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LOIS, Viktor
LOIS, Viktor
Sculptor
(Tatabánya, 17th September, 1950 – )
Autodidact. 1993: Munkácsy Award. In 1974 he began dealing with fine arts independently. Lois did not associate himself with any masters. He has been living in Szentendre since 1982. He presented his organic wooden works, composed of recondite forms, at the collective exhibition held in the County of Komárom. After the exhibition, which was a closing of his wooden period, he turned to the usage of metals as his primary materials. Later he produced photographs and films, and a number of performances. Lois prepared his first kinetic work in 1976, the Erő fitogtató mobil /Power-parading Mobile/, which signaled that he was not drawn to conventional mobile sculpturing. His creative period spanning between the 1980’s and 1990’s may be characterized by the realization of longer and shorter programs, the closing of which he introduced a number of exhibitions portraying the given work series. This was how he produced he collection of furniture, vehicle and wind mill works, after which was followed by a period when he produced the largest group of works, consisting of musical instrument statues. Conditioning statue mechanics may be noticed within the scope of this later period. A collected collection of the one hundred and thirty sculptures of musical instruments prepared between 1987 and 1995 was exhibited at the Biennial of Venice in 1993. This group of works became the basis of his permanent exhibition opened at the Open-Air Mining Museum of Tatabánya, under the title of Hangfürdő /Sound-bath/, in 1996. The exhibition served as the home of the first metallic sculpturing and musical creative camp, organized by the artist in 1997. The musical programs organized for the sculptures of musical instruments, with orchestral productions participated in a number of festivals and concerts held in Hungary and abroad. The Surrealist-Dadaist object collages are living segments of his works, and are the parallels of the found objects, and constructions built up from them, which dismiss the materials and techniques of traditional sculpturing. The unique characteristic of these constructions is that they may be used as articles of personal use, however these functions lead to the world of the absurd. His platform sculptures, with sections tied to the wall, relief-like hanging elements, hung in a motionless manner, which as a result of human or electronic energy produce displacing movements and audio effects induct complicated effect systems. The constructions, which start and stop and move along specific pathways, placed alongside the motionless, unchanged elements, are the embodiments of simultaneously logical and incomprehensible occurrences.
(Tatabánya, 17th September, 1950 – )
Autodidact. 1993: Munkácsy Award. In 1974 he began dealing with fine arts independently. Lois did not associate himself with any masters. He has been living in Szentendre since 1982. He presented his organic wooden works, composed of recondite forms, at the collective exhibition held in the County of Komárom. After the exhibition, which was a closing of his wooden period, he turned to the usage of metals as his primary materials. Later he produced photographs and films, and a number of performances. Lois prepared his first kinetic work in 1976, the Erő fitogtató mobil /Power-parading Mobile/, which signaled that he was not drawn to conventional mobile sculpturing. His creative period spanning between the 1980’s and 1990’s may be characterized by the realization of longer and shorter programs, the closing of which he introduced a number of exhibitions portraying the given work series. This was how he produced he collection of furniture, vehicle and wind mill works, after which was followed by a period when he produced the largest group of works, consisting of musical instrument statues. Conditioning statue mechanics may be noticed within the scope of this later period. A collected collection of the one hundred and thirty sculptures of musical instruments prepared between 1987 and 1995 was exhibited at the Biennial of Venice in 1993. This group of works became the basis of his permanent exhibition opened at the Open-Air Mining Museum of Tatabánya, under the title of Hangfürdő /Sound-bath/, in 1996. The exhibition served as the home of the first metallic sculpturing and musical creative camp, organized by the artist in 1997. The musical programs organized for the sculptures of musical instruments, with orchestral productions participated in a number of festivals and concerts held in Hungary and abroad. The Surrealist-Dadaist object collages are living segments of his works, and are the parallels of the found objects, and constructions built up from them, which dismiss the materials and techniques of traditional sculpturing. The unique characteristic of these constructions is that they may be used as articles of personal use, however these functions lead to the world of the absurd. His platform sculptures, with sections tied to the wall, relief-like hanging elements, hung in a motionless manner, which as a result of human or electronic energy produce displacing movements and audio effects induct complicated effect systems. The constructions, which start and stop and move along specific pathways, placed alongside the motionless, unchanged elements, are the embodiments of simultaneously logical and incomprehensible occurrences.
