Dreaming Ananda, 2025
Drawing by Romane Holderried Kaesdorf
Embedded Files
Angry Textile, Völklinger Hütte, Völklingen, 2025
"In its softness, its vulnerability, and the closeness of anger, we meet." https://angrytextile.de
OFF-Biennále Budapest, 2025
If the shirt fits ⤅ Sewing: Boróka Magó; Contributors: Zsombor Cseke, Tilla Giro, Gabriella Szigethy
"The unruly arms of Aliz Farkas’s sculptural garments reach many-tentacled outward from singular torsos, including the knitted Stretch as far as your blanket can reach and stitched up If the Shirt Fits (both 2025). Such gestures can invite each of us to step fully back into the fray, constellating in play and out of necessity beyond isolation, in opposition and with non-conformity, in mutation and toward solidarity, and always, in willing coalition and growing unrest. If the shirt of resistance fits, it’s past time to put it on." Fionn Meade, Texte zur Kunst
Stretch as far as your blanket can reach ⤅ Contributors: Lehel Felföldi, Rebeka Kernács, Zétény Nagy, Borbála Orosz, Anikó Sáfrány, Rita Vöcsey
Four-Hand Pieces with Judit Kele, 2025
Interior photo: Christian Farkas
World Model Collection ⤅ May This Feeling Resist the Present, group exhibition, curator: Gyöngyvirág Agócs, Bura Gallery, Budapest, 2025
"In her works Dreamcatcher and Cleanbug, the play on the words “bug” and “to bug” simultaneously refers to both the art-historical topos of the Eastern European artist living abroad in Paris and the euphemistic expression for various mental illnesses. We cannot know whether the bugs are real or part of a hallucination; the motif of cocooning and emergence from the cocoon appears, implicitly or explicitly, throughout all the works." Gyöngyvirág Agócs
Work in Slow Motion (open studios), Cité internationale des arts, Paris, 2024
Artist Exchange Program of Budapest Gallery
"The experiential background of Aliz’s work Ananda 1976 originated during her residency at the Cité internationale des arts in Paris. By combining her art-historical research with her personal narrative, Aliz created a fictional female character named Ananda, who herself explores the borderlands of artistic identity and the limits of art. Ananda, who emigrated to America as a child after the 1956 revolution and later lived in several European countries, embodies a collage of stories belonging to those who have existed on the periphery of the art world. In addition to the artist’s own persona, her character was inspired by significant predecessors such as Dorothea Tanning, Sonja Ferlov Mancoba, Louise Bourgeois, and Nancy Spero.
Ananda 1976 presents several elements of the fictional artist’s works from the 1970s, examining the relationship between mental struggles, trauma, and the body. The series was inspired by Dorothea Tanning’s installation Chambre 202, Hôtel du Pavot (1973), in which bodies dissolve into the surrounding space, and through their merging with the room, new soft, organic forms come into being. These hybrid shapes intertwine with the interior, creating a disquieting, dreamlike composition that evokes both personal and collective memory, the body, and its transformations. This sense of transience and transformation also reappears in Aliz’s installations, where ritual and anthropological objects are not merely cultural artefacts but also bearers of personal and collective experiences. Just as many female artists of the 1970s explored these themes, they have once again come into focus today.
In Aliz’s – and Ananda’s – work, anthropological and museological approaches reinterpret the role of handmade and ritual objects. Within these installations, traditional tools reflect processes in which they gain significance not only from a historical or ethnographic perspective; once placed in new contexts, they become part of the artistic discourse as well. At the same time, through the character of Ananda, Aliz examines her own inner processes: the traumas of recent years dissolve through the use of materials that are both fragile and soft – sarcophagus-like, symbols of masculinity and femininity – and yet brutal in their evocation of death." Gyöngyvirág Agócs
Ghost Protest ⤅ Demonstration with Candice Breitz, Larissa Peters, Georg Winter, Saarland Museum, Saarbrücken, 2024
"Breitz was set to present TLDR, a video installation about sex work in Cape Town, South Africa, at the museum in 2024, but the show was canceled in November after the artist—who is Jewish—wrote on social media that people should support the liberation of Palestinians(...) She said she believes that democratic rights such as the freedom of expression and political opinion are being eroded in Germany as discourse breaks down over the war in Gaza. " Artnet
Photo: 1. Alexander Karle 2. Saarbrücker Zeitung
Dharma Workshop ⤅ Participation as curator, Ferenc Hopp Museum of Asiatic Arts, Budapest, 2024
Artists and researchers in the project:
Judit Bagi, Ágnes Birtalan, Hajnal Gyeviki, Zita Hazenauer, Haibo Illés, Tatjána Kardos, Martha Kicsiny, Richárd Melykó, Péter Pettendi Szabó, Alexandra Szekeres
"The Dharma Workshop is a series of workshops at the museum, running for the first time this year, where we can explore together the sometimes familiar, sometimes unknown aspects of Buddhism. Led by invited visual artists, the programmes will be experiential, all-sensory learning rather than the classroom-style listening experience." Aliz Farkas
Photos: Péter Tamás Sági
FOHNO ⤅ Collaborative textile+performance experiments https://fohno.com/
"In the traditional sense, fonó can refer to the place where spinning takes place, the event itself, (“they held a fonó”) or even the person who does the spinning. The term thus evokes various perspectives in relation to space, time, and individuals. (...) This meta-space is accessible and open to anyone, regardless of education, social status, or position within (or outside) the art world. At the same time, Fohno does not assume that everyone wants to be part of it—its goal is not to establish yet another dominant framework." Aliz Farkas
Webdesign: Dominik Szabó, Gergő Osgyán
Touch me if you can ⤅ Textile object series, 2024–2025
Photos: Patron, Studio of Young Artists’ Association
Just don’t let them know, what I was made from ⤅ Solo exhibition, curator: Anna Zsoldos, Art9, Budapest, 2023
"The title draws attention to the fact that the moment of crisis — the one that provokes, or rather compels transformation — always arises from a rupture between subjectivity and the body.
Behind the words lies the layered experience of what it means when the body, once a dwelling, turns into the object of estrangement. A slip of the tongue smothered in a sigh, echoing one of the central questions of the exhibited works: what does embodiment mean for the subject — its own boundedness, its limits — and how can we understand the interrelation between body and identity, whether the body be human, mythical, animal, or vegetal." Boglárka Balajthy, ÚjMűvészet
Photos: Márton K Takács, Kinga Gárdonyi
Self-purification – Light, colour, dark ⤅ Solo exhibition, curator: Réka Nemere, Epreskert, Hungarian University of Fine Arts, Budapest, 2020
Grasahu Festival 2023
Role models for a mystical woman painter ⤅ Photo series, mixed media, 2022
About
Aliz Farkas (1997, Szeged, Hungary)
Studies
2024– ELTE Doctoral School of Philosophy, Art History PhD
2022–2024 ELTE Faculty of Humanities, Art History MA
2016–2022 Hungarian University of Fine Arts, Painting MA
Selected Exhibitions
2025 Angry Textile (group exhibition, Weltkulturerbe Völklinger Hütte, Völklingen)
2025 Looking for a Place to Hide (opening performance, Parrotta Contemporary, Bonn)
2025 Perem – On the Edge (group exhibition, OFF–Biennále, Bura Gallery, Budapest)
2025 May This Feeling Resist the Present (group exhibition, curated by Gyöngyvirág Agócs, Bura Gallery, Budapest)
2024 Room of Ananda (Open Studios – Work in Slow Motion, Cité internationale des arts, Paris)
2024 Garden of Venus (group exhibition, curated by Zita Sárvári, Apollo Gallery, Budapest)
2024 Uchrony (group exhibition, Studio of Young Artists Association, Budapest)
2023 Just don’t let them know, what I was made from (solo exhibition, curated by Anna Zsoldos, Art9, Budapest)
2022 Best of Diploma+ (best diploma works, exhibition, Profil Gallery, Budapest)
2021 Birth of Roosi (popup group show, Roosi Gallery, Tallinn)
2020 Self-purification – Light, Colour, Dark (solo exhibition, curated by Réka Nemere, Hungarian University of Fine Arts, Epreskert, Kálvária, Budapest)
Curatorial and Research Projects
2025 Training: Creative Acts and Action (performance-research, Günther Uecker Institut, Germany)
2025 Angry Textile Seminar (lecturer at HBK Saar University, as part of the preparation for the Angry Textile exhibition)
2024 (ongoing) FOHNO (experimental, textile- and education-focused community project)
2024 Dharma Workshop (collaborative project with artists and orientalists, concept, Hopp Ferenc Museum of Asiatic Arts, Budapest)
2024 Land of Buddhas | Gandhara. Indo-Greek sculptures of the Ferenc Hopp Museum (preparation of the digital content of the exhibition, exhibition texts, Hopp Ferenc Museum of Asiatic Arts, Budapest)
2024 For Me Paper is Just a Material (group exhibition, curator, Inštitút Liszta Bratislava)
2023 Béla Lajta 150 – The Fate of Buildings (data entry of photo collection, identification of buildings, Kiscelli Museum, Budapest)
2023 I Found Myself Within a Forest Dark (curator, Hungarian University of Fine Arts, Budapest)
2022 Memory/Space. Re-arrangement of the Miklós Borsos Collection (team project of the ELTE Institute of Art History, led by Emese Révész PhD)
Membership
Studio of Young Artists Association
Scholarship, residency programme
2025 Cité internationale des arts, Paris, residency
2024 Cité internationale des arts, Paris, residency (organised by the Budapest Gallery)
2024 Erasmus+, Hochschule der Bildenden Künste Saar, Saarbrücken
2021–2022 New National Excellence Programme (artistic research)
Selected Press Coverage
Meade, Fionn. (2025). If the shirt fits: OFF-Biennale Budapest. Texte zur Kunst.
Li, Peilian. (2025). Following the ants: Conversation with Aliz Farkas. In P. Li, Stay alive! Notes from a bad student (pp. 142–143). Pro Helvetica.
Kocsis, Katica. (2024, October 3). Beléptünk Venus kertjébe, és a nőiség ezer arca nézett vissza ránk. Kultúra.hu.
Papp, Réka Kinga. (2023, November 18). Egy éve foglalta vissza a budavári Fidesz a kiállítóteret – azóta sem történt vele semmi. Mérce.
Balajthy, Boglárka. (2023, September 9). Meg ne tudják, miből lettem. ÚjMűvészet.
Budha, Tamás (Ed.). (2023). Dinghi. Project catalog.
Martincsák, Kata. (2021, August 20). Egyszer volt a Vénusz. Képző Online Folyóirat.
Mészáros, Mónika (2020). Túlbuzgó kísértetek. Képző Online Folyóirat.
Selected Publications
(2025) Kicsi nékünk ez a ház. A népi jelképek és a kortárs képzőművészet összefüggései 1970 körül. Új Művészet, 1, 58–61.
(2024) Etnográfia és „a művész tekintete”. Interjú Frazon Zsófiával és Wilhelm Gáborral, a Néprajzi Múzeum muzeológusaival. Balkon, 6, 36–49.
(2024) Definíciók nélkül. Szelley Lellé kiállításáról. Új Művészet, 12, 13.
(2024, February 20) Nehezen mérhető értékek. Interjú három művésztanárral. Kontur Magazine.
(2023) {trag}stanište. Exhibition catalog, Savremena Galerija, Subotica.
(2023, May 22) A kaptár kerete. Méhek mint művészek, művészek mint méhészek. Prae.
Contact
farkasaliza @ gmail . com
Instagram: @aliz._.farkas
© Aliz Farkas, 2025
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