Nefertiti Project

LITTLE WARSAW | THE BODY OF NEFERTITI
LITTLE WARSAW | THE BODY OF NEFERTITI
LITTLE WARSAW | THE BODY OF NEFERTITI
PREPARATION PROCESS
Presentations during the preparation process
Negotiations, theoretical elaboration
FEBRUARY 13, 2003
Little Warsaw at the American University, Cairo
APRIL 28, 2003
Zamek Ujazdowsky, Center for Contemporary Art, Warsaw
OCTOBER 2002
The Body of Nefertiti is a project of Little Warsaw for the Hungarian
Pavilion at the 50th Venice Biennale.
APRIL 26, 2003
Little Warsaw at Art Moscow, Moscow
MAY 06, 2003
IUAV University, dADI, Venice
Professor Dietrich Wildung, director of the Ägyptisches Museum und
Papyrussamlung, Berlin with the artists of Little Warsaw, András Gálik
and Bálint Havas in front of the bust, and in consultation about the
proposal at an office in the Museum.
FEBRUARY 2003
Professor Wildung visits Budapest.
Meeting in the Divatcsarnok’s Lotz Hall with the artists, the curator,
Zsolt Petrányi and Dr. Ulrich Luft, Egyptologist, ELTE University, Budapest
Presentation of the first small-scale version of the sculpture.
MAY 07, 2003
O’artoteca, Milan,
MAY 09, 2003
Fondazione Sandretto Re Rebaudengo, Torino
MAY 22, 2003
Bürofriedrich, Berlin
The artists with cultural historian and consultant on the project
Eszter Babarczy and the curator at the public presentation of the
project in Bürofriedrich, Berlin.
An original size plaster copy of the Nefertiti bust was sent to
Budapest to serve as a model for the body in progress.
“The [Little Warsaw] became interested in popular and historical
symbols, the chance to revitalize them, and put them in
contemporary contexts. With such gestures Little Warsaw tries to
establish a connection between the present and the temporality of art,
as well as its potential for mediation, to get forms that ensure the
references of the work are comprehensible to more than a selected
minority.”
(Petrányi, 2003)
“This statue is one of the important sources of European cultural
history and sculpture, even though it was created outside the
continent. Its outsider position adds further meaning to the project of
completing: this 3000 years old model of beauty has been
contributing, ever since it was found and put on public display, to the
European ideal of beauty… the artists who seek connections between
the past and the present at the down of a new millennium take up a
new position, a lookout point and open, non-Eurocentric system.”
(Petrányi, 2003)
Professor Dietrich Wildung
speaking at the first public presentation in Berlin.
MARCH 2003
The beewax model of the body under construction in the building of
Divatcsarnok, which functioned as a sculptor-atelier and a public
forum for discussions and exhibitions related to the project.
“Shortly after we contacted the Berlin museum, it became obvious
that the Nefertiti bust could not be moved from its present location.
Little Warsaw’s original intention of presenting the entire
configuration in the Hungarian Pavilion failed because of culturalpolitical problems of ownership.”
(Petrányi, 2003)
“Wildung admitted he was baffled at first when the two sculptors
came to him with the idea of videotaping the bust sitting on the
shoulders of their nude statue. But he said he decided it would be in
line with the museum’s explorations of the influence of ancient art on
modern artists.”
Bryson, Donna: Egypt decries ancient bust on modern nude.
AP, 18 June, 2003
LITTLE WARSAW | THE BODY OF NEFERTITI
LITTLE WARSAW | THE BODY OF NEFERTITI
UNIFICATION
OF THE BODY AND THE HEAD
MAY 26, 2003
ÄGYPTISCHES MUSEUM UND PAPYRUSSAMMLUNG
BERLIN–CHARLOTTENBURG
Bust of Queen Nefertiti
1340 B.C. from Thutmose’s workshop
painted limestone, plaster, crystal, wax
49 cm height
property of Staatliche Museen zu Berlin
Ägyptisches Museum und Papyrussammlung
ÄMP Inv. Nr. 21300
Little Warsaw | The Body of Nefertiti, 2003
life-size bronze, 140 x 37 x 25 cm
in the private collection of Béla Horváth, Budapest
“This is the phase in which the work is legitimated, the step that
distinguishes creation from mere complementation, a symbolic
‘performance’ that validates the idea of a statue existing in two parts,
in two places, by the act of joining these two parts.”
(Petrányi, 2003)
“The bronze torso actually met the Berlin bust only for a short
moment,” Mr. Wildung said in a statement. “On May 26 the [torso]
was united with the bust just for a few hours [in an] extraordinary
moment of pure silence, without the public, exclusivly under the eyes
of the artists, the curator and the director of the Egyptian Museum.”
Vasagar, Jeevan: Egypt angered at artists’ use of Nefertiti bust.
the Guardian June 12, 2003
“The idea was to create a headless statue that alludes to the Nefertiti
but is a distinct and separate work of art, Mr. Wildung said. The
headless sculpture in Venice holds the memory of the earlier
encounter with the Egyptian head in Berlin.”
Eakin, Hugh: Nefertiti's Bust Gets a Body, Offending Egyptians.
New York Times, June 21, 2003
“The film provides an acute sense of the work being a freestanding
sculpture, and of its complexity; it reveals more about the position of
the assembled work than photos taken from selected angles.”
(Petrányi, 2003)
The unification process was recorded on beta-video and 16 mm color film.
“Though the feel of ‘permanence’ made the bronze cast lose the
quality, the body remained a shell, with thin covering. The female
body thus became a vessel, which, in spite of metal, conveys a
message of fragility.”
(Petrányi, 2003)
“Gunter Dreyer, director of the German Archaeological Institute,
pointed out that the bronze torso was not actually nude but depicted
wearing a gown like the ancient statue of Nefertiti. Dreyer said the
institute was not involved in the matter, its only connection with the
Berlin Museum being scientific research, rather than ‘science fiction’.
Germany is ‘very aware of the value of the Nefertiti bust, which it has
always protected and preserved over the last century’, Dreyer said.”
Nevine El-Aref: Ancient beauty sabotaged.
Al-Ahram Weekly, June 12, 2003, Issue No. 642
“The most controversial of all exhibitions this year was that of the
painted bust of the beautiful Queen Nefertiti, which has been on
display in solitary, stunningly dramatic surroundings in the Egyptian
National Museum in Berlin since it was out of Egypt in 1924. The
outcry was caused by the decision to allow the bust to be fused to a
contemporary bronze body created by two Hungarian artists. The
result was an outpouring of Egyptian and international anger. The
deed was described by Egypt's culture minister Farouk Hosni as an
act of sabotage and a reckless, irresponsible and unethical action.
Dietrich Wildung, the Berlin museum's director, on the other hand,
claimed that the placement of Nefertiti's bust atop a bronze torso was
but a temporary promotional exercise and that the two Hungarian
artists who sculpted the body meant it as an imaginative model of
Nefertiti's physical body, which, by itself, would be exhibited
temporarily at the Venice Biennale.”
Nevine El-Aref: A bountiful year,
Al-Ahram Weekly, 25–31 December, 2003, Issue No. 670
“The exquisite painted limestone bust has been on display in solitary,
stunningly dramatic surroundings at the museum ever since. Two
years ago, however, in a highly curious curatorial decision, two
Hungarian artists were allowed to fuse the ancient bust onto a
contemporary bronze-cast body for a few hours in an attempt to
visualise how Nefertiti's body might have looked like.”
Nevine El-Aref: Antiquities wish list
Al-Ahram Weekly, 14–20 July 2005, Issue No. 751
“The short journey from its isolation in a glass case into the world of
contemporary art effected a dramatic set of visual images. For a brief
moment in the Egyptian Museum, Little Warsaw created a brilliant,
complex installation piece: while mounted on a contemporary torso,
the bust is reflected in the glass case where it normally resides in
solitary confinement. Simultaneously seeing the bust as an active
participant in a 21st century work of art and as a reflection in the case
that segregates it from other objects and viewers raises a host of
serious questions. It also demonstrates how Little Warsaw breathed
life into the bust by the simple act of releasing it from a glass cage
and joining it to an elegant body. In short, Little Warsaw’s
appropriation and recontextualization of the bust, transforming it
from an isolated icon to an integral part of a new work of art,
provided an opportunity for the bust to convey new meanings
4,000 years after Thutmose created it.”
Stephen Urice: The Beautiful One Has Come – To Stay, (unpublished
conference paper, with generous permission of the author)
LITTLE WARSAW | THE BODY OF NEFERTITI
LITTLE WARSAW | THE BODY OF NEFERTITI
“recording the bust sitting ont he shoulders of their nude statue is in
line with the museum’s exploration s of the influence of ancient art
on modern artists…”
“dialogue with contemporary art”
Dietrich Wildung
“A homage to Nefertiti by means of contemporary art”
Dietrich Wildung, the Guardian, June 12, 2003
“What Egypt’s reaction to The Body of Nefertiti makes clear, is that a
return of the bust to Egypt would place it beyond the reach of
contemporary artists such as Little Warsaw. The bust holds utterly no
place in current Egyptian religious practice and no appreciable use in
developing or maintaining current Egyptian national identity. Were it
to be returned to Egypt, it would likely be isolated from the stream of
creative expression to which it can contribute and from which it can
derive new meaning.
… the bust will be more accessible to living artists and more likely to
remain where all great works of art belong – at the heart of the
creative enterprises – if it remains in Berlin.”
Stephen Urice: The Beautiful One Has Come – To Stay, (unpublished
conference paper, with generous permission of the author)
“I personally removed the bust from its case. The whole atmosphere
was more like the veneration of Nefertiti than an insult to her.
Everyone was awed into silence.”
Dietrich Wildung, the Independent, June 12, 2003
Little Warsaw | András Gálik and Bálint Havas
The Body of Nefertiti, 2003
Life-size bronze with the limestone bust of Nefertiti (1340 B.C.)
May 26, 2003, Ägyptisches Museum und Papyrussammlung
Berlin–Charlottenburg
The Body of Nefertiti, 2003
excerpt from the 16 mm film and video recording
DVD, 7 min., screening copy
50TH VENICE BIENNALE
Hungarian Pavilion, the body on display
“legitimate artistic experiment”
The Body of Nefertiti, 2003
16 mm color film, max. 21 min.
director: Kristóf Forgács
cameraman: András Petrik
production: EPS, Budapest,
© Little Warsaw
VENICE
“Another strong though mostly overlooked pavilion was Hungary,
where Little Warsaw (András Gálik and Bálint Havas) presented a film
documenting the joining of an ancient and renowned bust of Nefertiti
with a body created by the artists. The short and spare film presents
a clear idea with layers of historical, political, cultural, and conceptual
resonance. The economy of means excercised is admirable – and a
real rarity in this Biennale”
Melissa Dunn, Flash Art International, 10/2003
“Hommage á Nefertiti is the Hungarian contribution to the 2003
Venice Biennale, thematizing and querying the popularity of the
Nefertiti bust exhibited in Berlin, through a statue the theme of which
is the lack of the head. The opening on the statue is just appropriate
for the bust to fit in. The conceptually presented lack of the bust
endows it with virtual presence, producing a stronger impact than the
physical unification of the statue and the bust for a few minutes at
the Egyptian Museum of Berlin. The bust is documented separately
from the statue, on a video sequence.”
„Hommage á Nefertiti, der ungarische beitrag zur Biennale in Venedig
2003, thematisiert und hinterfragt die Popularität der Berliner Büste
der Nofretete durch eine Statue, deren Thema das Fehlen des Kopfes
ist. Passgenau ist der Raum für die Büste aus der Statue
ausgeschnitten. Die progremmatisch vorgetragene Absenz der Büste
gibt ihr eine virtuelle Präsenz, die stärker wirkt als die nur wenige
Minuten dauernde physische Vereinigung von Statue und Büste im
Ägyptischen Museum in Berlin, die in einer getrennt von der Statue
gezeigten Videosequenz dokumentiert wurde.“
Dietrich Wildung
Hieroglyphen! Der Mythos der Bilderschrift von Nofretete bis
Andy Warhol, ed. Iris Wenderholm, SMB DuMont, Berlin, 2005, 59. p
LITTLE WARSAW | THE BODY OF NEFERTITI
LITTLE WARSAW | THE BODY OF NEFERTITI
REACTIONS FROM EGYPT
AKHBAR AL-YOUM, JUNE 7, 2003.
“QUEEN NEFERTITI NAKED IN BERLIN MUSEUM”
“The proud head of the Beauty of Beauties – for more than 5000 years the symbol of beauty and grace – now
sits on the naked body of a woman, after being derided by satanic hands that have no regard for the majesty
and value of this masterpiece. It has adorned the halls of the Berlin Museum ever since it was perfidiously
stolen by vile hands from the bosom of its motherland, and now it has been distorted in an unprecedented
manner.”
(editorial)
NEW YORK TIMES, JUNE 21, 2003
“The moral and scientific
responsibility of the Egyptian
Museum is at stake here. We
don’t accept that such an
important statue of Queen
Nefertiti has been put in
jeopardy for this silly project.”
Mohamed al-Orabi, Egyptian
ambassador to Berlin
“I have been officially contacted by many art historians after they had seen some pictures on the internet, but
they were unaware of this entire farce. They consider this the insult to Egypt’s history and the defacement of
the bust of Queen Nefertiti, both because the bronze body will have harmful effects on the limestone head,
and may cause it to crumble, and because a naked body – on which the beautiful head was placed – would not
have been accepted by any archaeologist in the world. In my opinion, this museum is not safe for our
treasures. The fact that these treasures are to be found in the Berlin Museum, does not mean that we do not
concern ourselves about them. We are the ones responsible for the state of the treasures and the respect that
is due to them. […] For this reason, Minister of Culture Faruq Hosni contacted the UNESCO’s general director,
asking for immediate intervention to stop this disgraceful farce, while I wrote letters to the Egyptian
ambassador in Berlin and the German ambassador in Cairo, asking them to intervene in order to stop the
assault on Egypt’s national heritage.”
Zahi Hawass, Secretary-General, Permanent Committee of the Supreme Council of Antiquities (SCA)
“What has happened to Nefertiti’s bust in the Berlin Museum is the derision of great civilizations and the
greatest crime ever committed against the Egyptian civilization and history.”
Ali Radwan, former dean of Cairo University's Faculty of Archaeology
“What has happened is the falsification of facts and reality. […] This is a bust and not the torso of a whole
body sculpture. It was made in the Ancient Egypt to be a model for artists when forming sculptures of the
queen. It cannot be amended.”
Mohamed Saleh, former director of the Grand Egyptian Museum
“The law of museums prohibits the interference of imagination into supplementing art treasures, and the rule of
artistic attitude over history. […] No one has the right to force their own view on the manner of exhibiting such a
unique historic art treasure as the sculpture of Queen Nefertiti, which is a masterpiece of Ancient Egyptian art
and one of the most beautiful works of art in the world. That is, they have no right to supplement the sculpture
with a naked body or anything else, because this does not adorn the sculpture, being beautiful as it is.”
Mahmud Mabrouk, head of SCA’s Museums Department
“This farce should be brought to a halt immediately. Archaeologists should make a decision on the kind of
punishment to be imposed upon the perpetrators of such provocative behaviour, and we should take decisive
steps to stand up against such acts.”
Mahmud ad-Dumati, director of the Grand Egyptian Museum
AL-BAYAN, JUNE 9, 2003.
“I agreed with Foreign Minister Ahmed Maher that we establish contact at the highest levels with Germany, and
lodge a protest against this unethical and ill-considered insanity. Furthermore, that we request the
international community to exercise pressure on Germany. The bust is no longer safe in German hands. We’re
going to ask for restitution of this statue in light of what has happened.”
Faruq Hosni, Egyptian Minister of Culture
Zahi Hawass is watching the film
portraying the moment in which
the bust is fitted on the bronze
sculpture
AL-AHRAM WEEKLY, JULY 10, 2003, ISSUE NO. 646
“As for Queen Nefertiti, the humiliation done
to her will never be forgotten. How the
authorities at the Berlin Museum could
acquiesce to the idea of thus degrading the
icon of Egyptian identity is inconceivable.
Queen Nefertiti’s bust should be returned to
her home – Egypt.”
Zahi Hawass
“Members of the Cultural- and Media Committee of the Parliament pointed out the fact that what had
happened to Queen Nefertiti’s head at the Berlin Museum is none other than the derision of a unique work of
art. […] Representatives said that this is a conspiracy against the Egyptian civilization, which refused the
nudity, and the age of the pharaohs is witness to this.”
AL-MUSTAQBAL, JUNE 11, 2003.
“It was András Gálik and Bálint Havas who had formed the naked bronze torso wrapped in a thin cloth. The
museum’s director affirmed that they had respected the dimensions of Nefertiti. […] Wildung added that the
sculpture had been formed in accordance with the types of Egyptian art treasures. From another aspect, he
pointed out that several of the works of art exhibited at the Cairo museum also depict naked women, so the
problem is merely »confused nonsense«.”
LITTLE WARSAW | THE BODY OF NEFERTITI
BIBLIOGRAPHY
PETRÁNYI, ZSOLT: The Body of Nefertiti, 50th Venice Biennale, Hungarian Pavilion
Mûcsarnok | Kunsthalle, Budapest, 2003 (brochure)
Articles from the Egyptian press (selection)
Akhbar al-Youm, 7 June | http://www.akhbarelyom.org.eg/akhbarelyom/issues/3057/0900.html
Al-Bayan, 8 June | http://www.albayan.co.ae/albayan/2003/06/08/mnw/27.htm
Al-Bayan, 9 June http://www.albayan.co.ae/albayan/2003/06/09/mnw/33.htm
Al-Mustaqbal, 11 June | http://www.almustaqbal.com/stories.aspx?CategoryID=12&IssueID=147
Al-Ahram, 16 June | http://www.ahram.org.eg/archive/2003/6/16/INVE8.HTM
Qantara.de, 18 June | http://www.quantara.de/webcom/show_article.php/_c-367/_nr-15/_p-1/i.html
ARABIC NEWS: Restoring Queen Nefertiti Statue, Head On Naked Women... Arabic News, 07. 06. 2003
ARABIC NEWS: Nefertiti Display Angers Archeologists. Arabic News, 13. 06. 2003
EL-AREF, NEVINE: Ancient beauty sabotaged. Al-Ahram Weekly, No. 642, 12. 06. 2003
EL-AREF, NEVINE: A bountiful year, Al-Ahram Weekly, No. 670, 25. 12. 2003
EL-AREF, NEVINE: Antiquities wish list Al-Ahram Weekly, No. 751, 14. 06. 2005
HAWASS, ZAHI: Tampering with Nefertiti. Al-Ahram Weekly, No. 646, 10. 07. 2003.
LITTLE WARSAW | THE BODY OF NEFERTITI
EXHIBITIONS
2003
2004
2004
2004
2006
SCREENINGS
2003
2004
2004
2004
2005
2006
Articles from the global press (selection)
ANDRAS, EDIT: The Projects of The Hungarian Artist Duo Little Warsaw. Springerin, 2/2005
AP: Art project causes controversy. 6/2003
AP: Modern Art not Fit for a Queen. CBCNews.com, 17. 06. 2003
AP: Nefertiti art project sparks furor. The London Free Press, 18. 06. 2003
AP: Egyptians say Nefertiti display was a bust. 18. 06. 2003
AFP: Egypt asks for its history back, but its pleas fall on deaf ears. 14. 06. 2003
AFP: The two sides of Nefertiti. | www.cairolive.com, 21. 08. 2003
BABARCZY, ESZTER: Birth after the Death. Új Mûvészet, 5/2003
BACH, INGO: Kunstaktion mit nackter Nofretete ärgert Ägypter. Der Tagesspiegel, 10. 06. 2003
BERLINER KURIER: Aufregung um die nackte Nofretete. Berliner Kurier, 10. 06. 2003
BRYSON, DONNA: Setting ancient Nefertiti bust on bronze nude touchess off a tussle. AP, 17. 06. 2003
BRYSON, DONNA: Egypt decries ancient bust on modern nude. AP, 18. 06. 2003
BUCCIANTI, ALEXANDRE: Toute nue, la reine Néfertiti bouleverse l'Égypte. Le Monde, 10. 06. 2003
BUDDENSIEG, TILLMAN: Grenz verletzungen. Süddeutsche Zeitung, 15. 07. 2003
DEUTSCHE WELLE: Venice Biennale Opens with Enigmatic German Works. DW-Worlds.com, 15. 06. 2003
DIE TAGESZEITUNG: ...Nofretete? – Ägypter erregen. Die Tageszeitung, 10. 06. 2003
DITTMAR, PETER: Juwel vom Nil. Berliner Morgenpost, 10. 06. 2003
DITTMAR, PETER: Goodby, Nofretete?. Berliner Morgenpost, 10. 06. 2003
DPA: Ägyipten fordert Nofretete wieder zurück. Frankfurter Allgemeine Zeitung, 11. 06. 2003
DUNN, MELISSA: The Venice Biennale: Slouching Toward Utopia. Flash Art International, 10/2003
EAKIN, HUGH: Nefertiti's Bust Gets a Body, Offending Egyptians. New York Times, 21. 06. 2003
FORBES, DENNIS: KMT, vol.14, No.3 Fall 2003
FOWKES, MAJA & REUBEN: Displaced Monuments and Deconstructive Strategies. Umelec International, 3/2005
HADIK, ANDREA: Nofretete – auf ungarishe „Art”. Budapester Rundschau, 21. 05. 2003
HANSEN, LOTTE: Nofretete auf eigenen Füßen. Berliner Morgenpost, 31. 05. 2003
HANSEN, LOTTE: Nofretete auf eigenen Füßen. Die Welt, 31. 05. 2003
HALÁSZ, TAMÁS: Nefertiti’s body: Hungary at the Biennale. Budapest Week, 7/2003
HOCHMEYER, BORIS: Retourkutsche aus Cairo. Art, 8/2003
JLAU: Ägypten sorgt sich um Nofretete. Die Welt, 10. 06. 2003
KOCH, BETTINA: War Nofretete nackt? Bunte, 26. 06. 2003
CARMICHAEL, LACHLAN: Bust of Queen Nefertiti sparks Egypt’s anger. 14. 06. 2003
PREUSS, SEBASTIAN: Kopf und Körper. Berliner Zeitung, 10. 06. 2003
PATERSON, TONY: Egypt vents fury at German museum for using Nefertiti bust in ’pornographic’ video. 12. 06. 2003
STEYN, JULIET: Reviews A Chance Encounter. Third Text, Routledge, Volume 18, Number 4, July 2004
SAPA–DPA: Ancien Egyptian beauty sparks a war of words. | www.iol.co.za, 10. 06. 2003
TONIDES, ALEX: Stirring Up the Past. Egypt Today, September/2003
VASAGAR, JEEVAN: Egypt angered at artists’ use of Nefertiti bust. The Guardian 12. 06. 2003
VETROCQ, MARCIA E.: Venice Biennale. Art in America 10/2003
The Body of Nefertiti, 50th Venice Biennial
Hungarian Pavilion
Hot Destination | Marginal Destiny II., House of Art, Brno
Hot Destination | Marginal Destiny III., Galéria
Jána Koniarka, Trnava
The Nefertiti Project, Het Domein, Sittard
Eine Person allein in einem Raum mit
Coca-Cola-farbenen Wänden, Grazer Kunstverein, Graz
Biennale Office – Divatcsarnok, Budapest
Little Warsaw 2002–2004, Galerija VN, Zagreb (HR)
Little Warsaw 2002–2004, Galerija Balen
Slavonsky Brod (HR)
Little Warsaw 2002–2004, Galeria Jána Koniarka
Trnava (SK)
Little Warsaw 2002–2005, CAC–Vilnius (LV)
The Peninsula an Artist Film – Video Anthology
Singapore History Museum, Singapore
CONFERENCES
2003
2004
2005
2005
Public Art or Public Monument, Art Theory and Media
Research Institute, ELTE University, Budapest
Urice, Stephen: The Beautiful One Has Come – To Stay
The Harris Institute for Global Legal Studies of
Washington University, Imperialism, Art & Restitution
Conference at Washington University School of Law
in St. Louis, Missouri
András, Edit: Education of the artist – Control by
the art community? S.V.A. Conference, NYC
Barnabás Bencsik, The Mousetrap, An international
conference on dealing with institutions in contemporary
curatorial practice, Wyspa Institute of Art, Gdansk
BROADCASTING AND DOCUMENTARY FILMS
2003
2003
2003
2004
Stefanowsky, Michael (ed.): Interview with Dr. Dietrich
Wildung after the Unification. ZDF Television
Harris, Emily: Nefertiti. 'Weekend Edition'
NPR Radio, 06. 07. 2003
Nackte Nofretete, 'Kulturzeit', 3Sat, 13. 06. 2003
Davies, Karen: Pharaoh’s Revenge – Egypt’s Lost Treasures.
Stewart Prod., Discovery Channel, 49’37”
The Nefertiti-project, documentary video
director: Kristóf Forgács, production: EPS, Budapest
(unfinished)
NBK Neuer Berliner Kunstverein
Chausseestrasse 128 | 129
10115 Berlin-Mitte
Tel +49 30 280 70 20 | Fax +49 30 280 70 19
[email protected] | www.nbk.org
edited by Barnabás Bencsik
selection from Egyptian press, edited and translated by Ádám Mestyán
english translation by Dániel Sipos
designed by drez | solid
photography © Little Warsaw | Lenke Szilágyi | Zsolt Petrányi
Published by NBK | ACAX–Hungarofest
All right reserved © Little Warsaw and the authors
Published for Treffpunkt | Meeting Point NBK on March 22, 2006 related to the exhibition High-Angled Lowland –
Current Art from Hungary, March 10 – April 23, 2006,
as the supplement of the catalogue.