Orsolya Bajusz
Selected Art

(I have too many aliases to count)

Sissi Quartier, 2017, folyamatban

Nyári napforduló

Hungarofuturista megmozdulás. Mi is a Hungarofuturizmus?

Nyert a Transzzsidó!, 2016, folyamatban

A transzzssidó és az antagonisták elemzés 1 2

"A Világ legemberségesebb embere", 2017, folyamatban

Nyári Misztériumjátékok II., 2016

A kiállítást Bajusz Orsolya performansza nyitja meg. Bajusz és Meglepetésvendégei varázsolni fognak. Előadásunk során dichotómiákat triangulálunk, vaskarika lesz a fából, financiális tőke a kulturális tőkéből, valami a semmiből, a szinkronmágia, a természeti mágia, illetve a liberális szómágia teremtő ereje is teret fog kapni.

The exhibition is opened by Orsolya Bajusz. Bajusz and her surprise guests are performing magic. Through the performance they are going to attempt to triangulate dichotomies, the old dog is learning new tricks, financial capital becomes cultural capital- and vice versa, nothing becomes something. We also demonstrate the power of syncretic magic, nature magic, and a few summons of liberal world-magic.

A megnyitóbeszéd után megtaláljuk Titania Istennő oltárát, és feláldozzuk a kiállítást

Nirgendheim, by Jelena Viskovic, 2016

A három játék-világ logikájának egyikét építettem fel, illetve szövegeket írtam a játékba, mint például:
Let’s be clear: at some point, we have to take(‘steal’) the things with the potential to cause the most damage to the invisible and intangible overcoding networks of capital accumulation. One must take care since the punishments are harsh and unjust. In a world where Slutwalk is the new 1st of May we should be prepared to clash with the taste police over the dumpster diving duels, or forced to do virtual slave labour as an orc in a virtual gold mine or virtual sex work. That is unless, of course, one chooses to apply out of patriotic duty or is transferred to a suburban prison complex. General labour conditions are not much better. Most people work in call centres doing something either connected to warfare, finances or just general media content and often there’s a not much to distinguish between them anyway. Should we fail to stop the construction of the skyscrapers, they are going to suck more life in. More people shall be given the opportunity to vacuum carpets or push little trays around.

The radical feminist nativity play, Budapest FKSE Gallery 2015

Pásztorjáték, 2016

‘Ami a technológia számára veszélyes vagy valódi kockázatot rejt magában, az egy bizonyos csoport kiábrándulása a technológia potenciáljából, a ráeszmélés a technológia felszabadító tendenciáit követő ürességre. Ha erre az ürességre ez a csoport a technológiánál intenzívebb fokon vágyakozik, akkor megelőzheti, vagy talán akár fel is számolhatja a technológia hatalmi eszközökkel adagolt „felszabadító” tendenciáit. A kortárs technológia alapvető ígérete, a felszín alatt meghúzódó fő jellegzetessége a halál felfüggesztésének vagy késleltetésének a lehetősége.
Nikolas Rose es Paul Rabinow a neoliberális módozatú biopolitika elemzése kapcsán jut arra, hogy az nem az élet kioltása, hanem az életfolyamatok fenntartásán keresztül az élet uralása lesz a cél. Ebben a paradigmában valahol meg vagyunk zsarolva – aki nem az életet választja, a halált akarja, vagy a halál lehetőségének hirtelenségére törekszik, a technológia ellenségévé válik. A technológia – még akkor is, ha már egyértelműen csak a felfüggesztett halál ígéretével szolgálhat – alapvetően halálellenes.

’ - Horváth Márk és Bajusz Orsolya szövege

Without subtitles. With subtitles. Launch party of "Reproduktiv"zine. Get it from T+U

Katalizator Art Prize 2015
Towards a Self-colonizing Toolkit/Erste Stiftung-Tranzit Exercise Challenge

Art methodologies and the tightrope walk between self-cultivation, self-regulation, and violating one's self.

1, Pitching: Public lecture, with me as the creative worker (manifested as the gothic lolita) and sociologist Anna Wessely as the knowledge worker (manifested as the steampunk).


2, the workshop 

The first exercise takes place at LIMBO, a fledgeling arts facility, (Unit 5, 7-17 Latona Road, SE15 6RX, London), from 3 - 4.30pm. This is a teambuilding game to prepare for the second exercise, the 'self-help circle'. The playground will facilitate enactments of our newly re-formulated subject hoods.  This will be a self-help circle in which to share problems with temporality (“I am not made for my time”), with or without re-enacing the carefully cultivated PR-personas. New clothes and optimal environmental circumstances will be provided. Those allergic to eggs, or harbouring health & safety-based anxieties need not apply.

The playground is the circular non-horizon, where subject hood formation unfolds.

 Should somebody want to progress/start at all, not participating is not a choice, just like with all the other playful team building games of LDN UK. The playground is there for the enactment of the re-formulation of subjecthood -a circular non-horizon. I hope there will be lots of people “we” respectively hate, or just total strangers “we” feel "we" have nothing in common with. 

Membranes will be dissolved and as rigid boundaries expose the horror of each of us allegedly being an island, porose boundaries expose the horror of the same forces animating you or I or any random obnoxious idiot.

To sort of arbitrarily paraphrase G. Simondon:  The living individual amplifies itself without stabilising itself, at the most primitive level  similar to a state in which a crystal is being born. Also don't forget the whole world is an egg. New clothes and optimal environmental circumstances will be provided. Those allergic to eggs, or too concerned with health and safety need not bother.

The Hungarian self-colonising exercises:

human capital development strategies on display- embodied/performed

 A few yogic acts will be put on display, balancing between affects of precarity- if being devoid of money (asking for it) is read as a playful gesture it is tolerated, even read as 'good practice', but there is less and less place for those whose poverty is inscribed on the body.  We don't need expensive clothes or dvds or personal trainers, we self-develop and have the guts to turn it into a carefully positioned spectacle and ask money for it. Have you ever wondered low does a downward dog have to go to bypass the Vagrancy Act of 1824?

Whether one decides to pursue success in either logistics or violence (or through whichever terms one conceives of any structuring logic) eventually beliefs, roles and customs have to become one with the pursuer. From secret societies or institutions of elite soldiers having to be initiated through murder (depending on the particularities of the given military training, either cultivating or oppressing the berserker circuits in the nervous system) to psychotherapy or liberal feminism aiding the transmuting of anger, or new cults like “spiritual capitalism” helping engineer the affective states of the docile neoliberal citizen. Successfully engaging with a given field has a price (more often than not ones soul, flesh, blood) and more often than not this price has to be paid in a slowly drawn out, agonising manner through culturing the self through the subjectification practices (culture) of the respective professional field. In fact even class-based identity is becoming affective, something to be felt and articulated as such- “I am privileged to love my job”. Culture also supplies us with the right kind of vision ( = success) to be pursued, the ocularcentric fields of professional creatives, culture-makers have to busy themselves with most dazzling ones - how otherwise would anyone be ready to believe that haircutting is creative, but staying alive one
night out on the street is not so much? Creative practices too are structured by the logic of capital, yet as we are entering a new era of production and consumption, it seems less and less clear what exactly this logic entails, canons change, and ontology competes with ontology.

Swarming Talent Competition, with PR/Csilla Hodi

Dancers equipped with their respective motion capture codes drive music and make musical patterns emerge through  custom written code following the model of bees swarming. Don't let appearances fool you. This idea has the potential to be is extremely useful. Watch the script in action here: Calafou

with Laura Yuile

"Orsolya Bajusz and Laura Yuile often work together. They do not go by any conjoined name, have not constructed themselves as a brand and even the disadvantage that this almost certainly puts them at in a creative economy in which such things are considered a minimum requirement is a challenge which they welcome as an essential tension from which to work. This dynamic recurs in all of their collaborations - process, flow and blockage are for them primary materials, and they wilfully discard surplus ideas and methodologies to get down to the physical and practical, as they say to 'the pipes in the ground' in which they are both literally and figuratively interested. The pair work from basic principles, eschewing definitions of role and terminologies which might make them easier to apprehend: artists, academics, producers, participants or instigators; they occupy these roles when necessary and never when not. For one piece of work they sent out five totally different calls for participation. It is methods like this which allow systemic hierarchies to be destabilised and disrupted but most of all to be made evident. Spaces are held and occupied, times are set but terms are absurdly and resolutely undefined. By setting boundaries and limitations as they did when holding an artistic symposium in IKEA's showrooms or running a nail salon in an art gallery, the duo allow the simultaneous continuity and split-ness of subjects and situations in time to become clear. The elephant in the room and the Emperor's new clothes appear and disappear. The multiplication and adaptation of Yuiles and Bajusz own selves in the situations they construct is not precious, it is, as their work highlights, just what all selves do. Transformation is both risk and damage as well as triumph."- Hestia Peppe

Time Passes By, 2013

Time Passes By is a peer to peer help group for those who want to support each other in coping with the terror or confusion of time, those who feel their mode of time is different than the time the outside world registers, and those seeking temporalities outside of convention. The first meeting was held in a disused chinese restaurant in Romford, via Romford Contemporary Arts. The second meeting got cancelled due to the whole hosting festival being called off. The third meeting could have been part of an event series in the USA, but we do not have any travel budget. Be careful what you wish for, if you want to "surf the creative edge of uncertainty". 

We held a series of focus groups in which we presented a number of processes that underlie the production, circulation, distribution, transportation and consumption of everyday products, for feedback and discussion. We asked questions in order to provoke a release of affects and sensations that respond to, or are embedded within, these synchronized movements of goods, funds and information that surround us and the bureaucracies that control such movements. Using the model of a market research focus group as a framework for applying these processes to redefined conceptions of use; we used the information and feedback generated from these sessions to write proposals for new artworks; attempting to re-situate these profit-generating and standardised flows, or divert their flows and potentials, in order to imagine different outcomes. The proposals formed the basis of the second installment of the project, the exhibition.


For the installation P.D.A Curtain Showroom, we commissioned a number of artists to create an artwork on the back of a pair of curtains. Opening our showroom with a closing down sale, we gave the curtains away for free in return for the customer signing a contract agreeing to have the curtain displayed in a publicly visible window - and closed during gallery hours - for the duration of Glasgow International Festival of Visual Art. The result was a public art exhibition throughout the city (Public Displays of Affection) and an extension of the Glasgow International art map.

                                   The Departure Lounge

A team-building training for our committee sourced from artsjobs.co.uk, for the Departure Lounge, our art space (provided by the Departure Foundation) a recession-stricken empty unit between a dog food shop and a Poundstretcher on the outskirts of Manchester. Involving the committee we run art symposia in the cafeteria of IKEA Manchester. 2012, ongoing.

"we are interested in the similarities and differences involved in the production of an artwork, and the outcome of any business  interaction or designed process."

Running our own nail salon “Bargain Nails” in Peckham, providing free nails done by artists who applied to an open call on artsjobs.co.uk to work with a medium “spatially constrained and in close proximity to the human body” . The nails were free for all, interns did the flyering on Peckham High Street, and when artists walked out we we quickly recruited more from the passer-bys.

with PR.

An obstacle race track for (self-identified) liberals/free-thinkers or anyone who is interested. A string of surreal encounters based on contradictory conceptions of “tolerance” and liberal identity. Are such identities just literally consumed within a framework of lifestyle choices, or are they based on moral decisions?


"The obstacle race track starts at the sites of subjectification, with a game of political-musical chairs unfolding behind a neat little fence, right where human nature and the social environment intersect.The subjectifying-chairs are adorned with different religious and political motives, in a straightforward, tasteful manner, in accordance with the essentialist principles underlying this game. The good liberals are of course set to compete against each other, and whoever gets to have a chair and a corresponding stamp that causes the least embarrassment is expected to internalize their success, and feel superior to everyone else right through the course of the track. The participant who is left without a chair has to leave the circle dance, and start on the whole scary obstacle race track, and the rest are to be stamped with various crosses, pre-WWI symbol of Hungary, EU stars, etc, according to their respective chairs, until they are left without a chair as well."

"The sixth obstacle is the Fat-Shaming Cottage. The task is to crawl through the  little princess palace, whilst wearing a large fat costume. In the meantime, lifestyle advice is being loudly conveyed (It’s all in your head! It’s all up to you!) If the participant touches the walls, a loud trumpet draws everyone else’s attention to the bad conduct on display."

Video documentation here

Don't Take Artisan Candy from a Stranger/My Little Urban Farmies, 2013, Budapest

Public installation on a Budapest boulevard involving us and the Lickable Delicious Vector Pig- mixed media life-size pig figure covered in caramel, organic coconut balls, hay, smoke, and Claire Bishop channeled into a (smoke) screen.

" A Virágbolt a Claire Bishop által leírt részvételi és együttműködő gyakorlatok kategóriáiban értelmezhetetlen, hiszen nyilvánvalóan se nem delegált performansz, se nem pedagógiai projekt. Ugyanakkor a Virágbolt Én kicsi farmom rendezvényéről készült egyik fényképaláírás tanúsága szerint a kritika kölcsönös: „Miközben Orsival a permakultúráról7 és a házi dohánytermesztésről gondolkozunk, a háttérben megjelenik Claire Bishop szelleme."

research process/performance documented/life as usual

Launching the Brakes (brakes.co.uk, the UK’s largest catering company, we had to say we are a pop-up cafe to set up an account and get the eggs) long egg at Borough Market, the fanciest food market in London, and inviting people to have a taste. With Laura Yuile

The 5 minute musical from 2007, based on the texts of Sandor Marai.


Bela's Struggle/Béla Küzdelmei, or adventures of a house decorator-(watch it here!) 10min, 2011

Flag- watch it here!, 7min 20sec, with ZS Werner, 2007 

Serenade, 1min 25sec, 2009 

The new film- in the making!

I am very busy being 'anonymous feminist', especially when it comes to promoting reproductive rights.  (Ha érdekel a téma: 1 2)
I also have a regular job with a small NGO aiding pregnant women in crisis.

Here is my CGI showreel

(more coming soon)

egy interjú velem: http://artportal.hu/magazin/kozugy/nem-hozok-letre-semmilyen-kepet-vagy-targyat-bajusz-orsolya


I was a research fellow here and my creative consultant and animator here.

I am very busy with the struggle for reproductive rights online and offline. Erre elég büszke vagyok. 

Orsolya Bajusz is from Miskolc, Hungary. She has a diploma of higher education (in visual communication) from the Glasgow School of Art, she was awarded the title Magister Artium in fine art from the Vienna University of Applied Arts, and has an MA in sociology at Goldsmiths, Univ. of London.  She is a PhD student at the Sociology Department of ELTE Budapest. 

She produces work across multiple platforms, preferring to work in collaboration, networked practices or anonymously. Orsolya is interested in art beyond conventional means of representation and object-centric narratives. Recently she is concerned with two things. Firstly, the utilisation of existing art methodologies and toolkits to examine strategic means of presentation. Secondly, the role and agency of art in the quest for new ontologies and new visions for the fundamentally networked and interconnected states of (not-quite-so) individual self-hood.