HUN / S2 JAN-APR 2019

Bence Magyarlaki was born in Hungary in 1992. He is a multimedia artist currently based in Lisbon. He graduated in Fine Arts at Central Saint Martins in London in 2017. Magyarlaki works with installations, constructs acoustic sculptures for performances, creates film, video and sound pieces. His current focus is a predominantly sculptural practice.


In this sculptural series developed at Third Base Residency, Bence’s aim was to achieve the subjectification of objects  by manipulating geometric forms and twisting them towards anthropomorphic postures. The action thus performed by the object can be a bend, a stretch or a twist, always suggesting the tensile force of the outside, and a futurity towards rupture or release. The sculptures therefore encapsulate a fragile moment within a movement that reveals the very ability of a material to be shaped without breaking. In such stillness – or momentum – an inherent performative language is teased out of the objects, dictated by their own ductility.

His aim is to re-constitute sculpture as a social object, as a vessel of communication that is intercorporeal. By manipulating everyday found material such as the sponge arm of an armchair or the mattress from a bed, Bence seeks to explore their potential as articulations of a social body that reproduces, bends and distorts schemes of relatedness and power relations that structure the external world.

Through a gestural language, the sculptures carry immediate, embodied meanings that are grounded in transactions of body-world, that are pre-linguistic, emotional and are based in body movement. The stillness of these sculptures is not to represent a static structure, rather a dynamic capacity for movement through which we as social bodies engage with the world. The sculptural body thus becomes subject-body; It possesses curves, crevices and folds that are mimetic of the human body. This resemblance, however, is not to be regarded as a pleasing mirroring effect. Rather, their features and stance demand that the viewers reposition themselves in relation to it and question societal structures that construct and police their own desires and identities.

“These sculptures are to be read with tactility, as a means of human communication that in our contemporary technological time I wish to reinstate as an intercorporeal affair.