ARTIST PROFILE

Judit Navratil

  • Hungary (b. 1982 in Szombathely)
  • Currently in Oakland, United States.
  • Judit’s practice is multivalent, engaging performance, social practices, drawing, as well as video and VR; investigating the possibilities and dangers of ‘home’ in cyberspace. She looks for alternatives to teach unconditional love to a potential AI.

ARTIST STATEMENT


>>{ Life is Circus }<< 
Once I was told that I create Operas of the Everyday.
>> jó ebédhez szól a nóta <<


I’m building a virtual reality Social Housing Neighborhood called Szívküldi Lakótelep, (szívküldi= heart-sent, lakótelep=social housing neighborhood) considering the possibilities and dangers of ‘home’ in cyber-space.
I gather Friends to create a nook-like Safe Space built of memories for our grandchildren. I use the patterns of my upbringing
being flown on large kites and growing up in a comfort flat
on the 8th floor in the late communist era of Hungary.
 
Weaving together my free-flow drawings, the Long Distance
Somersault practice (LDS) and my treasures (#memoryconnector),
I aim to provide platform for a discourse and help to build “protector shelters” that respond to the rapidly increasing ambiguity  
between our digital and analog worlds.
How do we distinguish between the layers of reality, human consciousness and other forms of intelligence in the fickle realms of identities, data and materiality?
 
Drawing upon ideas of Hito Steyerl, Alan Warburton, or Jaron Lanier as well as my personal experience of constant migration, I’m wondering about the human condition in our achievement society when travel and communication are faster than ever, yet we have no time to learn basic survival skills or connect; generations are so separated that new kinds 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, liquid self-enslavement?
What are the boundaries of entropy and integrity / value?
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.
 
>>{cycles <> endless loop}<<
Long Distance Somersault (LDS) career maintains my flexibility to roll further and reflects on my social and spatial encounters. I use my body as a device to sharpen consciousness, and it’s a crucial balance of my digital practice.
 
>>{Fast Forward Speranza1}<<
Being sponsored allows me to examine the effects of monetary involvement and validates my suspicion that everything is possible.
LDS is my meditation on the hamster wheel of life that helps to
gaze into the Eye of the Hurricane. In a group practice, social connections and relations can be exercised through this different awareness.
 
>> SAFEISSCARY2 <<
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, glossolalia.
The importance of artists now could be as crucial as a midwife at birth.
I’m looking for alternatives to code the love that I’m built of
with a soft feminine nesting approach,
in contrast of the cynical honesty of Jon Rafman or Jacolby Satterwhite.
 
>>A rolling moss gathers no stones <<
I inhabit self-created careers to amplify the nature of constant change.
Professionalism and seriousness often lead to rigid, selfish ego plays.
Playing with these occupations is a binding agent 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 aiming towards being a Cleaning Lady and the Good Grandmother – cleaning up and recycling love without
the attachments and proximities of maternity.
 
>> Naïve to the bone <<
 
 
1 Speranza (Hope) is the island where Robinson arrives in Michael Tournier’s Friday, or, The Other Island
2 Banu Cennetoğlu BEINGSAFEISSCARY 2017, various materials, Friedrichsplatz, Kassel, documenta 14


BIBLIOGRAPHY

  • 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)

PRESS

  • WALKING INTO THE new art exhibit centered around augmented reality and virtual reality storytelling, I couldn't quite wrap my head around the alternate dimensions that had been built.

    The exhibit, Festival of the Impossible, is showing at Minnesota Street Project galleries in San Francisco, California, through this weekend. The show features new works by artists breaking boundaries in these relatively new digital mediums.

    Learning that the artists were given these VR and AR platforms to stage their concepts made me believe the creations were meant to show off the hardware and software innovations, and to demonstrate the potential of the new tech. After experiencing each artists' work, however, I realized the creations were not just technology demos, but that they gave the artists a chance to express their own ingenuity with technology in a way that's never been this easy, nor this real.

    Step Inside

    Each artist in the exhibit gets their own open space where the audience can wander into their imagination. Some artists told stories on iPads using augmented reality, with the screen showing the view through the camera transformed, in one case, to show the room on fire or drenched in rain.

    In another artist's space, I pointed the iPad's camera at small, 3-D printed beds. The view in AR showed Sims-like figures sleeping with their realistic dreams playing out above them. Some dreamed of giant spiders; others, the nightmare of a computer that won't stop buffering.

    Some of the artists made their work more personal. Judit Navratil used AR to revisit her childhood home through a video that incorporated her deepest memories, including talks with her grandmother. With just about every installation, it would have been easy (and fascinating) to spend way too much time exploring every detail.

    New World, New Tools

    Every time a new technological medium comes along, the art world asks: How can we use this for storytelling? The art world will adapt to these new mediums, but someone has to test the waters first.

    That's where Adobe comes in. Just this week, Adobe, in partnership with Apple and Pixar, launched the augmented reality authoring tool Project Aero. This new piece of multi-platform software is intended to let designers and developers create AR experiences in a simple, standardized environment. Project Aero integrates with tools with which creators are already familiar, such as Adobe Photoshop CC and the 3-D design tool Adobe Dimension CC. Project Aero aims to give people of different backgrounds and disciplines the freedoms to bring others into their worlds through AR, telling stories and presenting ideas in a fresh way.

    Adobe is a sponsor of Festival of the Impossible, and the event coincides with the launch of the new software and with Apple's Worldwide Developer Conference, which happened this week in San Jose, California.

  • https://artportal.hu/magazin/atgurulni-mindennapok-mokuskereken-navratil-judit-hosszutavu-bukfencezo...
  • http://artportal.hu/magazin/kortars/valosag-es-azon-tul-navratil-judit-obudai-tarsaskor