Aurora Király approaches contemporary art from various perspectives –artist, curator, cultural manager. She graduated from the Bucharest National University of Arts in 1994, and the EcumEst Cultural Management Masters in 1998. Since 2007, she teaches at the Photography and Dynamic Image Department of UNArte Bucharest, an experience which made her reevaluate her artistic activity from the 1990s and the 2000s, and prompted her to return with new projects. Her current works question the sources to which the contemporary artist turns when selecting themes and referring to context/recent history/the history of art.
Selected exhibitions: Geometrii construite: spațiu, timp, memorie [Constructed geometries: space, time, memory], Anca Poterașu Gallery, Bucharest (2017, solo); Viewfinder – Looking through the both sides of the lens, Artissima, Torino (2017); Reality Check, Calina – Contemporary art space, Timișoara (2016, solo); Fără pensule [Without paintbrushes], Atelier030202 Bucharest (2016); Brain Tattoos – A Map of Obsessions, ICR Lisbon (2016); Cut & Paste Histories, ALERT studio, Bucharest (2015, solo); WHAT ABOUT Y[OUR] MEMORY, The National Museum of Contemporary Art Bucharest (2014); Contemporary Art Ruhr, Essen (2014); Duet, Gallery in the Citadel, Târgu Mureș (2003, solo); Feminine Archeology, International Center for Contemporary Art, Bucharest (2000, solo); The Dream of My Life, National Art Gallery, Sofia (2001); Melancholia, Sindan Cultural Center, Cluj-Napoca (2000, solo); Untitled, International Center forContemporary Art, Bucharest (1999, solo).
Aurora Király’s activity in the contemporary art field is not only restricted to the status of artist, her experience broadening towards curatorial domains and cultural management. At present, Aurora Király uses her experience to analyze the relation of the artist with history in general and especially with the history of art. Untitled_Mixed Diary renders an image of the creative laboratory in a duo with every day routine. The works made from everyday notes, works in progress, documents, sketches or drawings represent an opportunity to understand the subtleties of creation both for the artist, in her attempt to observe and analyze her own artistic practice, and for the public. In her recent works, photography merges with text in order to explore some personal reality that creates a distinct space. By sharing it, the artist invests it with a specific autonomy – a new status that withdraws it from the private space and introduces it as a mirror set in the public space.