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Márton Orosz —Residencies |  NTU CCA Singapore
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Curator-in-residence

Committed to supporting artists, curators, and researchers by offering them time and space to pursue their research without the pressure of deadlines and production commitments, the Residencies Programme values the open-ended nature of artistic research and embraces multiform expressions of creative enquiry. Aiming to facilitate the production of knowledge, this studio-based programme is dedicated to established and emerging artists and serves as platform for critical exchange in Southeast Asia. The Residencies Programme offers a wide spectrum of programmes aimed at sharing the process of artistic research with the public - Residencies OPEN / Studio Sessions / Insights, which range from open studios, artists’ talks, conversations, performances, and screenings. The Residencies Programme unfolds through annual cycles and runs by nomination only. Every year, a rotating pool of curators and arts professionals from all over the world is invited to nominate two artists for the residency. The nominated artists are subsequently invited to submit a research proposal along with their portfolio and CV. Ultimately, the Residencies Committee, an international panel of experts, reviews the submitted materials and designates the artists who are awarded the residency.

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Márton Orosz

Residency period

1 February – 7 February 2017

About

Márton Orosz (b. 1979, Hungary) is Curator of the Collection of Photography and Media Arts at the Museum of Fine Arts and the Acting Director of the Vasarely Museum both in in Budapest, Hungary. He has recently curated Hungarian Artists and the Computer (2016), Time Landscape. Alan Sonfist and the Birth of Land Art (2014), and Film Experiments Brought to Light (2014).

 

He earned his PhD in Art History at the Eötvös Loránd University in Budapest. He has been Terra Fellow at Smithsonian American Art Museum in Washington D.C., United States, and György Kepes Fellow for Advanced Studies and Transdisciplinary Research at MIT, Cambridge, United States. His publications range across the history of photography, film, and collecting. His essay on Gyorgy Kepes’ Polaroid experiments appeared in AR – Artistic Research (Walther König, 2013). His study on the 1930s European abstract animated film industry was published in Regarding the Popular. Modernism, the Avant-Garde and High and Low Culture (De Gruyter, 2011).

Focus

While in residence Márton Orosz will further his research on György Kepes, the Hungarian-born artist, designer, educator and theorist who founded the Center for Advanced Visual Studies (CAVS) at the Massachusetts Institute of Technology (MIT) in 1967 as a “brainstorming laboratory” for artists and scientists to bridge the gap between art and science and address the social responsibility of design. He will explore the trans-regional connections of Kepes’ theories in Southeast Asia to shed light on the values shared by painters, designers, and architects who came into contact with Kepes and maintained a similar interest in the ecological consciousness and art’s capacity to trigger social transformations. Orosz plans to interview Choy Weng Yang, a seminal figure in the Singaporean art scene who visited Kepes in 1973, and to conduct archival research at the National Library and at the National Gallery Singapore.

Public programmes

Residencies Insights: György Kepes and the Agency of Interthinking. MIT’s Center for Advanced Visual Studies as the Gatekeeper of a Universal Utopia. Lecture by Márton Orosz (Hungary/Germany), Curator-in-Residence
3 Feb 2017, Fri 07:30 PM - 09:00 PM

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Márton Orosz’s lecture will address the holistic and concept-oriented approach of György Kepes and his understanding of art’s capacity to foster social transformation as a collaborative effort. A painter, designer, photographer, urban planner, curator, art theorist, editor, and educator, Kepes established the Center for Advanced Visual Studies (CAVS) at MIT, in 1967, as a think-tank for artistic agency. Orosz will discuss his visionary programme and utopian project to reconcile the “two cultures” in the Cybernetic Age, revealing some of the Center’s lesser known visual practices that aspired to reach a higher synthesis of human integrity by exploring the relationship between the media and the senses. He will also map out the trans-regional circulation of Kepes’s ideas on the integration of art, science and technology, positioning Southeast Asia as a significant catalyst of Kepes’s legacy.