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Tamás Waliczky

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Tamás Waliczky
Born1959 (age 64–65)
Budapest, Hungary
Known forvisual art, animation
MovementNew Media Art

Tamás Waliczky (born in 1959, in Budapest, Hungary),[1][2] is a Hungarian artist and animator, known for his new media art.[3]

Biography

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Tamás Waliczky started out by creating cartoon films (1968–1983), whilst working as a painter, illustrator and photographer. He began working with computers in 1983.[4] He was artist-in-residence at the Zentrum für Kunst und Medientechnologie (ZKM) in 1992, and subsequently a member of the Institute's research staff (1993–1997). Later taking up a guest professorship at the Hochschule der Bildenden Künste Saar (HBK Saar) in Saarbrücken (1997–2002).

Institute of Advanced Media Arts and Sciences (IAMAS) in Gifu, Japan, chose Waliczky as artist-in-residence for 1998 to 1999.

From 2003 until 2005 he was professor at Institut für Mediengestaltung (IMG), Fachhochschule Mainz. From 2005 to 2010 he was at HBK Saar, this time as a full-time professor. As of 2010, he is a professor at the School of Creative Media at the City University of Hong Kong.[4]

His works have won numerous international awards, including the 1989 Golden Nica at the Prix Ars Electronica, Linz, and has been shown in several exhibitions worldwide, including the Lyon Biennale, the ICC Gallery Tokyo, and the Multimediale Karlsruhe.[4] His works are currently in several public collections, including the Centre Georges Pompidou, Paris or the Ludwig Museum, Budapest.

Tamas Waliczky has been selected to represent Hungary at the 58th Venice Biennale, in 2019.[5][6]

Notable work

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This is a select list of notable work by Waliczky, in order by date completed.

  • Imaginary Cameras (computer graphic series and computer animations), 2016–2019[2][3]
  • Reflections (video installation), 2014
  • Micromovements in Snapshots (video installation), 2014
  • Wheels (installation with real-time simulation), 2013
  • Homes (interactive installation), 2012, 2015
  • Adventures of Tom Tomiczky (computer animation), 2011
  • Marionettes (computer animation, video installation), 2007
  • The fisherman and his wife (computer animation), 2000
  • Focus (interactive installation), 1998[7]
  • Sculptures (video installation), 1997[7]
  • Landscape (computer animation, video installation), 1996[7]
  • The way (computer animation, video installation), 1994
  • The Forest (computer animation, video installation, interactive installation), 1993[7]
  • The Garden, 21st Century Amateur Film (computer animation, video installation), 1992[7]
  • Conversation (with Tibor Szemzo, audio-visual performance), 1990
  • Memory of Moholy-Nagy (with John Halas, computer animation), 1990
  • Is there any room for me here? (computer animation), 1988
  • Pictures (computer animation), 1988

Public collections

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References

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  1. ^ "Tamás Waliczky: Imaginary Cameras". www.e-flux.com. Retrieved 2021-05-24.
  2. ^ a b London, Barbara (2019-09-04). "Venice 2019: A Few Reflections". The Brooklyn Rail. Retrieved 2021-05-24.
  3. ^ a b c d e f Ákos, Schneider (2020-03-26). "Machines Beyond Phantasmagoria, on Tamás Waliczky's Imaginary Cameras". Artmagazin. Retrieved 2021-05-24.
  4. ^ a b c "Professor WALICZKY, Tamas Pal". City University of Hong Kong. Retrieved 5 May 2011.
  5. ^ Greenberger, Alex (2018-07-27). "Tamás Waliczky Will Represent Hungary at 2019 Venice Biennale". ARTnews.com. Retrieved 2021-05-24.
  6. ^ "Tamás Waliczky to Represent Hungary at the 2019 Venice Biennale". Artforum.com. July 27, 2018. Retrieved 2021-05-24.
  7. ^ a b c d e Manovich, Lev (1999-01-20). "The Art of Tamás Waliczky". ARTMargins. Retrieved 2021-05-24.
  • Anna Szepesi: “The Imaginary Cameras of Tamas Waliczky”, Photography is Art Magazine, 2018, Issue 07, Hong Kong, p. 98-106.
  • Lev Manovich: Cinema as Cultural Interface (1997), International Journal of Transmedia Literacy (IJTL). 1.1 December 2015, Edited by Ciastellardi Matteo,Di Rosario Giovanna, p. 244
  • Steve Fore: "Waliczky in Wonderland", Animation Studies Online Journal, 16 May 2014 (https://journal.animationstudies.org/steve-fore-waliczky-in-wonderland/)
  • Chesna Ng: "Computer animation master Tamás Waliczky and his exhibition Dance with the interval", Milk magazine, 2013 March, Hong Kong
  • Fu Ningning: "GOD'S EYES / TAMAS WALICZKY'S COSMOLOGY", World Art magazine, 2008 Nov. No. 77, Beijing
  • "WALICZKY, SELECTED WORKS 1986-2003", catalog with essays of Győrgy Palos, Jozsef Melyi, Jeffrey Shaw, Itsuo Sakane and Nikolett Eross, Budapest, 2005
  • Mark B. N. Hansen: "New philosophy for new media", The MIT Press, Cambridge, Massachusetts; London, England, 2004
  • Sven Drühl: "TAMÁS WALICZKY - DER ZEITKÜNSTLER", Kunstforum International, Bd. 151, Ruppichteroth, 2000
  • Lev Manovich: "CINEMA AS CULTURAL INTERFACE", MIT Press, 2001
  • Toshino Iguchi: "THE 20th CENTURY 100 ART MATRIX", BT Monthly Art Magazine, Tokyo, 2000
  • Lev Manovich: "THE CAMERA AND THE WORLD; NEW WORKS BY TAMÁS WALICZKY", Continental Drift, Prestel, Munich - New York, 1998
  • Anne-Marie Duguet: "TAMÁS WALICZKY" catalog, NTT/ICC Gallery, Tokyo, 1996
  • Masato Shirai: "A MECHANISM FOR REORGANIZING THE WORLD" catalog, NTT/ICC Gallery, Tokyo, 1996
  • Pier Luigi Capucci: "L'AFFETTIVITA DELLO SPAZIO" Domus magazine, October 1996, Milano
  • Anna Szepesi: "DER WALD / THE FOREST" artintact 2, ZKM/Institut für Bildmedien, Cantz Verlag, Ostfildern, 1995
  • Takis Kyriakoulakos: "TAMÁS WALICZKY: LE POETE DEL'INTIME" TECH IMAGES, Paris, 1990
  • Shalom Gorewitz: "PROPHET WITHOUT HONOR (COMPUTER VIDEO ARTIST TAMÁS WALICZKY)" THE INDEPENDENT, New York, 1990
  • Maria Grazia Mattei: "L'EST ELETTRONICO", ZOOM, Milano, 1980
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