At the beginning it was lack of space. At that time we lived in a fairly small, subrented room in Budapest. I was looking for adequate means of expression: small, easy to pack and permitting variable permutations at the same time. In this way I started to work with the small toy-figures I bought on the second-hand market. I invested them with different roles and took photos. Later on, while exhibiting them, I was struck by their capacity to dialogue with huge spaces. I realised that in fact I’d been
acting like a stage-director. Since then I’ve been consciously
developing a “parallel world” as alternative to and reflecting on the
“real world”...
— Sándor Bartha

The toy characters look as if dropped in accidentally, coming from some parallel narratives. Small and fragile, standing still while performing
certain acts, they model quite heavy issues or on the contrary, they enact every-day like situations. The researchers of the periphery, the warrior, the milkman, the young pioneer, “the day” and “the night” are
carriers of messages, which content is indicated in an emblematic
manner. The unfolding of the story pertains to the spectator, who
oscillates between the polarised contrasts of scale, theme and method, content and attitude.

Selected solo exhibitions: 2003: Ludwig Museum, Budapest; 2002: Liget, Budapest; 2000: Mamü, Budapest.
Selected group exhibitions: 2002: One minute, one picture, ICA Dunaújváros, Hungary; 2001: 49a Biennale di Venezia; Einladung, Invitation, Invitatie, Kunsthaus, Essen, Germany; Szerviz, Mûcsarnok, Budapest; 2001: Csomópontok, Metrostation, Budapest; 2000: Transferatu, IFA Bonn/ IFA Berlin.