DS Public Art

DS Public Art, 2006
In cooperation with: Szilvia Németh, sociologist
Public art
32 metal signs

150 x 100 cm
Metal plates, reflective adhesive foils
Location: Dunajská Streda, Slovakia
Photos by Tibor Somogyi

Optimal Space

Optimal Space, 2006
Interactive installation

50 x 50 x 50 cm
Particle board, stainless steel, glass, led lamps, measuring instruments, electronics
Location: HIT Gallery, Bratislava
Photos by Martin Marenčin

The Wall 2.

The Wall 2, 2006
Site specific installation

224 x 130 x 736 cm
Mudbricks
Location: Modern Art Oxford, Oxford, UK

“In her first UK exhibition, artist Ilona Németh will transform the lower gallery space at Modern Art Oxford with her mysterious mud-brick installation, The Wall. Visitors will walk through the partially enclosed structure, which has been constructed on site with 450 mudbricks. First exhibited in 1995 in a disused synagogue, the bricks were made with local mud and straw following a process used by the rural Romany population in Slovakia. For the Oxford exhibition, the bricks are being hand-made in the Chilterns.”

Ready Made Tattoo

Ready Made Tattoo, 1999
Design for a tattoo, print (297 x 210 cm)

Location: Slovak Art For Free, 48. La Biennale di Venezia, Pavilion of the Czech and Slovak Republic

Intimate Room

Intimate Room, 1999
Design for a tattoo, print (297 x 210 cm)

Location: Slovak Art for Free, 48. La Biennale di Venezia, Pavilion of the Czech and Slovak Republic
Photos by Martin Marenčin

Czernowitz Austria

Czernowitz Austria, 2006
Object

Height: 2 m
Plaster, chrome
Photos by Marián Ravasz

Private Gynecological Ambulance I. – III.

Private Gynecological Ambulance I. – III., 1997
Installation

72 x 112 x 112 cm
Metal examining chair, velvet, rabbit fur, moss
Property of the Ludwig Museum – Museum of Contemporary Art, Budapest
Photos by Hiroshima City Museum of Contemporary Art (2005)

On the Road

On the Road, 1997
In cooperation with Juraj Bartusz
Site specific installation

10 x 12 m
Suitcases, video
Location: At Home Gallery, Šamorín, Slovakia
Photos by Lehel Tóth

Polyfunctional Woman

Polyfunctional Woman, 1996
Sound installation

200 x 260 x 45 cm
Bed, velvet upholstery, audio equipment
Property of the Ludwig Museum – Museum of Contemporary Art Budapest
Photos by Martin Marenčin (1996), Kunstmuzeum Luzern (2002), Tibor Somogyi (2004), Hiroshima City Museum of Contemporary Art (2005), József Rosta (2012)

I have worked with sound installations since 1996. My first such work was the Polyfunctional Woman, where I have used 13 women’s voices for expressing emotions without words. I am interested in the interactive use of sound.

The Way

The Way, 1996
Installation

2.6 x 60 m
110 railway sleepers
Location: At Home Gallery, Šamorín, Slovakia
Photos by Martin Marenčin

Let’s Sweep It under the Carpet

Let’s Sweep It under the Carpet, 1997
The Floor II.
In cooperation with Ágnes Deli
Interactive site-specific sound installation

200 x 400 x 400 cm
White canvas, pillows, cottonwool, various hidden objects
Location: Gallery Stúdió, Budapest, Hungary
Photos by József Rosta

Pillow (Our Dreams)

Pillow (Our Dreams), 1996
The Floor I.
Site specific installation

520 x 1120 cm
Pillows
Location: Museum of Art / Považská galéria umenia, Žilina, Slovakia
Photos by Martin Marenčin

When we arrive here...

When we arrive here..., 2024
In cooperation with architect Marián Ravasz and
contributions from
graphic designer Ľubica Segečová

Site-specific installation
Ceramics with porcelain engobe, steel

Location: 
Cité internationale des arts - Montmartre; 15, rue de l’Abreuvoir, 75018 Paris, France

A commission by the Cité internationale des arts in 2024
Supported using public funding by Slovak Arts Counci

Photos by the authors


"QUAND NOUS ARRIVONS ICI, LE JARDIN EST DÉJÀ LÀ"
"WHEN WE ARRIVE HERE, THE GARDEN IS ALREADY HERE"

This sentence is an adaptation of a quote by Belgian artist and gardener Eline De Clercq on what constitutes what she calls a feminist garden: "When we arrive in the garden, the garden is already there..." It is about accepting the garden as soon as we enter it, involving a respectful approach to the place.

For Ilona Németh, the very principle of the garden lies in the acceptance of EVERYONE and EVERYTHING that already exists. This guiding principle has influenced all her reflections and her creative process for the development of this work, a site-specific installation commissioned by the Cité internationale des arts for its 60th anniversary. The installation evokes the history of the Montmartre site of the Cité internationale des arts while proposing a rehabilitation of the existing elements. The former guardrail of the terraced garden has been restored through the creation of a handrail, creating a new and safer space for visitors to the site. This artistic gesture subtly addresses the fragility of our ecosystem— both that of nature and of people—as well as our sense of anxiety in the face of the ecological urgency we are experiencing.

The handrail is made of porcelain to recall the past resources and uses of the site. The Radet Mill, now the famous Moulin de la Galette and the last remaining mill of the Butte Montmartre, was originally located on this parcel of land of the Cité internationale des arts. Besides milling wheat, it also ground alabaster for the Clignancourt porcelain factory (located at the bottom of Rue du Mont-Cenis) as well as flowers for the perfumery on Rue de l'Abreuvoir in the 19th century. The famous Radet Mill thus gives its name to the Villa that would be built on the land in 1870.

I’ve Always Liked Redhaired Women

I’ve Always Liked Redhaired Women, 1992
Homage to Hrabal’s Mother
Installation

350 x 300 x 300 cm
Copper wires, netting, roses
Location: Museum of Art / Považská galéria umenia, Žilina, Slovakia
Photos by Martin Marenčín

Column

The Column, 1995
Site specific installation

330 x 90 x 90 cm
Plexiglass, hair
Property of the Museum of Art / Považská galéria umenia, Žilina, Slovakia
Location: Slovak National Gallery / Slovenská národná galéria, Bratislava, Slovakia
Photos by Martin Marenčin