Viktor Lois was born in 1950 and brought up in Tatabanya, one of the industrial strongholds of Hungarian socialism, amongst waste machines and wreckage. Lois is a child of the industrial civilization. If a new folklore can still develop, it will be individualism and internationalism; and if it is developing right now then Lois’ oeuvre is part of it. Lois’ oeuvre is machine. His machine creations
reflect the fast-paced obsolescence of the Industrial Revolution. His creations reincarnate the old machines and prototypes that are discarded in usable condition. Lois’ machine creations are complex. And their complexity is enigmatic and irrationally romantic. The instruments have three aspects: first they are like motionless sculptures, then they start moving (sometimes giving off light), then they become mobile and finally they make sounds. Lois’ work is exhibited and performed frequently in major museums and galleries throughout Europe (such as Austria, Germany, USSR, France, Netherland, Serbia)); his work is in the permanent collection of the Contemporary Art Museum in Budapest; and a
Building in the compound of the Mine Museum in Tatabanya is dedicated solely to him, which collects more than 70 pieces of Lois’ work. In 1993 he represented Hungary as a participant in the 45th Venice Biennale.
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Every human must have two hearts; one in the left that keeps the body living; the other in the right that keeps one’s feelings alive. When these Two hearts resonate together that is the happiness in life.