Experiencing Interruptions?

Inner Library

Inner Library

A painted animation by Attila Kondor

Since actors are entirely absent from Kondor’s film, this makes it possible for the viewers to become actors themselves. The film generally begin at entirely ordinary spaces, and lead the viewers through mental and imaginative ones later on, where the meaningful scenes reveal motives from mythologies, philosophy and art to the viewer during his journey of interpretation. „The inner events”, which are caused by the series of perceptions, thus form some kind of intellectual and spiritual story.
The contingently evolving path of the perception is selected by the animation, and is made visible by some lights gleaming repeatedly. Shapes of ancient statues and fountains (providing the composition with a harmonious athmosphere) start gleaming in the „visualisations” which are projected to some ordinary sights. Gleaming from behind doorways in imaginary spaces, or roofs floating in the air all „pull” the viewer’s attention inwards. The images embracing a variety of grave significations lead to an enormous and old library. The bookshelves, ladders and the books themselves are not at all represented as static objects, since it is in the presence of the camera that they obtain their forms, almost becoming images themselves. All this makes it possible for the viewer, to experience it on a personal level, that cognition itself is a process, an everlasting change. However, the dynamism of the animation still aims at a sort of balance. Once the library has been outlieed by a sequence of images, a new change occurs. A spine of a book starts gleaming above one of the ladders in the library. The camera slowly opens up, giving more and more insight into the contents of the bookshelves, on which more and more books start gleaming. As the camera opens up further and starts receding, the rest of the books fade away, and only the gleaming spines remain visible. The viewer then becomes involved in an upward movement, by which he becomes elevated in an enormous space (similar to a well) towards the central, circular source of light. As it turns out, this source of light is an oculus of a cupola similar to that of the Pantheon in Rome. In the closing sequence, the viewer is exposed to the coffered layer of the cupola, and the composition here leads him back to the structure of the opening scenes of the film.

  • Attila Kondor
  • Attila Kondor
  • Judit Ordódy
  • Project Type:
    Animation, Experimental
  • Genres:
    Art FilmPainted animation
  • Runtime:
    8 minutes 29 seconds
  • Production Budget:
    25 EUR
  • Country of Origin:
  • Country of Filming:
  • Shooting Format:
  • Aspect Ratio:
  • Film Color:
  • First-time Filmmaker:
  • Student Project:
Director Biography - Attila Kondor


painter, animated film director

Born in 1974.
Lives and works in Budapest, Hungary
Degree: 2000. Hungarian Academy of Fine Arts
Professor:András Baranyay


The Paths of Attention project:

Splendor Solis I-II. 2014.

ONTOGENESIS - film 2014.

ONTOGENESIS - Video Installation 2015.

City from Above - Video Installation 2016.

Individual Exhibitions (Selection )

2018 The paths of attention Pannonhalmi Apátság
2017 Survey Tornyai Múzeum, Hódmezővásárhely
2017 The City of the Sun Resident Art Galéria, Budapest
2016 City from above B32 Galéria, Budapest
2015 Ontogenesis – Participation in being Kiscelli Templom, Fővárosi Képtár, Budapest
2015 The Modifications of Light Tornyai Múzeum, Hódmezővásárhely
2015 The paths of attention II. K. Petrys Galéria, A38Hajó Kiállító, Budapest
2014 Depicted time (Mátyási Péterrel) Molnár Ani Galéria, Budapest
2014 The paths of attention I. Óbudai Társaskör Galéria, Budapest
2012 The Art of Memory Budapest Galéria, Lajos utcai Kiállítóház
2011 Meditation Ari Kupsus Galéria, Budapest
Orientations Pepper Art Projects, Budapest
Being-in-the-word Újbuda Galéria, Budapest
2009 Coscience and being Bartók 32 Galéria, Budapest
2008 Giardini Ermetici, Olasz Intézet, Budapest
Orientations No. 1-2. M.C.P. Múzeum-kert és FKSE Stúdió Galéria, Budapest
Contemplation Görög Templom Kiállítótér, Vác
2007 Tradition Transmitter-Receiver – Inda Galéria, Budapest
2006 Parmenides-fragments – Huba Galéria, Budapest
2006 First glance – Szinyei Szalon, Budapest
2004 The gardens of contemplation Szinyei Szalon, Budapest

International references (Selection )

2018 View from V4 – Art Thema Gallery, Brüsszel 2016 The paths of Attention – SRSG, Rishikesh 2011 La Nuova Europa, Potenza 2008 Sulla strada Róma 2005 XI. Delhi Triennálé, Új-Delhi 1997-2000 Élesdi Művésztelep, Élesd

Collective Exhibitions (Selection )

2017 Hommage Ferenczy Károly 1917-2017. Régi Művésztelepi Galéria, Szentendre
2014 Free hand, MODEM, Debrecen
2013 Budapest Immersion, Új Budapest Galéria
2013 Lonely landscape, Déry Múzeum, Debrecen
2012 Portrait of a man Pepper Art Project, Budapest
Living Hungarian Painting Magyar Nemzeti Galéria, Budapest
2011 The New Europe – Giovani Artisti Ungheresi, Potenza, Italy
2010 Relationships Deák-Gyűjtemény, Székesfehérvár
2009 City-landscapes Molnár Ani Galéria, Budapest
Genius Loci, Művésztelepi Galéria, Szentendre
2008 Sulla strada – On the road Accademia d’Ungheria a Roma, Rome, Italy
New Renaissance Kaposvári Képtár, Kaposvár
Patronage Volksbank, Kogart Ház, Budapest
Kogart Contemporary Collection Kogart Ház, Budapest
2007 Time of Painting Magyar Nemzeti Galéria, Budapest
Light Volksbank Galéria (Istenhegyi u.), Budapest
2006 Beyond Time Szombathelyi Képtár
2005 Triennal of Delhi, New Delhi, India Új-Delhi, India


2018 Scolarship of Hungarian Academy of Art
2016 Tornyai-medal
2013 Béla Endre award
2013 Scolarship of “Újbuda Mecénás”
2007 Scolarship of Rome
2000 Béla Kondor award
1998 Barcsay award

Add Director Biography
Director Statement


One of the most important questions for me – as an artist – is how the intellectual expedition of the observer meets the artist’s journey leading his or her inner experiences to an external, objective phenomenon, the visible mold of which is the picture. How far can we talk about identical, or at least mutual experience? Is there a metaphysical point where the contemplation of the artist and the observer overlap? Where does the picture invite and lead the observer? How can the unique phenomenon of the picture get born at all? A painting is a result, an endpoint and a new starting point at the same time. The paint layers placed on the top of one another record all the moments of concentration following one another. The end result of the creative process stops time virtually; thus this “timeless” object concentrates the observer’s time, or in this case, attention, and by doing so, it invites the observer to get to know their special, “thick” existence.
In these cases, we can essentially talk about inner motions, the motions of visual thinking and perception: imagination, concentration or even the “astonishment” beyond conscious concentration. As I was interested in the emergence of these, “I had to move” the painting. For this, I started to use the results of contemporary animation-making and extend them with new methods if possible in order to visualize the different depths and levels of eyesight. With the help of animation, I can reconstruct these phases of the creative process, which -
in case I manage to reach the the aim of examination - eventually creates a new piece of art, making the mind flow toward the recognition of existence more transparent.

Attila Kondor painter, animation director of Inner library