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, 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

Milksoup as a Forced Existentialist Metaphor

Milksoup as a Forced Existentialist Metaphor,
Higgs Field Gallery, Budapest

The term 'milksoup' got introduced in public speech after the article of Tamás Szonyei on the legal affairs in the Hungarian pop music scene was published (Magyar Narancs, 1999/14. Lawsuits in pop music. Who is it hissing to?) As a consequence, milksoup was taken up to be used to define a particular set up, namely when artists are seemingly backing out from a production, though their hands are tied due to a two-sided contract with the publishing company that forces them into staying & making. In this circumstance the only motive behind the coming out lies in the compelling legal situation and tends to forget what it really should be about: devotedness, intrinsic drive and value contribution. The product created under this pinch is subject to further controversy, like does a 40 minute long “A” sound qualify as an EP? And who is entitled to judge whether it is or not? A board of trustee? (Viz. musicians proved to be quite inventive when things start to be boiling, they played out “sidetracking” in various ways as reverbing the electric guitar, weighing on the synth, or recording basic drum rhythms etc.)

The thematic orientation of Tamás Komoróczky’s current exhibition offers itself up to be ranged in line with what he aptly termed as Alibi-series, a variety of actions and shows since 1996 (Alibi Sport, ~ Fashion, ~ Records or ~ Cinema Project). Now, with the implementation of the category 'milksoup' in the chain of life metaphors - the importance of the firm grounding of an act (=aliby) fades away. The middle course between doing and not-doing becomes crucial, the existential state of affairs that provokes a compromise of a non-action looking as action. No psychologizing, Komoróczky is rather inclined to test vital and prominently artistic positions. The issue in question can be paraphrased with the words taken from the Soul and form essay series of the young György Lukács: “Is it possible to be fair towards life and stylize its happenings as poems? And than -“art, likewise at the time of the old craftsman, is just an utterance of life as anything else” and “living in the arts comes with the same rights and obligations as any other - civil - activities”.

Milksoup - as a resourceful, still somewhat minimal-principled crossing out of a commission associates with double ending ethical stands when talking about artistic productions. On the one hand it relishes in the originality of the gesture, in which it hits upon the ever-seeking the new, macho moderism’s frenzing biodynamics. In this sense does it draw a line between the materialized world of permanence and orthodoxia or artistic canon and the unarticulatable, untrammelled life energies that have still not matched up with a form. The vivaciousness generated by the impulse of a one-time action, a ‘first- calling-it-by-it’s-name - that stands away from the routine of things - is primordial and exuberant like fresh milk.

The other approach preserves more detention towards the ergonomy of the gesture. What to do with a minimal rate of energy investment when a far-reaching maximum aspiring much further than a usual surplus value of any job is expected? This type of content “creation” finds its milksoup in the conditions of digital image editing with the operations of plagiarism, stealing, appropriation, transcribing or the simple copy paste button combination in the aesthetics since the neoavantgarde. According to Kenneth Goldsmith poet and anarchist, we do not need to write more, it is enough to manage the already existing pile of texts.

This latter position does not stand far from Komoróczky who is into meme theory and cultural virology. In the exhibition among others, Godard’s Alphaville occupies an absolute position and invites the artist to cannibalize its pretexts and denotations.

(Szilvi Német)