The material of the shows and exhibitions are original artworks supplemented with direct or indirect documents drawing on the body of experiences in which the given work was conceived and in which it can be interpreted.
According to our concept, in some cases an exhibition can be the installation for a given performance, while the performance, as a document, can also be an exhibition installation. In other cases, an exhibition, as an installation, can be a “mode of performance”; there is no distinction between the “work” and the document, the exhibition is the performance itself. This is not the end of the story yet, because the information pertaining to the events in the “real space” undergoes further changes in the network place set up on the Artpool homepage and – in an online context – becomes part of the unified data structure as a virtual installation.


The exhibition titled “Context As” is loosely connected installations of six artists. They also presented their personal space- and object-contexts in texts, which served as the basis for a virtual performance constructed on network pages

The visual material linked to the simultaneous sound of Márton Cserny’s musical performance and video screening that accompanied his exhibition titled “Stencilage at the Storehouse-Airport” evoked the concept of Dimensionist development-movement. The network pages were made to correspond with the image-sound contexts of the performance-exhibition.

The lyrical space titled “Context Zero Points” – itself a zero point context for “monochrome and nothing” – is György Galántai’s work. Versions of a monochrome light and colour fill the exhibition space creating a mythical-meditative experience of space and this is coupled with barely noticeable poetic texts about nothing. The exhibition space is the venue (one of the models) of the virtual performance; everybody sees and hears the performance in their own interpretation, i.e. they create it themselves. Because of the “free-flowing context” the performance can be regarded as a democratic performance (one of its models), a Fluxus performance (event) or even a situationist performance.

Gyula Pauer held his demonstrated performance titled “Nothing in the Pseudo Galaxy” in connection with the theme of “context zero points” [...] “I disguise what I want to show, I make what I showed disappear, I show what I make disappear, I disguise the act of making it disappear or I show the act of disguising.” He inserted breaks during the performance, which stands for “outbound connections” in the network version. In the performer-audience context breaks often introduce versions of nothing that can be connected to the performance.