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Eike: Diary Entries, photo: Endre Koronczi
Diary Entries I - VI / Watchable and Unwatchable, Malom, Szentendre 2010, photo: Endre Koronczi
Eike: Diary Entries IV Eike: Diary Entries II Eike: Diary Entries I
Eike: Diary Entries III Eike: Diary Entries VI Eike: Diary Entries V
Eike: Diary Entries VIII Eike: Diary Entries IX Eike: Diary Entries VII
Diary Entries IV, II, I, III, VI, V, VIII, IX, VII / video stills


video objects, screens in plexi boxes, 25x34x7cm with single channel videos 0'03 - 0'05" each, open series since 2010, ed.3+1AP

Diary Entries I
1993, Budapest, Fő utca 3. | In front of my most beautiful studio, 2010
Diary Entries II
1991, Budapest, Somogyi Béla utca | My first home in Hungary, 2010
Diary Entries III
1994, Budapest, Blaha Lujza tér | Title of my film on a public display, 2010
Diary Entries IV
1989, Budapest, Dózsa György út | My friend Gerd in front of the Lenin statue, 2010
Diary Entries V
2001, Budapest, metro station at night | Preparing for the intersection projekt, 2010
Diary Entries VI
1997, Budapest, Stúdió Gallery | Performance with Haley Newman, 2010
Diary Entries VII
2010, New York, Metropolitan Museum | With Ágnes Heller and friends, 2022
Diary Entries VIII
2000, Budapest, birthday party | Great times with the best friends, 2022
Diary Entries IX
2006, graveyard in Dombegyháza | My daughters and their granduncle, 2022

Diary Entries presents ‘preserved‘ video sequences in transparent cases on the wall.

The time-trapped moments of personal video footage appear in a setting where the selected sequences are distilled into artworks. The juxtaposition of Eike’s objects Diary Entries and the installation Time Trap, the comparison of these two forms of presentation reveals even more directly the similarity of the processes and the results of archiving. Making the ‘preserves’ of memory, and turning experiences into art – another form of archiving.

The plexi boxes allow us to see the structure of the vehicle, the physical medium of the work, calling attention to the beauty, to the aesthetic of the structure itself, and also to the significance of the medium, to its indivisibility from the meaning. Philosophical but very clear and simple, and also playful at the same time.

Zsolt Kozma


NKA Diary Entries I - VI
is supported by the National Cultural Fund of Hungary.