Bio

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        Once upon a time I was born in a small and angry Eastern European country, Hungary.

My artistic talent was discovered at early age so I didn't have other choice than to become an artist. At age fourteen I was drawing nude models in school and continued doing so until I graduated from college.


        I was trained as a graphic designer/illustrator and have been involved in many different projects as a designer and as a fine artist, from rock group record designs and film sets to paintings, prints, video and performance art.

My work was shown in several places in Hungary and abroad.



        I was raised in a secular family but reading Bela Hamvas, the great essayist's work Scientia Sacra in samizdat and it had piqued my interest in matters beyond the prevailing materialist thought and doctrine of the time. Metaphysics  taught me to be humble and accept life's teachings – and this curiosity of learning about myself and wanderlust propelled me to move.


        I moved to the happy US in 1984 and settled in New York for 10 years, then moved to Los Angeles in 1993 and worked as an art director, producer and designer in the animation industry until 2005. I have garnered an Emmy nomination and a Pulcinella Award for my work in animation.


        In 2011 I moved back to Balatonszemes, Hungary to start Villa Iluszion, a multidisciplinary workshop and guesthouse as an artistic director.

Exhibits


2010             Erotica, Gallery Godo, Glendale, California


2009             Monsters, Le Garage L., Forcalquier,

                     France


2007             Lamy Avery Gallery International,

                     Claremont, California


1996             Weapons and Pranic generators, Half a

                     Dozen Rose Gallery, Venice, California


1995             Stage Left, Glendale, California


1993             Gate 12 Hungarian Consulate, New York

                     Ernst Museum, Budapest


1992             Left Bank Gallery, Brooklyn, New York


1991             PS 122 Gallery, New York, New York


1989             ABRA Loft, Brooklyn

                     Magic Scene in Art, Lajos Utca Gallery,

                     Budapest


1987             Merce Cunningham Dance Studio, New

                     York, New York


1985             Galleria En El Bohio, New York

                     Obuda Gallery, Budapest

                     King Stephen Museum, Székesfehérvár,

                     Hungary


1984             Danceteria, New York

                     Situation, Miskolc Gallery, Miskolc,

                     Hungary

                     cca515253kb, Pécsi Galéria, Pécs



Performances:


1996             Three Sons of Viracocha at Half a Dozen

                     Rose Gallery, Venice, California


1995             Trilogy with Wahorn at Half a Dozen Rose

                     Gallery, Venice, California


1989             Public Punishment, ABRA Loft, Brooklyn,

                     New York


1987             Mercury, Pratt Institute, Brooklyn, New

                     York


1984             Worker, Danceteria, New York, New York


1979             I Ching, Müvész Kávéház, Budapest



Videowork Shown:


1989             Museum of the Moving Image, New York,

                     New York


1988            Infermental 8 Video Art Collection, Tokyo,

                     Japan


1984             Infermental 3 Video Art Collection,

                     Filmfestspiele, Berlin Arsenal 2, Germany

                     Centre Pompidou, Paris, France

                     Western Front Video and Art Gallery,

                     Vancouver, Canada

                     Institute of Contemporary Art, Boston

                     Videonale, Bonn, Germany

                     Manifestation du Video Internationale,

                     Montbeliard, France

                     Frankfurter Buchmesse, Frankfurt,

                     Germany

                     Sphinxx Project, Cologne, Germany

An excerpt from the article published in “Art in America"

by Tobey Crockett


    Laslo Nosek, a Hungarian-born artist, can be best understood as a metaphysician. With the intriguingly titled exhibition "Weapons and Pranic Generators," Nosek created a new category of ritual object which he presented among a powerful collection of boxed sculptures, painted scrolls, costumes and other relics from a performance. The "pranic generators" are devices for the amplification of spiritual energies. While the artist as shaman is not a new metaphor for the practice of art, Nosek undertakes his role as intercessor with a palpable conviction, impressive craftsmanship and a lack of pretension that is refreshing and persuasive.


    Like Beuys, Nosek is interested in evocative materials. While accepting influences from many sources, he has a special ability to transform the ordinary fabric of life and the passivity of art viewing into a transcendental experience.



Press release for solo show “Weapons and Pranic Generators” at half a dozen rose gallery

by Shana Nys Dambrot


    Though the work for this show is painting, drawing, and sculpture, the title conveys the more nebulous and ritual function of many of the pieces. The symbols portrayed through the techniques the artist employs are born from a commingling of ancient philosophy and modern conventions of representation, tempered by the immediacy of the experienced moment. Art is a form of meditation for Nosek, a revelatory process to which the finished pieces bear witness. The works have dual values in this way: they are simultaneously the focus of the meditation and the vehicle for it. Many of the pieces in the exhibition are sequential, documenting a spiritual journey informed by the outside world, like a tapestry of thought processes reflecting the past and inflecting the future.


    Nosek has been called a teacher but feels more like student--not only of life itself, but more specifically, of humanity's myriad interpretations and representations of life. Immersing himself in the study of Western and Eastern modes of cultural representation, Nosek resurrects the ancient arts of describing reality. Symbolical lexicons developed in each cultural episode reflect that society's attempts to reconcile belief, expectation and experience. In this view, science is a pervasive but spiritually bankrupt attempt at explaining the complex relationship between faith, religious and social doctrine, law and so-called accidents or coincidences.


    The ancient mystical science of Alchemy is employed in the literal creation of many of his ritual objects and it becomes an important metaphor of physical transformation for the spiritual journey undertaken in the service of art. Nosek also uses numerological elements in his pieces, referring to the specific date the piece was made and thus implicating the astrological confluences of the moment of creation, lending each moment its distinct character and relevance for the individual. This practice bespeaks a desire to be always fully linked to or firmly rooted in the real experience of life.


    In addition, the treatment of Cabalistic theory holds a dual importance in his work, incorporating both the beautiful image of organic growth, the tree of life, and the startling relationship to contemporary scientific "discovery". The confluence of knowledge between seemingly disparate fields of inquiry demonstrates the ultimate and literal interconnectedness of all things. Characters from the Hebrew alphabet which appear in Nosek's work reflect this mode of philosophical investigation, providing one more set of referents to inform the work. Jewish mysticism's struggle with the millennium and its emphasis on "reading the signs" when searching for insight into humanity's identity and future, strike particularly compelling chords in these last days of this millennium. The meditative stillness of Buddhism , with its emphasis on the searching for answers within, is another model for inquiry which informs Nosek's approach. Buddhism bespeaks a reliance on the capacity for man to comprehend his own destiny, the essential link between the eclectic grouping of symbols and significances from across the globe and throughout history. What all these elements ultimately share is what Nosek calls an unquenchable need to describe reality.