The Project examines the significance of synergies originating from community, cooperation and open systems.  In its construction the work models collaborative networks and artistic processes behind the successes of the global creative industry with the help of a local community organized by the artists.
The collaborative model assists the artists in reinterpreting the notions of economic cooperation / national cooperation / the work of art, and contrasting it with the isolating speech patterns and practices of political discourse and social common talk. The members of the team are artists resident in Hungary, basket weavers, engineers and designers belonging to different ethnic groups. The possibility for interpenetration between a technology driven world and the handicrafts industry is a pressing issue for the group, as it is clear that the way we relate to industry and capitalist development is decisive when social cohesion and global economic success are at stake. 
The evolution and success of the creative industry proves that economic strength and success are found where the number of synergies capable of bringing about “new products” is high. Compared with classical models of production, these are non-operational collaborations that build products from the knowledge they share.
Products of such collaborations may be environmentally friendly objects, architectural structures or experimental elements that unite the regions of Hungary and their people’s traditions in a natural way, with no pointless differentiation between high-tech, research science or constructivist tradition, an ancient weaving technique inherited by the Romungro of Szendrőlád, the straw mats of Tápé or bundled cables in a media lab.
Our work, in short, interprets the artistic process from a socioeconomic perspective, with artists becoming “industrial managers.”
The installation combines three elements (weaving, painting, projection – see the illustration attached) which together overlap, and enmesh the structure of the pavilion. A spatial illusion built from the structural model of a beehive painted on the wall and the floor initializes a web of basket-woven nests that weaves through the exhibition space. The traditional materials used to weave baskets mix with conductors, sensors and light conductors (leds, optical cables, etc.) so the structure can be programmed.
The network of woven nests (the larger ones allowing for visitors to lie in them) is also a screen for the projection, which is placed in the darker unit (on the left) of the space.
Attila Nemes, the curator, is especially attuned to spaces defined by the semantics of art and technology, in the project he unites and interprets the various structures brought by the artists and craftsmen into a spirited whole. Éva Köves, one of the most enduring and consistent artists to follow the Hungarian constructivists. In her clear drawings that are both organic and architectonic she creates the structure developed from the crystalline construction of the beehive.
Róza El-Hassan, object artist and political artist turned to design an a year ago, when she began to innovatively use the ancient technology of cane weaving, earlier used to weave baskets and objects to store fragile fruit to cover, pack and protect electronic and technical appliances.
Andrea Sztojánovits is a vj and media artist, one of the outstanding figures of the VJ field in Hungary, with an interest in audiovisuality and its transcendent extensions. Her audiovisual works presented under the “cybercultural” alias Attaray (Transrepro, Monkey Presso, Cinetrip, vj Centrum teams) always bring about community spaces.