| 2001 in facts and images |
Transit
Millenium Park
Budapest 28 - 30 December 2001
The Corner in My Mind
Thanks to: Julia Velvet
Golden Cage
Centre Culturel Balavoine
Arques, 7 - 21 December 2001
Golden Cage
Thanks to: Céline, Fabienne Brioudes, Alain Bultez
Surprise
Institute of Contemporary Arts
Dunaújváros
Smoking Room
Thanks to: Balázs Beöthy
frames'games
Collegium Hungaricum
Berlin 15 November - 15 December 2001
(with Hajnal Németh and Gyula Várnai)
The Corner in My Mind, Golden Cage, Divers (double)
Thanks to: György Fehéri, Zoltán Ádám, Caspar Stracke, Denis Stuart Rose, Inge Schöbel
Compatibility
ZOO Galerie
Nantes 8 - 20 September 2001
Divers (double)
Thanks to: Rudolf Pacsika
Service
Műcsarnok
Budapest 6 September - 4 October 2001
The Stage
Thanks to: Judit Angel, Zoltán Czipó
Territorios Habitables (solo)
Abisal
Bilbao 24 July - 4 August 2001
Bilbao, Golden Cage
Thanks to: Beatrix Silva Uribarri, Jesus Pueyo, Esteban López
Elsewhere
Goethe Institute
Budapest 20 March - 7 April 2001
(with Caspar Stracke and Jörn Zehe)
Press review
Golden Cage
Thanks to: Caspar Stracke, Frank Werner, Dénes Jakóts
Hungarian Sculpture (Szobrászaton innen és túl)
Műcsarnok
Budapest 8 February - 18 March 2001
Virtuality Machine 1.0
Thanks to: Péter Orosz
Short Stories
Budapest Gallery, Lajos Street exhibition space 8 February - 18 March 2001
Press review
The Corner in My Mind
Thanks to: József Készman
| Selected press reviews |
Anikó Erdősi
Balkon, Budapest, April 2001
Here, Elsewhere
(...) The projected surface is filled with the bigger than lifesize figure of a dancing man (Golden Cage). The dancer is the artist himself, EIKE, who has been living and working in Budapest for ten years. His moving body is permanently touching all sides of the dark frame. The dance is rather slow at the beginning, but the choreography gradually accelerates. The body, depending on its position, stretches vertically or grows wider, sometimes even getting stuck within the frame. Our experience concerning the 3 dimensions of the everyday life does not help, we witness a new dimension, yet unkown to our senses. Is it possible that the virtual space is regulated by different spatial rules? The real spatial presence of the frame is being confronted with the space created only in and by our mind. The importance of the frame is stressed, as the spectacle never exceeds it, and keeps being continuously in touch with it from the inner side. As if the picture did not exist without the frame. Indeed, frames determine the pictures for us, although we rarely notice them, concentrating only on the content. Frame, like a window opening to nature and world, is an ancient topos of art, which has never lost its validity through years of time. Even the new media, television, video and computer have not denied this traditional form. The new, strange dimension, in which EIKE is dancing, opens a window on a yet unknown, maybe only virtually existing world. In a previous work (Dancing Place) EIKE has already dealt with the problem of the frame; in that case the moving frame adapted itself to the position of the dancer. Now the frame is fixed, as if it wanted to regulate the movement of the body, however, the body, pursued by the desire to express itself, looks for alternative spaces. Dance is not only the most natural way of human expression, but the means of experiencing the space at the same time. The wooden frame mounted on the wall is powerless against this unknown dimension, and the artist can continue his released, extatic dance.
Elsewhere, Goethe Institute
László Hemrik
Új Művészet, Budapest, May 2001
(Short) story-telling – or: we are outdoors if the weather is great
(...) EIKE shows a really new possibility of story-telling in his short video loop The Corner in My Mind (2000). The visiter stands in the middle of the room, two monitors are placed in two corners of the room. On each the same enterieur is shown, that is taken by a continously revolving camera, played with a small time delay. A man and a woman "intercourse", maintain in relation to each other". Our glance snap from one camera to the other without volition. It seems like the film surrounds us, and this in a very sensible way.
Short Stories, Budapest Gallery