SI-LA-GI in Auction!

Here

…and here

Back in Budapest (Q1 2011)

SI-LA-GI is now back in budapest, working on various projects:

Thailand (Dec. – Jan. 2011)

SI-LA-GI is currently in Thailand where he will stay a few months to work on various projects.

ON SATURDAY 15 JANUARY 2011 7 PM TOOT YUNG GALLERY

Opening exhibition of Hungarian artist SI-LA-GI and performance by French artist SKALL

On the theme of society secrets, Hungarian artist SILAGI produced an in situ work during two weeks in the Toot Yung Gallery.

source: http://tootyung.blogspot.com/2011/01/skall-silagi.html

Awakening the sleeping Buddha (Aug. – Sept. 2011)

SI-LA-GI is currently involved in the publication of a book called  ”Awakening the sleeping Buddha” (Alvó buddha ébresztése) – translated to Hungarian by Tamara Varga – by the great Tibetan Kagyü Master XII. Tai Situpa. This will be a limited edition of just 300 ex.

The book will be ready for the visit of His Holiness Dalai Lama‘s visit to Budapest (Hungary) on Sept 17th to 21st , 2010 and published by KA TEN O SAL LING (Karmapa’s new center in Hungary).

SI-LA-GI will give  - as a present to each buyer of the book – one of the 300 original ink calligraphies that he just finished. Each calligraphy is unique, signed, and sealed.

Practicing giving, being less selfish and inspiring people to do a same

http://romokon.blogspot.com/2011/02/tai-situpa-si-la-gi.html

Explanation of SI-LA-GI calligraphies seals

You can view SI-LA-GI’s calligraphies in the portfolio section

DHARMA: Buddhist teaching

Confidence (Dignity): Unconditional confidence contains gentleness, because the notion of fear does not arise

HUM: This is the Mandala which is never arranged but is always complete

HRIH: Because things have a self-existing simplicity, they do not need any reference point

Chökyi Gyatso (SI-LA-GI’s Tibetan teaching ‘Dharma’ name): The translated meaning is  ”Ocean of the Dharma, Dharma Ocean”

Beru Khyentse Rinpoche and SI-LA-GI

His Eminence Beru Khyentse Rinpoche and SI-LA-GI creating a 200cm x 580cm art work (calligraphy) called “Roaring Lions”. Watch the video here

Happiness and suffering are similar, both transitory

An old woman is sitting in a red dressing-gown with a white print,  in a hospital room, before the supper she has begun. On her face, a comic New Year’s mask apparently constitutes a grotesque contrast to her situation of human tragedy: the rapid spread of aging and disease and the commencing disintegration of the body. As if in alarm from the threatening present, she snatches at past joys and intimate games in her bewilderment by way of her memories. The mask, which at other times serves to disguise the personality, here, paradoxically, expresses it: one can cling for a moment to its firm materiality when confronted with the pressing reality of impersonal cosmic law. Via this contradictory effect, the mask is translated into a symbol of human existence. The personality within the framework of which we spend our life is itself a mask (persona), which simultaneously expresses and conceals the genuine nature of the existence. The picture records the moment when this contradictory quality of life – at once comic and tragic, concealing and revealing, absurd and realistic, individual and universal, everyday and extraordinary – becomes visible to the viewer. The old woman, her countenance expressing simultaneously intimate proximity and elusive, distant daydreaming, nevertheless, sees more than we viewers. She sees that one which will fuse the opposite ends of the spectrum once again, even if she cannot dare to formulate it, not to herself as yet: that there, approaching irrevocably, is – alas! – death.

Text by Dr. Lajos Pressing

Late summer garden fragment, when Nature has attained its evolution in the wake of struggle, delivers its fruits, and slowly begins to crystallize and turns to decompose. Within, an old man preparing to expire. His completely stiffened body is like a dried and withered shell, ready to molt. Around him, the traces of joy, the events of life and creation: perhaps it is even the smoke of the barbecue used last night which has left its

impression upon the wall; a hammock which preserves the form of the body which earlier reposed within it, though it is now empty; upon the opposite wall, blackened objects, beginning to corrode. A chair in a half-state of disintegration; at centre left, the pedestal of a sculpture, from which the sculpture has disappeared; on a table, a cast-off newspaper, whose contents, even if someone has read them, have been washed away by time. Nothing exists for eternity, in itself: the experiences of pleasure and pain emerge and dissolve again in dependence on their conditions, and our entire world, in its incessant evolution, takes form and decomposes in exactly the same way. And nevertheless, in the pain of expiration, when life’s energy abates, and the mind releases the maelstrom of phenomena, the silence becomes palpable in the background for a moment – the empire of the not-yet-apparent, from which, in the play of time, every fleeting phenomenon unfolds, and to whence they return. The gaze of the old man already indulges in the reveries of this other world, beyond origin and mortality…

Text by Dr. Lajos Pressing

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The Game is Over

1. On May 24, 2002 I was asked by J. W. G. and H. L. to prepare the “ASZTAL” (“TABLE”) installation.

2. On May 27, 2002, sailing on the Baltic Sea toward Stockholm, I devised the basic conceptual plan for table.

3. On June 4, 2002 I wrote the text below to appear in the installation:

Game over (A játéknak vége)

YOU ARE COWARDS. You routinely manufacture pictures without wishing to face anything about yourselves or the world. You waste the opportunities life presents in the hope of gaining fleeting success and wealth. You repeat your own ostentatious platitudes. Your ignorance should encourage you to step unto unfamiliar territory so that even at the cost of making mistakes you can become acquainted with what is personal but hidden before you, so that you can discover it, that which is within you. Do not be afraid of erring. Stutter rather than lie fluently. The game is over.

4. On June 14, 2002 I expanded the text, which I felt to be imprecise. I thought that the criticism and expectations I voiced about others I should first of all direct toward myself. The world, in the final analysis, is my own projection.

I AM A COWARD. I routinely manufacture pictures without striving to get to know myself and the world. I waste the opportunities my life presents me in the hope of fleeting success and wealth. My ignorance should give me strength to step onto unknown territory, even at the cost of making mistakes. I must discover what is personal, what is hidden before me, whereas it is inside me. I do not have to fear failure. 1 should rather stutter than lie fluently. The game is over.

5. On July 3, 2002 I visited Zen master Myoken. Upon my departure he presented me with the fifth numbered copie of Zen master Deshimaru’s book, True Zen: Introduction to Shobogenzo.

6. On July 4, 2002 on page 47 of the book I read the following: “The artist must in every single act of creation give himself up entirely, letting go of attaining fame, beauty, or wealth; an artist must not sacrifice himself to fashion. He must express himself in the best possible manner, without compromise. This is when the work of creation can be pure, beautiful, human …. All desire, regardless of its nature, alienates us from human freedom.”

7. Today, as I write this on August 9, 2002, Saturday, it is 3:30 in the morning.

8. This has also passed – as everything.

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