CT / Borsos Lőrinc: The Spectre in the Wedge

Borsos Lőrinc: The Spectre in the Wedge

You find yourself enclosed in the windowless space. The light flickers, and the sound of a running engine loops endlessly. In front of you hangs an object of desire. The glossy skin of a Lamborghini is suspended like a sacrifice of luxury. But it is not that simple. You have entered a space of self-mythology that draws you into a temporal loop. The objects around you are both a residue of a scandalous event and a stage for a future summoning. 

The Hungarian duo and an artist persona Borsos Lőrinc are known for constructing fictional scenarios and engaging the magical side of technology. In their first Prague solo show, they reveal a more personal setting of obsession, one that has haunted one of them - and therefore both - since 1996. An anomalous event occurred: a rift opened within the audiovisual transmission of the music video Cosmic Girl. A Diablo-driving entity, codenamed MIKE, penetrated physical reality. The transmission failed. Unable to stabilize, the entity settled in a human host. A new mode of existence emerged: insatiable, recursive - a cycle of desire and frustration. From this moment on, time no longer unfolds linearly, but returns and rewrites itself. 

The wedge-shaped form penetrates the mind like a code that cannot be decoded, only followed. The Lamborghini is not simply an object of desire; it produces it. The viola-hued body, “uncompromisingly arrogant” and utterly superfluous, exceeds function entirely. The victim does not desire the car as an object of use, but as something excessive, absolute. Figures recalling The Nightmare appear as parasitic forces, entering in sleep, implanting an impregnable desire that spreads like contagion. The feverish recounting of the events leading to this day, the imposing presence of the acceleration curve, and even the use of occult measures suggest the construction of a miniature universe of interconnected signs awaiting resolution.  

A small display case mirrors the logic of this para-ritual, para-instrumental cosmos. The container is inhabited. An entity lives within it, in the form of a uranium crystal. It is a substance of ambivalent nature, a pharmakon: both healing and destructive at the same time. The resonator intensifies the presence of the invisible entity, amplifying the tension between the individual elements. The satellite antenna labeled SatAn points toward a hybrid field of technological and occult protocols, where signal becomes a medium of evocation.

Are you still part of this cosmos? 

Then you are already waiting with us.

The summoning may last only an instant.

Borsos Lőrinc (based in Budapest, Hungary) is a fictional artistic persona developed since 2008 by János Borsos (b.1979, Székesfehérvár) and Lilla Lőrinc (b. 1980, Mór). Both studied at the Hungarian Academy of Fine Arts. Their practice, grounded in the deconstruction of traditional artistic strategies and in collective and para-institutional approaches, connects the legacy of the Hungarian neo-avant-garde with contemporary media and technological transformations. Gradually moving from early painting to installation, speculative world-building, and alternative pedagogy, they have realized a number of significant projects, including the exhibitions Nonentity (2016, ICA-D, Dunaújváros), For the Child of the Future (2023, Művész Malom, Ferenczy Museum, Szentendre), and Narnia is a Lie (2024, Hessel Museum, USA). They are currently based at Art Quarter Budapest (aqb), where they maintain a studio and actively contribute to the institution’s activities.