Antal Lux

http://www.antallux.de/

Born in Budapest, in 1935. In 1956 immigrated to Germany, where he pursued his studies at the painting and graphics department of the Academy of Fine Arts, Stuttgart. Passed the state examinations in 1965. During five years studies he received an American scholarship.
After pursuing a career in teaching, from 1970 exhibited works as a freelance painter and graphic artist in all over the world and received a number of awards. Among others: in 1964 „Prix International Salon de Paris, in Juvisy“; in 1988 scholarship of the Cultural Fund, Bonn; in 1993 Prize of the Hungarian Fine Artists’ Society, International Biennale of Arts, Gyor, Hungary; in 1991 the first prize of „Retina“ festival, Szigetvar, Hungary; in 1991 the prize of Film Festival, Hanover; in 1995 the video prize of the New Berlin Art Association; in 1996 prize of the 18th Tokyo Video Festival; resident artist of ZKM, Karlsruhe; first prize of the Bremen Video Arts Festival; in 1998 „Silver Award“ of the 20th Tokyo Video Festival; jury member of the film commission of Lower Saxonia.; 2000 distinguished laudation of the Locarno video Arts Festival.
Different exhibitions in Germany, France, Italy, England, Romania, Hungary, Spain, Finland, Croatia
From 1980, parallel with fine Arts, he was engaged in the experimental media arts (video art, installations, electro-graphics). These visual experimental works have been shown all over the world (Germany, Denmark, Austria, Turkey, France, Sweden, Australia, Malaysia, Caucasus, Georgia, Argentina, Hong Kong, Netherlands, Schweitz, Portugal, USA and Croatia.

Performance and installationa "The Media are Political Systems, they are ManipulatingIndividuals

Soon also in English:

"Symbolisch nehme ich Monitoren die ich mit Medien jeglicher Art assoziiere. Die vernichte ich, da sie politische Systeme sind, sie manipulieren das Individuum.
Man muss alles in der Umgebung zerstören vor man Kunst schaffen kann; Leinwände, Radios, Zeitungen, Monitoren. sogar Glieder zerbrechen oder Kopf einschlagen.
Ohne Gewissensbisse haben wir "Anarchismus" im Hinterkopf.
Nicht nur das ist das einzige, welches in der Reflexion auf frühere Zeiten sich auf die eigene Epoche oder die Nachzeit auswirkt, sondern das kann von der Mehrheit der "Kunstwerke"
behauptet werden, ohne das hinsichtlich ihrer Zeitfolge tiefer zu untersuchen."

Foto collagues on the exhibition in RIGO