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• Antal Lakner

Education, prize, residency

2006	Art in General, artist in residency, New York
2004	Drac Ile-de-France aide individuelle á la creation
2004	Le Recollets- Grant by Direction des Affaires Culturelles, Mairie de Paris
2004	Eötvös grant
2002-2003	Residency Cité Internatinale des Arts, Paris
2001-2002	Künstlerhaus Bethanien, International Studio Programme, Berlin
2000	D.C.A. – Gammel Dok, Artist in Residence Programme, Copenhagen
1999-2002	Derkovits prize
1996	In and out of touch, Artist in Residence Programme, London
1993	Scholarship, Koninklijke Academie van Beeldende Kunsten, The Hague
1992-1995	Post – Graduate in Painting, Hungarian Academy of Fine Arts, Budapest
1988-1992	Degree in Painting, Hungarian Academy of Fine Arts, Budapest

Selected Solo Exhibitions and Projects

2006	INERS- Elevator stretching, Art in General, New York
2005	States of micro- and double gravity,Trafo Gallery, Budapest
	PASSIVE DRESS – habit de gravitation double, Galerie Frank, Paris
2004	HER– Plankton class marine unit, MEO Contemporary Art Collection
2002	Art Mobile, Künstlerhaus Bethanien, Berlin
2001	INERS – Passive Working Devices, Art Mobile-Human Powered Biennale Vehicles Hungarian Pavilion & Giardini di Castello, XLIX. Venice Biennale
2000	EUROFARM, Hal Antwerpen
1999	HER – The Icelandic Army, Zenit Gallery, Budapest
	Altered states, Skuc Gallery, Ljubljana (with Attila Csörgô)
1998	INERS – the power, Studio Gallery, Budapest
1997	UGAR, Neuer Berliner Kunstverein, Berlin (with Georg Winter)
1994	Bartók Travel, Bartók 32 Gallery, Budapest
1993	Pope Collection, Gallery ’56, Budapest
	Emmental Expedition, Studio Gallery, Budapest (with Georg Winter)

Selected Group Exhibitions and Projects

2007	10th Triennale Kleinplastik, Fellbach
	Made in, made out, Projectroom, Berlin
	Dorchester Festival, GB
	Lost and found, Modem, Debrecen
2006	27th Sao Paulo Biennale, Brasil
	Lost and found, Kunsthalle Baden-Baden
	Big City Lab, Art Forum Berlin
	99 Év, Modem, Debrecen
	Positioning - In the New Reality of Europe, Museum of Contemporary Art Tokyo
	Techno-d, Institute of Contemporary Art, Dunaujvaros
	Post_modellism, Kunsthall, Bergen
2005	Art Forum – (with Galerie Frank), Berlin
	PEACE gerollt - euroPART, billboard project in public space, Vienna
	Post_modellism, Krinzinger Projekte, Vienna
	DOMICILE: Privé/Public, Musée d’Art Moderne, Saint-Etienne
	Positioning - In the New Reality of Europe, National Museum of Art Osaka
2004	Buy Sellf, Ateliers d'Artistes de la Ville de Marseille
	Passage d’Europe, Musée d’Art Moderne, Saint-Etienne
	Open borders,Tri Postal, Lille
	The new ten, Museum Küppersmühle, Duisburg
	Szappanopera, Mûcsarnok, Budapest
	Metro, Gallery Priestor,Bratislava
	Breakthrough, Grote Kerk, The Hague
	Errances, Le Carrosse, Paris
	Call me Istanbul, ZKM Karlsruhe
	Body Works, The Nicosia Municipal Arts Centre, Cyprus
	Observatorium, Palais des arts, Dresden
	Publikus, Desidea Studio, Budapest
2003	Cruising Danubio, Comunidad de Madrid
	Hungary Unplugged, Cotthem Gallery, Brussel
	Kaap Helder, Rijkswerf Willemsoord, Den Helder
	Real utopia - Art in the Graz District Gries, Rotor, Graz
2002	MANIFESTA 4, Frankfurt am Main
	Body Power / Power Play, Württembergischer Kunsverein, Stuttgart
	September Horse, Künstlerhaus Bethanien, Berlin
	Borderlife, Rhizom, Graz
	Dévoler, Mücsarnok, Budapest
2001	Parti pris, FRAC Languedoc-Roussillon, Montpellier
	Digitized bodies, Ludwig Museum, Budapest
	Léger différé, Centre Régional d’Art Contemporain, Séte
2000	Uncontrolled, Gallery North, Copenhagen
	Intuíció, innováció, invenció, Mûcsarnok, Budapest
	After the Wall, Hamburger Bahnhof, Berlin
	Cooperativ, Stadthaus Ulm
	Und ab die Post, Postfuhramt, Berlin
1999	Budapest – Berlin ’99, Akademie der Künste, Berlin
	Zeit spiel, IFA Gallery, Berlin
	After the Wall, Museum of Modern Art, Stockholm
	Public district, Usti nad Labem
	Bloomsday , Karmeliterkloster, Frankfurt am Main
1998	Gallery by Night ’98, Studio Gallery, Budapest
	Cartographers, Ernst Museum, Budapest
	Observatory, Centre for Contemporary Art, Ujazdowski Castle, Warsaw
	Stöd til stödvar, Living Art Museum, Reykjavik
	Art Forum Berlin (with Knoll Gallery, Vienna)
1997	SIC., Kiscelli Museum, Budapest
	5. International Istanbul Biennial, Istanbul
	Porn, Liget Gallery, Budapest
1996	Junge Szene Budapest, Galerie 5020. Salzburg
	Permutations and Combinations, Ballgame Hall, Prague
	Millecentenárium, Bartók 32 Gallery, Budapest

Antal Lakner

The machines in Antal Lakner’s INERS Passive Working Devices series transform seemingly meaningful human activity—the individual phases of repetitional production processes—into meaningless physical exertion, leisure activity and entertainment, whilst immaterialising work itself. The idea of buying a wall-painting workout machine and turning work into sport by painting a non-existent wall, sawing, or pushing a make-believe wheelbarrow is, of course, no more absurd than being the proud owner of an indoor bike or a rowing bench. However, the question arises just what exactly we are working on (or out) when sweating away on these reality-replacing, virtual machines? Obviously ourselves. The reason why we give ourselves up to the early-1960s creation of post-modern technological civilisation, the cult of physical fitness, is to reclaim everything that our bodies—lazy and alienated by over-consumption—have lost as a result of technological development and industrialisation.
Made specially for the 49th Venice Biennial (and for hire on the exhibition grounds), the Art Mobile—Human Powered Biennale Vehicle causes culture-consumption, entertainment, and seemingly effortless meandering to become physical exertion, and as a consequence it contributes to our experiencing the art and perception rituals of the Giardini di Castello as effective and practical use of means.

Agnes Berecz

Antal Lakner
Passive Dress: double gravitation

Passive Dress by Antal Lakner looks like a spacesuit. And true enough, the suit comprises ergonomic weights that increase normal earth gravity by 150 to 200%. So wearing the Passive Dress is a considerable physical effort.

Says Antal Lakner, "the movements of a person wearing the suit become slower and more meditative." You have to focus on their body position and the basic movements. The envelope or shell hampers these basic movements. But it is also an opportunity to form new links with space, and new ways of occuying it.

Bundesberg Berlin, 2005

INERS - Passive Working Devices/Handypress - the mobile bench, 2001

Passive Dress/Double-Gravity, 2004