This is an art movement during which I have smuggled in 14 carat gold plated bronze roaches into the Tate Modern, Tate Britain, British Museum, MUMOK (Museum Moderner Kunst Stiftung Ludwig Wien) and Hamburger Bahnhof making them part of current exhibition, in June 2011. The young artist gets into the sanctuary of visual arts like a cockroach. The roach as a carrier of the message is not a random choice, and naturally the used material itself has multiple symbolic values. The roach is one of the most disgusting insects, which is capable of getting inside anything, and also earned a doubled fame in public awareness by its imperishability. People treat the roach as a synonym for disgust because of the common repugnance it causes, but at the same time, as an insect which is capable of adapting the most extreme situations, it is a symbol of survival. Naturally, other insects from the history of art also act in a live picture about my work, for example the scarab from Egyptian culture, where it is showed as a godly symbol, and therefore it is mainly made of gold. But, for my ideas an insect of the opposite meaning was more suitable. This is why I chose the roach at the end. It is found anywhere in the World, considered everywhere as a pest and a source of infections, and exterminated anywhere possible. Opposite to this, the roaches in my creations go through multiple changes. Walking into the culture’s holy space, they turn to gold in the museums, which represent art, and this pushes the question of art. At this point the action is made classic and contemporary at the same time. The smuggling effect is “roachy” and reflects a contemporary approach, while in materials and workmanship it recalls of classic art pieces.
Again, altering pieces of art. The spontaneous participation in museum exhibitions is not unprecedented in history of arts.
Yet, one of the basically important principles of my actions is that I don’t want to batter. That is why I put a great emphasis on boards keeping the museum’s walls unharmed, and the pieces of art have to be nicely designed, made from noble materials, so that the pieces of art which I put in the citadels of fine arts don’t only have an artistic value, but a real value too. In the given project I always design the table with the informations graphically, typographically and by shape, to fit the museum tables.
Again, altering pieces of art. The spontaneous participation in museum exhibitions is not unprecedented in history of arts.
Yet, one of the basically important principles of my actions is that I don’t want to batter. That is why I put a great emphasis on boards keeping the museum’s walls unharmed, and the pieces of art have to be nicely designed, made from noble materials, so that the pieces of art which I put in the citadels of fine arts don’t only have an artistic value, but a real value too. In the given project I always design the table with the informations graphically, typographically and by shape, to fit the museum tables.
the 1st movement in TATE Britain / June 09. 2011.
the 2nd movement in tate modern / june 10. 2011.
the 3rd movement in British Museum / june 10. 2011 / bronze version
The project video, London, 2011
the 4th movement in MUMOK, Wien / october 15. 2011.
The project video, Wien, 2011
the 5th movement in Hamburger Bahnhof, Berlin / october 29. 2011.
The project video, Berlin, 2011
Thank you for Bálint Németh, Richard Kiss, Gábor Csongor Szigeti, Kristóf Gajdó, Tatlin (Ferenc Gábor Görög), Ferdinánd Jakab, Zsófia Kövi, Monoki Eszter, Ádám Németh, József Tamás Balázs, Andrea Gombos and Zsombor Kiss the help, support, photos, videos, and programming.
the 6st movement in Saatchi Gallery, Saatchi Gallery shop and Topshop / November 25. 2011.
The Goldenroach project is becoming a fine art brand. Two new actions took place this friday in London: I smuggled some postcards into the Saatchi Gallery museum shop and some brooches into the Topshop a british fashion retail outlet. And after they have been placed on the shop floor we both oursellves one.
The project video, London, 2011
Thank you for Bálint Németh, Richard Kiss, Zita Csóka, Fanni Bisztriczky and Annamária Szentpétery the help, support, photos, videos, and programming.
Thank you!
