Miklos Legrady
Since the beginning
miklos@sympatico.ca
Works in Toronto Canada

PORTFOLIO (5)
BIO
Miklos Legrady is an artist working in media/time-based art,
painting, photography, holography, performance,
and critical text.

He received a B.Sc. from the Visual Studies Workshop, Rochester,
N.Y, and an M.F.A. from Concordia University in Montreal.

In 1995 he was co-founder of the New York performance group"
The Collective Unconscious", where he was co-director
and performing artist for 3 years.

He has taught web design at the Fine Arts Academy in Budapest, Hungary,
and pursued digital research at the c3 /Soros Foundation.
He created the Mikidot brand on his return
to Toronto in 1998.

His work in painting and photography
is represented in the www.ccca.ca archive.
Discussions (75) Opportunities (1) Events (1) Jobs (0)
DISCUSSION

R3D3: Conceptual Medicine


>Eryk; Now, the very best software says we can just skip ahead to
>doing something interesting.

Or hire someone with great ideas and someone else with great
technique, shades of Kostabi and post-modernism. The air force is
working on the first generation of pilotless fighter planes. Soon
we'll go online and pay by the hour to pilot a real fighter plane
wherever a war is in progress.

But "doing something interesting"? Doesn't the person have to be
interesting to start with?
I'm not trashing Eryk, who is interesting... but the root concept
bugs me like Kostabi bugs me. "you are the artist now". What about;
"you're the brain surgeon now"?

As Curt wrote;"how well it comes off"... The stakes rise... "when
great software makes things easy.., when technology... with less
work", a new (competitive) standard always comes in place that
restores the previous obstacle course. When automation permeates,
with it's robotic semi-perfection, personal differences seem to gain
in value. Then there's low tek / high tek, digital pinhole cameras,
you name it.

So here it depends on how interesting the idea. Ideas are always
transformed by execution;
spirit and matter are both transformed when they interact, and that's
where discoveries, new values and new standards occur.

Mik

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+
+
+Miklos Legrady
+
310 Bathurst st.
Toronto ON M5T 2S3
416-203-1846
647-292-1846
+
http://www.mikidot.com
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DISCUSSION

R2D2: Conceptual Art


Eryk Salvaggio; "The importance... is not the quality of its
product- ... I think that is an inevitability as people get used to
the tools ... But what is more exciting to me is the ability of any
individual to access the technology."

Curt Cloninger; " Eddo Stern says the net as a whole is more
interesting than any individual work of net art, and he may be
right.".

Hi guys,

Where quality is lacking the work does not make a significant
contribution. Quality is a differentiation of values.

"the net as a whole is more interesting..." This statement does not
and cannot make sense.

Miklos

--

+
+
+Miklos Legrady
+
310 Bathurst st.
Toronto ON M5T 2S3
416-203-1846
647-292-1846
+
-website;
http://www.mikidot.com
+

DISCUSSION

New York journal, 1994-95


Reflections from 10 years ago;

NEW YORK JOURNAL 1994-1995

_________________________________________

Chocolate Factory
New York, 1995

With my brother in Soho. I live five minutes
away on Stanton st. He's staying at Wooster.
Broome street warehouses washed by winter sun,
cold yellow light on painted brick. We visit one
gallery after another. George says it feels like
post-apocalyptic times.

It's 1995. Money's gone, the market crashed, art
world's dead, we're sifting through the ashes. We
talked of Baldessari, his followers. Of the
patronage system.

Most fine arts producers graduate from similar
schools and share similar values, which are
reflected in their association, their production,
and the systems created thereby. A cultural
blindness results from such group judgements.

Aesthetics on Trial
Crisis In Aesthetics conference
School of Visual Arts
New York, 1995

Aesthetics has a bad name in our time. Treated
like a distant uncle who embarrassingly plagues
our family gatherings, it's seen as a weakness,
leftover from patriarchal times when wives
dragged their husbands to the opera, dismissed as
the pleasure principle, self indulgence and
emotional.

At present the problem's misunderstood, the
players confused. In fact at a discussion
presented by the School of Visual Arts in New
York, a panel of distinguished critics, learned
art historians, and respected professors would
not define the term. The lecture's theme (Crisis
In Aesthetics) was referred to, drawn from,
sketched lightly but never clearly defined, as if
such a definition was unimportant.

There was frustration in the air that evening, a
feeling of something almost understood. We sensed
each member holding different definitions and
assuming the other panelists shared their
thoughts, when in fact each panelist was
projecting personal disdain; the very concept of
aesthetics was unacceptable in the early 1990's.

With such accusations, with aesthetics on trial,
it seems necessary to review it's history,
examine it's parentage, question it value and
define its purpose. One audience member suggested
dispensing with aesthetics altogether, but that's
like hanging first, trial after. This cultural
cleansing is already in effect; at an ICP
exhibition I found the art work had actually been
de-aestheticized.

There were photographs from the 1930's by Manuel
Alvarez Bravo, Edward Weston, Tina Modotti. The
images were framed without matts, in bright
grainy wood frames two inches thick. The frames
and the photographs competed for attention... The
viewer's aesthetic sense was split in two and
neutralized, I think intentionally, leaving the
work to be read as an illustration of art
history; images made in that time period, by
these people, following specific ideologies, as
we learned in school.

There was little desire to look further; the
work had been understood within the current
cultural belief system. But the content had been
trivialized, reduced to a cog in the system.

Body art at Exit Art
The Endurance show opening
Exit Art Gallery
New York, 1995

I wanted to talk to her... but felt I shouldn't
disturb the privacy of her exhibitionism. She was
wearing see-through black pants with bare
ass-cheeks. I wondered about the general absence
of sex, libido, life energy, the lack of eros in
the art world of these times.

Art is a field which includes sensuality, thus
attractive to those deficient in this vital
energy. Unfortunately there's too many of them
now. Sheer overcrowding. They've drunk up art's
joie de vivre, used it all, left no room for
regeneration. Art has gone dry.

The Endurance show, Carolee Schneemann, Vito
Acconci, Judith Barry, Bob Flanagan et al.
There's no pleasure here, only mutilation and
that pain which flesh is heir to. Chris Burden
photographs of a friend shooting a .22 through
his arm. My mind flashes to the William Tell
overture. Wherefore these extremes? Lack of
pleasure is pain. The audience at times looked
pained.

Contemporary artists are distinguished by the
serene calmness of their self control.
Good boys and girls are wanted now. Dependable, since most artists teach.
The territory's so competitive the least scandal is grounds for dismissal.

Sitting with George and Maggie, something makes
me smile as people walk by, but can't put my
finger on it. Then it hits; the mood underpinning
(undermining) the occasion was "the carrot on a
string" syndrome.

This was a big show, packed with both unknown
and illuminati indiscernible in their art world
fashion. The illuminati may find dreamed-of
admiration or at least a diversion from boredom,
the unknown drawn to possibilities of instant
fame and fortune. In the "Tao of Winnie the Poh"
it's called the disappearing jar of honey,
forever eluding one's grasp. This kind of thing
can't be caught directly; the terms "goals and
ambition" imply frustration by their very
definition. Time's running out. Frustration
simmers under every surface, though it would
never do to acknowledge it.

Body and beauty... Beauty is so undemocratic, I
know... But please! It's not the only game in
town and to dismiss it would impoverish our
lives. Since even those who have that kind of
beauty lose it with age, we find security in
noting other equally persuasive powers such as
personality. Beauty was certainly lacking on the
walls though not in the crowd. Beauty is
something we sell to the highest bidder and so
the buyers and sellers walked side by side. This
contrast, which looked so sensible, was as much
the body art at Exit Art.

March 4, 1995

Sculpture, sex, religion
New York, 1995

The Khajuraho temple in Indian is swarmed,
draped, covered with sculptures and bas-reliefs
of people having sex. "Doing it". Monumental
religious pornography. The priest explained; "the
illiterate peasants, men and women who farmed the
countryside, would see the sculptures and be
reminded of their duty to procreate." The visitor
was astounded. The priest nodded, "oh yes, people
forget!"

My first New York show I received a letter from
the gallery saying "as we are funded by the
National Endowment for the Arts, please no
religious images or frontal nudity." Sounded to
me like a class assignment. Sex and religion.
Touch a sore spot. Our sexual paradigm is
Judeo-Christian, John Calvin, Martin Luther,
Cromwell. Pleasure was the realm of the devil.

I then wondered is atheism a religion? One
worships the great "A"? Camille Paglia in the
unpublished preface to Sexual Personae writes
that "Specialization has made mincemeat of the
great body of knowledge. G. Wilson Knight says,
"It is easier to communicate with spirits than
for one university department to communicate with
another." The humanities are dismembered and
scattered, with music, art, and literature
residing far afield. Literature is chopped into
national fiefdoms. English departments are split
by recruitment "slots," a triumph of the minim,
producing such atrocities as ads for "Opening in
nondramatic lit- erature, 1660-1740." What kind
of scholar, what kind of teacher could satisfy
this sad little mouse-view of culture? American
universities are organized on the principle of
the nuclear rather than the extended family.
Graduate students are grimly trained to be
technicians rather than connoisseurs. The old
nineteenth-century German style of universal
scholarship is gone."

This separation reached deep in the psyche,
there was a dryness calling for a re-enchantment
of the world. The intellectual mind isn't enough.
At Schloss Solitude in Stuttgart in a
conversation with a respected French artist I
said I mistrust the intellect because of it's
limitations, and got a shocked look, like the
shock I felt at 12 when I realised some people
thought fundamentally differently than those of
my cultural background.

What was this thing about religion and culture?
There's a speculation it's important for the mind
to live with paradox, to strive intellectually
and emotionally beyond the known and possible,
the obvious and statistical.

May 24, 1995.
--

+
+
+Miklos Legrady
+
310 Bathurst st.
Toronto ON M5T 2S3
416-203-1846
647-292-1846
+
-website;
http://www.mikidot.com
+

DISCUSSION

Sophisticated Cherries


Sophisticated Cherries
http://www.ccca.ca/mikidot/photo/cherries_05/

These are not advertising photographs, even if ads are culture.
Culture's a thing in the making, a weave through time of current
opinions, fads, movements, ideologies, allegiances, networking. Yet
through the interaction of such instinctive behavior, we see a
certain direction for conceptual thought at the start of the 21st
century.

Chaos theory, string, sync, and link theories, new media and time
based arts, surveyance and database-driven concepts, these point to a
search for patterns in human behavior, patterns or structures based
in nature, biology and physics, for universal and verifiable
paradigms we can trust and rely on.

Yet there's a spiritual aspect to consider. Quality of life,
intellectual and emotional refinement, sophisticated discernment are
all spiritual aspects, pushing beyond basic matter to include the
complex richness of individual perception at any given moment in
local time.

We care how others lived, the myths they followed, their character,
personality, the way they looked. From this matrix we construct
cultural sets, judgements to recognize our similarities and
differences. We reflect on who we are, where we are, and where we're
going.

Our lives have a public and a private side and this body of work is
about the private and personal. Sophisticated Cherries is about when
you're by yourself. Preparing lunch, setting the table, washing
fruit... then you see fractals in the water as it clings to cherries.
Another world is revealed beyond the mundane and banal, known and
understood.

With close-up lenses the camera bring us closer to a microscopic
world which reawakens the curious psychology of imagination and
projection, of anthropomorphic speculations. There's a transcendant
feeling, an operatic grandeur as we recognize in this microcosm the
patterns and structures of our normal scale... yet because of this
difference in scale we also see a landscape born of our expectations.

This work parallels contemporary themes about social presence, such
as Sorel Cohen's "Le Rite Matinal", a matrix of nine images showing a
person making a bed, shot with long camera exposures which blur the
woman, emphasizing movement through time. What made "Le Rite Matinal"
a seminal work was in the way it revealed the personal as a
fascinating source and subject of contemporary art.

In Sophisticated Cherries we no longer see the protagonist, we're
seeing through his or her eyes. The movement is not through time but
space, that 360 degree sphere separating us from the external world;
the content or agenda is the legitimization of personal experience as
source and subject of creative activity. This work shifts the
conceptual focus from a relationship and attitude towards the outside
world back to the subject, the person seeing the world from a space
within.

We care because we have certain instincts based in cellular and
chemical biology, in specialised brain cells whose functions give us
concepts of quality, judgements between fascinating / boring, ugly /
beautiful, attractive / repulsive. Mathematicians say we recognize
the importance and stability of an equation by the fundamental beauty
of it's structure. Quality is a projection; we see quality in objects
yet the judgement is made in the observer; we recreate the world
according to our expectations.
--

+
+
+Miklos Legrady
+
310 Bathurst st.
Toronto ON M5T 2S3
416-203-1846
647-292-1846
+
-website;
http://www.mikidot.com
+

DISCUSSION

satan exhibition opening


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______________________________________________

MIKLOS LEGRADY

Satanic Semiotics
An exhibition of contemporary art

BADART GALLERY
310 Bathurst, south of Dundas

November 30.2002 - January 15.2003
Opening, Saturday November 30th.2002, 2PM.

_______________________________________________________
Badart Gallery gratefully acknowledges the Warhol Foundation, The
Canada Council for the Arts, the Whitney Foundation Independent
Gallery Program, and the American-Sicilian Families for the Arts
Program.

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<center><color><param>FFFF,CCCC,0000</param>apologies for multiple
postings, Recipient list:Bcc.

</color>______________________________________________

</center>

<center><bold><bigger><bigger>MIKLOS LEGRADY

<color><param>FFFF,0000,0000</param><bigger>Satanic Semiotics

</bigger></color></bigger>An exhibition of contemporary art

</bigger></bold><bigger><color><param>FFFF,0000,0000</param><bigger><bigger=
>BADART
GALLERY

</bigger></bigger></color><bold>310 Bathurst, south of Dunda</bold>s

November 30.2002 - January 15.2003

<color><param>FFFF,0000,0000</param><bigger>Opening, Saturday November
30th.2002, 2PM.

</bigger></color><bigger><bold>____________________________________________=
___________

</bold></bigger></bigger></center><smaller>Badart Gallery gratefully
acknowledges the Warhol Foundation, The Canada Council for the Arts,
the Whitney Foundation Independent Gallery Program, and the
American-Sicilian Families for the Arts Program.
</smaller>

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