunaújváros (H)

1998
Site Transitoire, Italian Insitute, Budapest
Monument or a bit of Masturbation, Knoll Gallery, Budapest

1997
Gallery by Night (with Lang/Bauman) Studio Gallery, Budapest

1996
Alibi Fashion, Studio Gallery, Budapest

1995
The House of Alibi, Bartók 32 Gallery, Budapest

1994
Logo, Mű-Terem Gallery, Budapest

1993
Schkitz #1, Tűzoltó 72. Gallery, Budapest

1991
6 Channels, Tűzoltó 72. Gallery, Budapest

1990
Untitled, Újlak Cinema, Budapest
Untitled, Young Artists’ Club, Budapest

1989
Resistance I., Bercsényi College, Budapest
Resistance II., private studio, Budapest

1987
Untitled, Young Artists’ Club, Budapest

everything eats, everything is eaten
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Everything eats, everything is eaten
 

Tamás Komoróczky’s latest exhibition consists of a complex environment devised for the entire space of Trafó Gallery, in which various installation elements form a coherent, organic unity. Komoróczky’s art which doesn’t shy away from asking fundamental metaphysical questions is equally analytical and research-oriented, as well as playfull, imaginative and experimental. The exhibition is another chapter in the latest artistic period of Komoróczky, based on reflections on the research of memetics, which began with his exhibition entitled Poem About Nothing in 2010.

„Memetics is a proto-science based upon the theory of Richard Dawkins from 1976. Memetics is a combination of the Greek notion of the mimesis and genetics. According to Dawkins’ theory every person and being contains more ten-thousands of small information containers (memes), which try to replicate and to reproduce themselves (…) Human conscience for meme-tics is a constellation of constantly changing memes which inhabit the brain. (…) The base of the universe according to memetics is copying, relatively loose copying which interprets also evolution.” (source: wikipedia)
Although memetics is really interesting from a cultural point of view, as religion, fashion, trends and art can be also interpreted on this theoretical base with the tough and stubborn memes which try to replicate themselves through many generations.

Komoróczky in his exhibition mixes memetics with the thesis „everything eats, everything is eaten” which occurred to the influential Greek-Armenian mystic thinker G.I. Gurdjieff in the early years of the 20th century. According to Gurdjieff – who influenced such artists as Frank Lloayd Wright and Peter Brook - every being in the universe reciprocally sustains another, and this isn’t merely a biological or bodily, but also a psychological metaphor. Thus the exhibition’s central issue is what are we feeding with our behavior, thoughts and emotions? What is feeding upon us?

Komoróczky who is active in the field of absolute-absurdity built an ethereal environment in the gallery space with his works. His pieces include the neon-lightning of the space, the many post-minimal objects, and the Latin translation of „everything eats, everything is eaten” neon-sign. Although every item and object is equal in relevance in the gallery space, the works create special rhythms as the video, where Beelzebub teaches the replicator, or the two-dimensional panels which are sometimes pageants, sometimes bad-drawings, sometimes network constructivist paintings, or the bone sculpture which is special because the artist ate it all.
Komoróczky’s art which contains an incredible amount of humour also researches the sculptural aspects of pasta, and creates a confession-conference for the dead parrot and the replicator.

Tamás Komoróczky is one of the founding members of the Újlak Group, which prooved to be one of the most influental formations in Hungary in the early ’90s. Komoróczky exhibited at the Hungarian Pavilion of the Venice Biennale in 2001, previously in 1993 in Art in General, New York, and in 2005 in the Ludwig Museum, Köln. His latest circle of exhibitions after years spent with work in Berlin contains a large scale solo show at Kiscelli Múzeum: Escape Attempt, and other exhibitions in Liget Gallery, Videospace Gallery and Neon Gallery in Budapest.