Finally we have arrived to the day when the exhibition is ready and everything is prepared for opening, rather of a biased comment on the show as we were very parts of the preparation I rather would like to tell the activities which can be linked to the final output of the exhibition-planning/creation.
Preliminarly to the opening we were more concerned with the followings (simple WBS):
- find a place to exhibit
- invitation cards
- tags for the paintings
- installation of paintings/opening venue
- catering
- getting an artist to play on the opening
- invitation of (local)press
- writing speech for the opening ceremony
and ensure cosy atmosphere for the guests at the opening, taking visual documentation of the event(photos:).
As for the former expectations all the attandance, installation and management of the process went smooth and well-coordinated.
Sunday, 9 May 2010
Installation
In the Jókai Klub, which is the final location to the exhibition for Cornides Ágnes' paintings, a cosy atmosphere has welcomed us as we have aproached the local community centre of the XII.th district in a hilly-wooden area of the city. The location provides only in itself a pictorial sorroundings for the event.
Inside, there were two rooms available for exhibiting the works, each of them a fairly large space to be filled. Aproximatelly 80-100m2, with mostly unbroken wallspaces.
The concept was systhematic and thus periodic as well, bacuse the works were grouped from the artist's different periods and this meant a change in message and in the type of the works as well. From the introverted period trough memories the final and mature abstract art was available and used for the exhibition.
The rooms were well lit and lights were available on the ceiling and adjustabele to the walls troughout the entire space available on display, hooks and hanging rails were installed.
The hanging of the pictures were not that easiy though, because there were some works on ply-wood boards which could only be hanged with additional suport and nailing in the works themselves, but eventually it was possible to adjust them to the local hanging system. Less, we wold face the question of alternative sources for installation, such as tile adhesive which is a really lasting and even longer lasting experience at deinstallation;) Fortunatelly, neither the walls, nor the pictures were damged at the set up of the next day show:)
Inside, there were two rooms available for exhibiting the works, each of them a fairly large space to be filled. Aproximatelly 80-100m2, with mostly unbroken wallspaces.
The concept was systhematic and thus periodic as well, bacuse the works were grouped from the artist's different periods and this meant a change in message and in the type of the works as well. From the introverted period trough memories the final and mature abstract art was available and used for the exhibition.
The rooms were well lit and lights were available on the ceiling and adjustabele to the walls troughout the entire space available on display, hooks and hanging rails were installed.
The hanging of the pictures were not that easiy though, because there were some works on ply-wood boards which could only be hanged with additional suport and nailing in the works themselves, but eventually it was possible to adjust them to the local hanging system. Less, we wold face the question of alternative sources for installation, such as tile adhesive which is a really lasting and even longer lasting experience at deinstallation;) Fortunatelly, neither the walls, nor the pictures were damged at the set up of the next day show:)
Trafó
At first the name: Trafó sounds familiar to every student in Budapest, because I'm sure that who is out sometimes in the cultural or club life of Bp. and reads Exit or Pesti Est has seen ads for programmes there. But what is really beyond the name, is it only a place where people go out and some exhibitions are organised (as the common man (student) would think of this place).
Not really, indeed Trafó bares a historical past and could tell many stories if the walls didn't only had ears;)
After having abandoned the 9th district transformator-building because of the expansion of Budapest's electric network, quite some pioneers (mainly artists) thought that the rusty and shaggy transfrmator house, standing alone in one of the easy going and mainly labour-workers occupied area of the city, would give shelter and serve as a place both to live and create their artworks. Nearby the rental costs were low, so artists could afford to rent flats for living near to the spontaniously developped artistic centre.
Later on the spontanity has been transformed by the local government into a corporate effort to create an (alternative&contemporary) artistic centre for Budapest and for the 9th district.
In essence, the organisation of the international event: World Expo have given the chance for refurbishment and total renovation of the building. Thus Trafó was (re)born as a complex art-house representing the cultural life of Hungary and the Central European region as well.
As an absolute part of the art centre a theatre serves the publication of contemporary plays in ballet, experimental dancing etc. The ticket sales are brought online and school groups are involved in this sort of artistic niche.
Besides the theatre, there are rehearsal rooms located in the building for bands. The most known part of the building is the club, located in the basement which hosts various dance events and parties. Next to the club there is an exhbiton room, which has fostered an exhibit by minority artists at our visit showing the cultural differences, perceptions and their reflections on the current political and social changes.
All in all, with the kind presentation of the Trafo personell and the deep descreption of the local and non-local missions troughout the operational study it was a meaningful and educative experience.
Not really, indeed Trafó bares a historical past and could tell many stories if the walls didn't only had ears;)
After having abandoned the 9th district transformator-building because of the expansion of Budapest's electric network, quite some pioneers (mainly artists) thought that the rusty and shaggy transfrmator house, standing alone in one of the easy going and mainly labour-workers occupied area of the city, would give shelter and serve as a place both to live and create their artworks. Nearby the rental costs were low, so artists could afford to rent flats for living near to the spontaniously developped artistic centre.
Later on the spontanity has been transformed by the local government into a corporate effort to create an (alternative&contemporary) artistic centre for Budapest and for the 9th district.
In essence, the organisation of the international event: World Expo have given the chance for refurbishment and total renovation of the building. Thus Trafó was (re)born as a complex art-house representing the cultural life of Hungary and the Central European region as well.
As an absolute part of the art centre a theatre serves the publication of contemporary plays in ballet, experimental dancing etc. The ticket sales are brought online and school groups are involved in this sort of artistic niche.
Besides the theatre, there are rehearsal rooms located in the building for bands. The most known part of the building is the club, located in the basement which hosts various dance events and parties. Next to the club there is an exhbiton room, which has fostered an exhibit by minority artists at our visit showing the cultural differences, perceptions and their reflections on the current political and social changes.
All in all, with the kind presentation of the Trafo personell and the deep descreption of the local and non-local missions troughout the operational study it was a meaningful and educative experience.
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