Fáskerti, Zsófia
Born in Budapest in 1979

Zsófia Fáskerti: Torso, 2008, marble, 68 x 32 x 25 cm
The model for this sculpture was an existing, classical female torso, and I made only a few smaller modifications, e.g., navel, nipples, etc. The sculpture is made of marble in order to emphasize its classical reference even more.
This traditional female torso wears a quite modern, almost vulgar object – a broken off strap-on dildo, that is also a torso itself. However, in my opinion, the sculpture is not sexual because the broken off dildo lost its function and turned into a symbol.
In this context I find this classical female body alone the symbol of original womanhood, which is why it was important to use an existing classical torso while creating the sculpture. Altogether, the sculpture is a representation of the exposure of this original womanhood to the influences of the modern era. Since it has no hands, legs, and head, this female form is defenceless. It is possible that the dildo is strapped onto it against its will. I think it is interesting that this structure is a strapped-on object, i.e., it is not part of the female body. On the other hand, since both of them were cut of marble, it cannot be removed.
In my opinion, this female form cannot be either a woman, because of the dildo, or a man, since the dildo is broken off. It lives the disharmony of a medial state.
Womanhood, women, I think, are in this situation in the present era. Since this female torso is made in the 21st century, it represents the modern woman above all. (Zsófia Fáskerti)
Zsófia Fáskerti: Still Life with Stroking Machine, 2006, bronze, rubber, plastic, plaster, hair, 50 x 43 x 30 cm
The stroking machine is a symbol that appears in the form of a sculpture made after a fictitious commodity. At the same time, this 'machine', I think, already 'exists and runs', i.e., it symbolizes the objects working in our present.
The direct casting of the rubber hand, made after my own hand, is also the criticism of the artificial production of nature. The objects of the still life are all the substitutes of an alienated condition.
The stroking machine as a product reflects the modern phenomenon in which people can be talked into buying even the most banal objects if their advertisement sounds scientific enough. Everything depends on promotion and packaging.
In my opinion, the stroking machine also reflects the relationship between humans and machines, as the machines and utilities bear more and more importance in our life. At the same time, this machine is also the criticism of the demand in every field of life, and the symbol of happiness substituting inventions. (Zsófia Fáskerti)
Zsófia Fáskerti: Conventional Detergent, 2009, marble, textile, 35 x 14 x 8 cm
We have heard the expression 'conventional detergent' in ads.
We have to throw away the old detergent, because the new one is so much better. In other words, the conventional detergent is anti-advertised. The sculpture can also be interpreted as an advertisement of the conventional detergent. At the same time, it can also be seen as a 'memorial'.
The conventional detergent is a symbol, and it is primarily about the values of the past, but also about environmental protection.
Marble, as a material, is once again part of the concept of the sculpture.
On one hand, the word 'conventional' refers to the material as opposed to the plastic bottles; on the other hand, it is connected to classical sculpture. The artists of antiquity often created marble vases to store oils and seeds in them, and in the course of time the adorned vase, on which they often depicted scenes that we now see as a record of their time, changed into a flacon of detergent.
The artist shaped the sculpture to be an abstract piece, to provide formal experience. This way, there is an interesting relationship between the abstraction of art and the commonplace profane object.
\"Barbie and the Croucher on Scale\", 2009
Still Life with Stroking Machine, 2006
Torso, 2008
Conventional Detergent, 2009
\"+20% for free\", 2007
\"Western Buddha or Everyday Enlightenment\", 2006


2008Samu Géza Prize
from 2007MAOE membership
2001-2006Hungarian University of Fine Arts, Sculptor major, Budapest
2005Barcsay Prize
2003Mansfeld Péter memorial competition, Award of Excellence

Single exhibitions

2010Material Salutation, Inda Gallery, Budapest

Group exhibitions

2012Master Lujos and his pupils, Balatonfüred
Art Paris, Grand Palais, Paris
2011Embellissez-moi!, Hungarian Institute, Paris
Speaks for itself, Hungarian National Gallery, Budapest
Respect for the Master, Heves
Art Paris, Grand Palais, Paris
FKSE exhibition, Studio Gallery, Budapest
2010Kortárs bulvár, Miskolc
Art Fair, Kunsthalle, Budapest
2007Pop, tárgyak, satöbbi, acb Gallery, Budapest
Almádi spring exhibition, Balatonalmádi
Pop, tárgyak, satöbbi: Reloaded, Irokéz Gallery, Szombathely

2006Fresh Europe, Kogart, Budapest
Diploma exhibition, Epreskert, Budapest
Best of Diploma, Hungarian University of Fine Arts, Budapest
Friss Európa, Kogart, Budapest

2005National Biennial of Small Sculpture, Pécs
National Biennial of Contemporary Christian Iconography II, Cifrapalota, Kecskemét
Exhibition of the Barcsay competition, Hungarian University of Fine Arts, Budapest
Exhibition of the class of Pál Kő, Gyöngyös
Pál Kő and his apprentices, Mátészalka
2004Contemporary Christian Exhibition, Parsonage, Soroksár
2003Plastica Dreams, Kunsthalle, Budapest
Exhibition of the class of Pál Kő, National Agricultural Library and Documentation Centre, Budapest
Plastica Dreams, Kunsthalle, Budapest
2002Exhibition of the class of Pál Kő, Heves

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