2012–
installation, dimensions variable

“My work so far has been strongly permeated by a personal relationship to a specific place. The place is a house I live in, located in the middle of a small rural town, between the post office and the cemetery. I started working in its interior spaces about ten years ago. In this enclosed space, I confined my activities to a single room, disconnected myself from the outside world and began to examine everything through a reflective attitude. I built up an institution of self-observation. During these years I was both subject and object of observation. My observations were primarily about myself, about my daily life. How I live and how I can live in this room, alone. I understood observation as work, and I considered it possible to respond through work. I was engaged in a ceaseless work to know myself: this room. This working method soon became a program, I defined self-observation and the object-making that came from it as a way of life, and I experienced it as one big workflow (…) My work is a metaphor for the construction of perfect uselessness and superfluity, but it is also a concrete matter. It is a reaction to the mediatic and other exploitations that are taking place around me. To express my criticism I responded with a room filled to the brim, not with an invisible thought experiment, because I kept consuming the empty spaces, sucking this air away from myself. My laboratory was an experimental room to which I did not return to rest without a doing thing, but as a work experiment that could be measured in experience, an example of true self-creating, and a subsequent self-colonization, in which I perceive work as a gift to myself.” LB

Loránd Bögös is an artist from Debrecen, who lives and works in his grandfather’s house in Kisújszállás. He constantly recreates the furniture and objects of his house, mostly in one-to-one, real size, from wood, and even more so from the extremely cheap-looking wood-fibre, mainly by hand, with great precision. He is obsessed with recreating the objects he uses in his living spaces, filling the rooms with them. He responds to the effects of his life-experiences with objects and constructed situations. He is uprooted from the context of the objects he has created, narrows his own living space, replaces himself with his objects.

Yet Bögös’ art is not defined by the creation of objects, but by a form of protest through the form of he lives, which he does in solitude, not in public. He only experiences a sense of enclosure in exhibition situations—at the mercy of the authority of the external space—, when we measure his work with our eyes, scan his work, and at the same time his private sphere.