BaJóTa (Balázs József Tamás)

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Works at: Seoul Art Space_GeumCheon
Stays in: 2014
Genre: Sculpture/Installation

Marosvasarhely, Romania, 1982

2003-2009  MKE Hungarian Academy of Fine Arts, Budapest, sculptor department,  professors: Karmo Zoltan and Jovanovics Gyorgy
2004-2009  Hungarian Academy of Fine Arts, Budapest, pedagogic department
2007  Erasmus Foundation scholarship, Akademie der Bildenden Kunste in Nurnberg, ClausBury class.
2001-2003 UVT Academy of Fine Arts Timisoara, Romania, sculptor department, Szakats Bela class
1997-2001  Liceul de Arte Tg. Mures school, Romania, professors: Pal Peter, Gyarmathy Janos 

2013  Utopiatrap, Viltin Gallery, Budapest (H)
        Utopiatrap, KAIR, SOU Aurela Stodolu (SK)
         Derkovits - now, Kunsthalle, Budapest (H)
         Referral, amaTaR, AMA, Budapest (H)
2012  Make sure you bring some booze!, Parthenon-friz Terem, MKE, Budapest (H)
         The cell, Akvarium, Budapest / MODEM, Debrecen (H)
2011  Viltin Project, Viltin Gallery, Budapest (H)
         Speaks for itself - The FKSE annual exhibition, MNG (Hungarian National Gallery), Budapest (H)
         Amplitude, Reformed Church Samorin (SK)
         Social Bazaar, Studio Gallery, FKSE, Budapest (H)
2010  Placcc, Menekulesi utvonal, Budapest (H)
         Kiallitas, Studio Gallery, Budapest (H)
2009  Best of Diploma, MKE, Barcsay room, Budapest (H)
2007  Human Lights, Kunsthaus, Nurnberg (D)

2013  artist in residence, KAIR, Kosice, Slovakia 
2012  artist in residence, Meet Factory, Prague
2011  artist in residence, Kunstlerhaus, Salzburg

Awards and support
2013  Derkovits Gyula fine art scholarship
2011  NKA (National Cultural Foundation) creative sponsorship
2010  Communitas Foundation scholarship
2008  Semmelweis University, Doctor portraits
2008  Ludwig Foundation scholarship
2007  Erasmus Foundation scholarship

FKSE (Studio of Young Artists Association)
MAOE (Association of Hungarian Creative Artists)

Trap, 2011, wood, used oil, ceramics, 115 x 96 x 96 cm

THAT IS THAT2011, plaster, wood, polyester, acryl, 275 x 165 x 170 cm

cloud2005, polyester, acrylic paint, 44 x 68 x 31 cm

 hidden gun2007, book, 29 x 21 x 4, 24 x 16 x 4 cm

PRACTICALITY HABITS2012, wood, aluminium, steel, variable size

THE PRACTICAL SCULPTURE2009, aluminium, steel, variable size, 100 x 140 x 100 cm, 4 x 140 x 100 cm
THE PRACTICAL SCULPTURE2009, aluminium, steel, variable size, 100 x 140 x 100 cm, 4 x 140 x 100 cm

kicker2004, straw, 120 x 200 x 100 cm

An Artistic Way to Cope with the Environment
Park Soon Young, Curator(SeMA Nanji Residency of Art)

Bajóta (Balazs Jozsef Tamas) has worked based on the idea that his work has to be movable and free from any restriction of space. Since 2009 his works, including the <Practical Sculpture> series, have adopted a way of folding and unfolding to reflect this idea. Inspired by pop-up books, the series could be a solution to storage and transport problems installation artists face because it can be unfolded when exhibited and folded away after an exhibition without requiring any process of assembling or disassembling before and after exhibition. It can be said he is not only artistically creative but also creative in solving problems hard to solve to live as an artist. However, the way he has devised is not simply for easy storage and moving but derives from his interest in the environment. We can say that’s important.He is very interested in his surrounding environments, encompassing nature, language, and society. Each individual is encircled with such environments. Intellectualists see the environment as an object to be defined and usable whereas anti-intellectualists realize that the environment is inseparable from humans and cannot be an object since all including humans are elements composing the environment. What’s important is balance. As the environment is harmonic, each element has to maintain its balance at the border of action and reaction. Bajóta is an artist who is well aware of this. We can confirm this from the fact that the theme he puts importance on in his representative series, such as <Kraal>, <Jump>, and <Trap>, is the “border”. The environment stands for the border around the artist, a limit to overcome, and at the same time a space he has to harmonize with. He assumes an attitude to be in accord with and overcome his surroundings. His sculptural pieces conceived in the form of pop-up books reflect this attitude. He lays down several conditions for the continuation of this work: “I do not use readymades or waste articles; my work has to guarantee easy movement and storage; my work reacts to surrounding environments rather than being executed only in the studio; and I work on large pieces while using materials easy to treat”. He executed work meeting these conditions in May 2014 at the Seoul Art Space_Geumcheon. He wove together six apples trees he had purchased by intersecting them and executed a performance of holding them for six hours. Viewers could participate in the performance, holding them in lieu of the artist. He documented this on video and planted the trees in the backyard after the performance. Echoing the conditions the artist himself established, this work was sufficient to address issues of equilibrium, border, and his surroundings. I thought about my attitude toward our surroundings and balance in life when seeing the artist with a resolute look who added his strength to the trees supporting one another.