Art+Text Budapest is pleased to present I won't be this way very long, a pop-up exhibition by Om Bori organized in collaboration with the Studio of Young Artists' Association (FKSE).

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Om Bori lives and works in Berlin. In 2014, she graduated from the Hungarian University of Fine Arts with an MA diploma in Intermedia Studies. In parallel, she studies Fine Arts at the Berlin University of Arts. Since 2016, she is a member of the Studio of Young Artists’ Association (SYAA) in Budapest. She works primarily with still and moving images, but her experiments also lead her to other modes of expression, like texts, objects and algorithms. Her current work explores the aesthetic and experiential qualities of space in relation to political and gendered positionality. It has been shown at exhibitions and festivals in Hungary, Poland, Germany, Austria, France, Iran and the USA. Om Bori's videos show, on one hand, microscopic case studies through which she tries to understand issues of global geopolitics such as monitoring, border crossing or Muslim headscarf. On the other hand, she aims to define her identity with the help of body politics referring to her social status and gender category (young, white, Eastern European, woman, student/immigrant in Western Europe).

 

The exhibition at Art+Text Budapest presents three projects from the past years. The single channel video and print triptych titled 3,267 footsteps (2014) merges the virtual and the real urban space while the narrator is recalling her childhood memories in an analysis. She goes on a walk in the districts of Budapest through parking cars, sleazy row of houses and collage forms that look like splashing digital water surfaces. The camera showing the walking distance between home and school is evoking and heightening the aesthetics of Google Street View.  Om Bori animated more than two thousand personal pictures - using a generative algorithm - into a poetic 3D simulation. The project titled Observation (2017) is teleporting the all-seeing and irritating reality of industrial cameras into a Bavarian forest. The three-tier structure of the hidden recordings of hikers, the warning signs on the trees and the text about the absurd situation is investigating the anatomy of monitoring and the secret aesthetics. The print I won't be this way very long (2018) is playing with the relationship of material, perception, and perspective through stretching the three dimensions into plain.