Private Project

With the door open

  • Kondor Attila
    Director
  • Johannes Anker Larsen - Kondor Attila
    Writer
  • Project Type:
    Animation, Experimental
  • Runtime:
    5 minutes 29 seconds
  • Country of Origin:
    Hungary
  • Country of Filming:
    Hungary
  • Language:
    English
  • Shooting Format:
    Digital
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Kondor Attila

ATTILA KONDOR

painter, animated film director


Born in 1974.
Lives and works in Budapest, Hungary
www.kondorattila.hu
attila.kondor@gmail.com
Degree: 2000. Hungarian Academy of Fine Arts
Professor:András Baranyay

Filmography:

Inner library: https://filmfreeway.com/InnerLibrary056

The Paths of Attention project:

Splendor Solis I-II. 2014.

https://filmfreeway.com/projects/892622
ONTOGENESIS - film 2014.
https://filmfreeway.com/projects/823302

ONTOGENESIS - Video Installation 2015.

https://filmfreeway.com/projects/892629
City from Above - Video Installation 2016.
https://filmfreeway.com/projects/949611

Individual Exhibitions (Selection )
2019 Experiencing Freedom, Kunsthalle Budapest
2018 The paths of attention Archabbey of Pannonhalma
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 )

2020 Garten Art Festival, Lovas
2020 Artonomy II. National Salon of Fine Arts, Kunsthalle Budapest
2019 Paradise City Art Capital Festival Szentendre
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

Awards:

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

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Director Statement

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. But where does the picture
invite and lead the observer? Why can this unique phenomenon get born at all? One of the most important questions for me is how the inner journey of theobserver, which is a response to the call of the picture, meets the artist’s journey leading outside, 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?
In both 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.