András Gálik and Balint Havas born and grew up in Budapest through the 70’s and 80’s. After they finished their academic training of visual arts in the mid 90’s they set up the Little Warsaw initiative as a self-developed umbrella unit for their collaborative activities.
In their projects they use different media. Due to the collective working base they felt themselves encouraged enough also addressed to focus on the visual language at a collective extent. In their researches they followed the etymology, function, social context and unearthed possibilities of the collective visual mind and creativity. Through the example of Hungary they scooped in progress a unique transformation of visuality in public space of a society entering the so called democratic welfare transatlantic stage.
Of course the dynamics of opening up never bog down on the reef of the pleasant syrup taste, and it plays an important role in the scenes taking place on the sea of the pinch of hysteria, and self irony. Just as in the case of für Imaginary semi-invalid, where the spectator looses foothold, while trying to follow the way Moliere’s The Imaginary Invalid is taken apart to small fibers. Along with the marionette puppets and strings getting into a muddle in the ballet comedy, Argan pampers himself with his unending snivels, his forced enemas, and also with the spectacle of the pink-haired maid, escaped from the German dance floor chart.
The recent projects of Little Warsaw were exhibited at the Venice Biennial, the Berlin Biennial and at many curated shows. Their work is widely presented throughout Europe and in the United States in highly estimated institutions such as the Stedelijk Museum – Amsterdam, GFZK – Leipzig or the Apex Art Gallery in New York. Through the last few years Little Warsaw was granted to stay and work for longer in Glasgow, Berlin and Copenhagen. A most recent publication is available on Little Warsaw at the MIT book: Art After Conceptual Art.