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Blanka Győri

Blanka Győri

Bereich: Bildende Kunst

© Blanka Győri

© Blanka Győri

© Blanka Győri

© Blanka Győri

© Blanka Győri

© Blanka Győri

© Blanka Győri

Key Facts




Bildende Kunst



Empfehlende Institution



Jänner 2020 - Februar 2020

1989, born in Budapest, Hungary, lives and works in Budapest


2010-2015 Hungarian University of Fine Arts
2013/2014 University of the Arts London, Chelsea College of Arts


2018 Dear Lars von Trier, Šopa Gallery, studio exhibition, Košice
2018 Preservation, Attempts, Konkoly-Thege Observatory, Budapest
2017 Stupidity sowing (with Máté Labus), Óbudai Társaskör Galllery, Budapest
2016 Portrait: running your hand over a face, Labor Gallery, Budapest
2016 I forget my face every day, Szatyor Art Space, Budapest


2019 Photobook. Asset, at Paperlust Photobook Fest, Galleria I!, Krakow
2019 What about them?, Brody Collection, Budapest
2018 Break Out 2. 0, Műtő project room, Budapest
2017 Way out to the city, Miskolc Gallery, Miskolc
2017 Déjá vu, Budapest Gallery, Budapest
2015 Aperitif, L’ Art Open Studios, Budapest
2015 Degree show, Hungarian University of Fine Arts
2015 Studio discourses, Godot Gallery, Budapest
2014 Exhibition of the applicants fro the Ludwig Stiftung,  Hungarian University of Fine Arts, Budapest
2014 Genome, Map, Picture, Artus Gallery, Budapest
2013 Ex-Ex, UAL, Chelsea College of Arts, London


2019 Dr. Kahán Éva Foundation’s residency, San Sano
2018 Košice Artist in Residence, Košice
2017 Artist in Residence Program at CEAAC, Strasbourg
2014 Kepesita Collection Art Award, nominee
2013 Erasmus Scholarship, London, Chelsea College of Arts


2018 Patreon, Christmas Art Market organized by the Studio of Young Artists Association
2018 Supermarket Stockholm Independent Art Fair


2016-2018 MŰTŐ project room
2018- Studio of Young Artists Association (SYAA)



Kibújás vagy bebújás? A medvék töprengése - apokrifonline.com (HUN)
the heart is. kérjük az ajtót besukni! (HUN/ENG)
A szabad tér hiánya - pagony.hu (HUN)


During the two months of the residency I would be working on an artist book consisting of fragments of texts, my own writings, parts of interviews, photos and drawings. The topic of the book is bodily experiences and body memory. In the last years I have learned the techniques of narrative interview. I interwieved nude models working at different drawing classes. In the process of this kind of in-depth interview the interviewee is asked to tell his/her life the way he/she experienced it. I only asked questions to help the other to speak as easily as it is possible, I didn’t suggest any linear approach or any topics to focus on.

In the book I would use parts of the interviews, those that are connected to working as a model and experiences from each models’ childhood that still affect the behaviour of the adult person. The story fragments will be mixed up with my own notes, drawings and theoretical texts reflecting on the body. Some drawings from anatomy class students would also be inculded.

Planning this book I was searching identity and self-narration, the methods that help us to create our own special life story, with a beginning and a certain logic that leads to our present state. I suggest that the feeling that we are in harmony with our place in the world or not is mainly based on bodily experiences. The dynamism of being present and losing presence as an adult is affected by our relations to our parents at an early age. Deepening my knowledge I searched for authors dealing with similar questions: Alice Miller (For Your Own Good), poems by Szilárd Borbély, Paul Ricœur (Oneself as Another), Bergson (Time and Free Will), Imre Kertész (Fiasco)


When I applied for the residency announced by Q21, I planned to work on an artist book containing drawings, photos, and fragments of an in-depth inteview I made with a nude model.  During my stay in Vienna I had time to start a research on identity and self-narration. I bought Fukuyama’s recently published book, ‘Identity’ which formed the way I was thinking about the subject. I re-read and watched some novels and movies which had great impact on me as a child, and was thinking about how I made unconscious analogues between the fictional characters and people of my real life. I read once again Alice Miller’s For Your Own Good and started to make some sketches. I spoke a lot with my boyfriend who was reading Dante’s Inferno at that time, and during the long skype calls I made some sketches of the structure of this space the way Dante described it.

I had the opportunity to practice German, I read Herztier from Herta Müller, who writes so precisely about how people living in authoritarian systems internalize power and hierarchical patterns into their intimate lives.

I was wandering around Vienna a lot and liked it more and more, the calmness of the city which  helped me to focus on my research. I enjoyed very much that I could visit some exhibitions several times. As I remember I went three times to the Dom Museum’s Family Matters exhibition, I saw the Alex Katz room at Albertina’s contemporary collection more than once and I could see some early works of Klee at Leopold Museum.

The Jewish Museum invited us as resident artists for a guided tour and we saw that the first object in the exhibition was a gun, owned illegally for a long time by the son of a Shoah survivor – as our guide told us, for defending his family in any case. It was surprising to see this in a museum, because I know people in Budapest, who are thinking very similarly.

I got to know some of the other resident artists and we went to openings and concerts together. At the end of my stay I got to know a curator and an artist residing in Vienna, it makes me feel whenever I will be in the city I will have some friends to connect with.

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