Marianne’s Diary

In my work, I’m engaged with a given space and the objects that appear in that space – with the relationship between space, object and memory. I call into being the spaces and objects of memory as the manifestos of a kind of cultural heritage, with the employment of various legacies, archives and archival systems.

This processing and systematisation, followed by revisions, composition and spatial and site-specific visual design comprise a complex research and creative process, which is closely correlated with the determination of self-definitions and the shaping of our identity.
By hacking the basic function of the vitrine – the placement of selected objects into an enclosed space – and modifying a piece of furniture, thus opening the space, we created a Wunderkammer-like mini-archive, where memories enclosed in an orb, the impressions of our childhood objects, and reclassified structures appear.

We bring to life female attributes that are important to us; we visualise our female paradigms and roles with the abstraction and reclassification of archetypical female figures that are defining for us. Femininity and engagement with women’s art is a systematically recurring motif in my work. One of the highlighted directions of my doctoral research was the resuscitation of one of the first Hungarian fashion labels as a heritage brand, by way of the examination of Hungarian and international fashion salons, including the transposition of the life-work of former star-designer and fashion icon, Klára Rotschild, into the contemporary social relational order. We can see her figure as a miniature wax doll on the wall reflecting our childhood memories.

In the trinity of the exploration of value – the transmission of value – and the appreciation of value, the impact and the response on the individual of the culture and economy of an era, is a universal experience that can be processed and revealed on the landscape of collective and personal memory.