Judit Navratil

  • Hungary (b. 1982 in Szombathely)
  • Currently in Oakland, United States.
  • My works are mindmaps of different levels of consciousness, comparing the collective subconscious with the very personal stories and memories of a person - examining archetypes, structures, network systems and the tiny miracles of nature.



{ Life is Circus }                                                 

Once I was told that I create Operas of the Everydays.

jó ebédhez szól a nóta

I’m working on a virtual Plattenbau of Poor Homes, VR shelters that may be the Safe Space for our grandchildren. Weaving together my free-flow drawings, the Long Distance Somersault practice (LDS) and my treasures (#memorycollector), I aim to build protectors responding to the ambiguity of the accelerated merge of digital and analogue. How do we distinguish between the layers of reality, human consciousness and other forms of intelligence in the fickle realms of identities, traditions and the attachments of materiality?

Tame fear and re-shape power by delicacy.

Naïve to the bone.

Regarding the article of Hito Steyerl: In Defense of the Poor Image [1] and my personal experience of constant migration, I’m wondering about the human conditions when traveling and communication is faster than ever, yet we have no time to learn basic survival skills; generations are separated so new kind of communities emerge and fall apart with the speed of internet memes. How do we activate our seeds and what do we grow from this transnational, global liquidity? What are the boundaries of entropy and quality?

What does HOME mean and when does it become an institution?

Poor Homes have no Hats.

WE are the hats - the Garbage and the Treasure.


I’m questioning the efficiency [3] of my art, yet understanding more about the era of beginnings of AI makes me respect the values of unexpected patterns even more; I embrace futile, nonsense activities and the freedom of the realms of in-between, being lost, slippage. The importance of artists could be now as crucial as a midwife at birth.

A rolling moss gathers no stones

I inhabit self-created careers to amplify the nature of constant change.

Professionalism and seriousness oftentimes lead to rigid, selfish ego plays.

These occupations are the binding agents for exploring different materials (childhood drawing tools, VR video, performance etc.), styles and topics; for example being a mind cartographer, a tear factory worker, a poop fortune-teller and so.

As of now, I’m interested in the roles of the Cleaning Lady and the Good Grandmother – sharing unconditional love without the attachments of maternity.

{cycles ◇ endless loop}


Long Distance Somersault (LDS) career maintains my flexibility to roll further and reflects on my social and spatial encounters.

{Fast Forward Speranza [4]}

Being sponsored allows me to examine the effects of monetary involvement and validates my suspicion that everything is possible.

LDS helps me to find balance, meditate on the hamster wheel of life and to gaze into the Eye of the Hurricane. In a group practice, social connections and relations can be exercised through this different awareness.


  1. e-flux journal: Hito Steyerl: In Defense of the Poor Image, 2012  
  2. Banu Cennetoğlu  BEINGSAFEISSCARY 2017, various materials, Friedrichsplatz, Kassel, documenta 14
  3. regarding efficiency not as our friend but the metaphor of the system we are embedded in
  4. Speranza (Hope) is the island where Robinson arrives. Michel Tournier: Friday, or, The other island





  • Rita Jánosi-Halász: Műhelytitkok az akvarellek birodalmából / Workshop secrets of the empire of watercolors // FlashArt I./4.
  • Brigitta Muladi : Légy üdvözölve a világomban! / Welcome in my world! Új Művészet 2011/2 (DRAW?)
  • Andrea Bordács : Alternatív megoldások / Alternative solutions Új Művészet 2008/12 (Mechanics of the Canvas)
  • Noémi Szabó : Stílusgyakorlatok / Stlye Practices Új Művészet 2008/8 (Graduate Exhibiton of Hungarian University of Fine Arts)