Lili Ország Labyrinth

This artist was a mysterious Jewish Hungarian woman who barely escaped the Holocaust in 1944 in the most affected area - northeast Hungary which was already Czechoslovakia then, and today the Ukraine. She moved to Budapest and started visionary art in the Surrealist way in the 1950's. Then she developed an even more abstract style with more and more elements of the symbols of writing of ancient cultures - Hebrew, Egyptian, Persian, Tibetan and Christian signs, archetypes combined with an increasing use of electronic circuit boards... I have seen her Labyrinth series the third time - first when I was a teen. I was at the time really impacted by the film about possible UFO visitations in ancient cultures: Memories of the Future.
I think she developed into a true selfless master of abstract art, portraying the archetypes and the Computer Age and had some obsessive topics from using Qabbalah and the punched cards of early computers as well as circuit boards. It is a landscape of human existence with Theocrat centers, lines and so on from ancient times to this one, totally intuitively (though she did study some Hebrew, Sanskrit and other signs and sign systems.
Going through the exhibit the thrid time in my life, my vision changed so much as from a psychedelic. I think she has even connections to APT-s in her paintings. Too bad she suddenly died in 1978.
There is no good digital gallery but I can link an article or two in Hungarian
art review on OL
and if you do a Google image search for the words "labirintus" and "Ország" together, you get a nice selection.

Live, these paintings have a strange power of putting you into a thinking and feeling trance stretching across thousands of years and deep ahead into the Information Age. I'm really impressed and today I have the feeling that the important thing is not these images physically but there is something like an astral effect.

This vid is a Hungarian TV report but there are some good images in it...

I just got through looking at lots and lots of this lady's art, and there's no doubt she was one the most important IC agents on Earth in her day. She was exploring exactly the same territory at the same time as William Burroughs and channelling very similar visual symbols. I had never heard of her before reading your message above, though I'd seen a few images of her work in underground occult publications and later many more on line. My Guides say the reason for her to remain in place in Hungary under the Soviet sphere of influence was provide "geographical and cultural balance", and this makes perfect sense to me.

I became fascinated with the same symbols during the Fifties when I was in grade and high school and used to carry around notebooks of images copied from the works of James Churchward and similar authors. However, when I started my adult life, my Guides told me to start by making a serious study of tantric yoga, and then begin working in the telecommunications field, where over the next twenty years, I saw computer hardware and software invented step by step. And when Lili Orszag died in 1978, I was already preparing to make the "breakthrough in consciousness" that led to the writing of WiH, both through constant tantric practice and through participating in the creation of the technology that led to the Information Age.

I am extremely revitalized to see this exhibit and also by your enthusiastic appraisal of Ország's art. Oddly enough, one of my guides looks quite a bit like her.
I am glad to see you say Ország was a special figure in modern IC history - I am sometimes making a bit more of my own experience. I have seen lots of art and the best ones transform my vision but within this, her paintings are more than objects - they are a way of seeing. I also like the fact that most of the symbols are just characters looking similar to existing sets and grasping their general gestalt - a few Hebrew letters are the way they are though.
The increasing use of IC cicruit patterns and their similarity to hieroglyphs and sign systems is almost a trans-historical study directing attention from Ancient Egypt to the Information Age.

Since then I entered some dreams with thinking of my memory of her paintings before falling asleep and they opened up something...

Some interesting anecdotes of her life: she was collected during the Holocaust by the Hungarian Ultra-Nationalists in a brick factory in Ungvár (Uzhorod now a largely Hungarian-populated city in Ukraine) on April 21, 1944, at the age of 17 and a half. Maybe that was the start of her brick wall symbolism... The cattle cars started towards Auschwitz, but hours later near the city of Kassa (Kosice now in Slovakia), her father and Lili managed or decided to jump off and escaped the death train.

Her father returned to Uzhorod and was never seen again.

Lili moved to Budapest, changed her name from Oesterreicher to Országh and nominally took up the religion or Christianity. Christian symbolism also interested her to some degree, but it was always many faiths and cultures and she actively studied Qabbala and Gematria after her trip to Israel in 1966, where she felt she already knew the city at another level. She could also travel to Italy several times and also to Russia and Bulgaria. Towards the end of her life, she thought the complex LAbyrinth was her chef d'oeuvre and it appears to be finalised towards the last pictures...

Somehow this whole affair gives me a lot of inspiration as I see graffiti on the walls today and the role of writing by hand differently... alsoa calling that a balance needs to be established in the world in IC terms.

I obvivously developed "lines" in WiH with Pink Floyd among others as karmic lines. Now I am developing through classic Mantras. But this is another subject...

Ország affected me as a teen almost as strongly as my favorite musics which is a big thing to say. That exhibit was only Labírinth - her best IMHO - exhibited in 1980 within the Historical Museum.

hey that's a nice cultural discussion there
hawe you joined the movement called " tea party "  ?

reg, #4:

reg: I am extremely revitalized to see this exhibit and also by your enthusiastic appraisal of Ország's art. Oddly enough, one of my guides looks quite a bit like her.

RR: My Guides are all shape changers who never look the same twice, and often look more like animated cartoon characters than flesh and blood humans.

reg: I am glad to see you say Ország was a special figure in modern IC history - I am sometimes making a bit more of my own experience. I have seen lots of art and the best ones transform my vision but within this, her paintings are more than objects - they are a way of seeing. I also like the fact that most of the symbols are just characters looking similar to existing sets and grasping their general gestalt - a few Hebrew letters are the way they are though. The increasing use of IC cicruit patterns and their similarity to hieroglyphs and sign systems is almost a trans-historical study directing attention from Ancient Egypt to the Information Age. Since then I entered some dreams with thinking of my memory of her paintings before falling asleep and they opened up something...

RR: I get the impression that Orszag had the same general group of Guides as a lot the occultists and artists of the post-WW2 era who seemed to be searching for a "universal language" that would help in the creation of the new civilization being generated by technological advances. This "language" wasn't based on direct communication, but on something akin to cryptology: helping people to figure out what subliminal messages were hidden in the multitude of different symbologies that were then coming into use.

reg: Some interesting anecdotes of her life: she was collected during the Holocaust by the Hungarian Ultra-Nationalists in a brick factory in Ungvár (Uzhorod now a largely Hungarian-populated city in Ukraine) on April 21, 1944, at the age of 17 and a half. Maybe that was the start of her brick wall symbolism... The cattle cars started towards Auschwitz, but hours later near the city of Kassa (Kosice now in Slovakia), her father and Lili managed or decided to jump off and escaped the death train. Her father returned to Uzhorod and was never seen again. Lili moved to Budapest, changed her name from Oesterreicher to Országh and nominally took up the religion or Christianity. Christian symbolism also interested her to some degree, but it was always many faiths and cultures and she actively studied Qabbala and Gematria after her trip to Israel in 1966, where she felt she already knew the city at another level. She could also travel to Italy several times and also to Russia and Bulgaria. Towards the end of her life, she thought the complex LAbyrinth was her chef d'oeuvre and it appears to be finalised towards the last pictures...

RR: I wonder if it's significant that Oraszag was sent in just when it was becoming obvious that earthly civilization was approaching the upheavals that led to the Great Depression, WW2, and the high tech explosion that followed it. Perhaps with the intention that she'd be able to assist people in working their way through mazes towards new ways of looking at the future.

reg, #5:

reg: Somehow this whole affair gives me a lot of inspiration as I see graffiti on the walls today and the role of writing by hand differently... also a calling that a balance needs to be established in the world in IC terms.

RR: Yes! One person scrawls "Satan is my friend" on a wall, and someone else inserts "only" before the last word. The technology itself tends to steer people towards finding those balances even though they aren't looking for them on the conscious level.

reg: I obvivously developed "lines" in WiH with Pink Floyd among others as karmic lines. Now I am developing through classic Mantras. But this is another subject...

RR: I was directed towards developing through classic Mantras just BEFORE the IC started using the overt and subliminal messages embedded in popular music as a major consciousness-raising tool, which gave me a tool that turned failure into success for me at several crucial points during the Sixties and Seventies, and definitely was a precursor to my 1983 "breakthrough".

reg: Ország affected me as a teen almost as strongly as my favorite musics which is a big thing to say. That exhibit was only Labírinth - her best IMHO - exhibited in 1980 within the Historical Museum.

RR: The music and art that affected me the most during my teens in the Fifties wasn't the popular stuff on the radio and in the popular magazines of the day, but the countercultural material represented by the folk and protest music movement of the day and the art associated with it. I don't think I ever encountered any of Orszag's art, but if I had, I would have instantly recognized its importance...

I didn't make that clear enough: my Guides do not look like anything concrete and specific either. I do not try to visualize them. I have seen some personal shapes in clear dreams though and they change but usually they are young or middle aged and they appear to be teaching me or giving advice. One of them has had more important female lives and thus likes manifesting more as a female. The other one (which appears more in a male form, though recently in a dream I was listening to two women) sometimes appears Oriental - Chinese or Japanese, sometimes as a space alien.
The vision I allude here is much earlier than these War in Heaven years: sometimes I see this woman in a flash from the corner of my eye, always wearing a black headgear - it has an Egyptian or Chaldean air, but it could be a medieval nun's dress. She has definite ties to magic. Her headgear is wide, and though she looks intently, she never has a definite face - still I have the impression of a woman with dark eyes and hair. This lady has a similarity to Ms Orszag as well as some of the likely autobiographical figures in her paintings (but perhaps the abstract ones are the most interesting). I never figured out what these flashes of visions mean, but in my late twenties as well as now I tended to associate this flash with a sign that one of my Guides wants to watch me or communicate with me or is sending a warning. I never see this headgear in my dreams. In my early twenties I saw her sometimes while being stoned on marijuana and she scared me a bit.
All in all, there is a similarity of a type of vision to the gestalt of Orszag, though it is obvious to me that Guides are attracted early on or assigned from birth.
What do you think?

reg #8:

reg: I didn't make that clear enough: my Guides do not look like anything concrete and specific either. I do not try to visualize them. I have seen some personal shapes in clear dreams though and they change but usually they are young or middle aged and they appear to be teaching me or giving advice. One of them has had more important female lives and thus likes manifesting more as a female. The other one (which appears more in a male form, though recently in a dream I was listening to two women) sometimes appears Oriental - Chinese or Japanese, sometimes as a space alien.

RR: My Guides don't send me either images of themselves or names that can be translated into sound-patterns in the English language, but each one has a pre-verbal symbol that I can easily recognize. However, all my life I have seen images similar to the ones you describe when I communicate with my Guides in dreams or waking visions: including them appearing as Orientals and several kinds of "space aliens" as described in science fiction and paranormal "non-fiction".

reg: The vision I allude here is much earlier than these War in Heaven years: sometimes I see this woman in a flash from the corner of my eye, always wearing a black headgear - it has an Egyptian or Chaldean air, but it could be a medieval nun's dress. She has definite ties to magic. Her headgear is wide, and though she looks intently, she never has a definite face - still I have the impression of a woman with dark eyes and hair. This lady has a similarity to Ms Orszag as well as some of the likely autobiographical figures in her paintings (but perhaps the abstract ones are the most interesting). I never figured out what these flashes of visions mean, but in my late twenties as well as now I tended to associate this flash with a sign that one of my Guides wants to watch me or communicate with me or is sending a warning. I never see this headgear in my dreams. In my early twenties I saw her sometimes while being stoned on marijuana and she scared me a bit.All in all, there is a similarity of a type of vision to the gestalt of Orszag, though it is obvious to me that Guides are attracted early on or assigned from birth. What do you think?

RR: I've never seen images of my Guides or other spirits that were clear enough to remind me of any particular historical or fictional figure.

reg #8:

reg: I didn't make that clear enough: my Guides do not look like anything concrete and specific either. I do not try to visualize them. I have seen some personal shapes in clear dreams though and they change but usually they are young or middle aged and they appear to be teaching me or giving advice. One of them has had more important female lives and thus likes manifesting more as a female. The other one (which appears more in a male form, though recently in a dream I was listening to two women) sometimes appears Oriental - Chinese or Japanese, sometimes as a space alien.

RR: My Guides don't send me either images of themselves or names that can be translated into sound-patterns in the English language, but each one has a pre-verbal symbol that I can easily recognize. However, all my life I have seen images similar to the ones you describe when I communicate with my Guides in dreams or waking visions: including them appearing as Orientals and several kinds of "space aliens" as described in science fiction and paranormal "non-fiction".

reg: The vision I allude here is much earlier than these War in Heaven years: sometimes I see this woman in a flash from the corner of my eye, always wearing a black headgear - it has an Egyptian or Chaldean air, but it could be a medieval nun's dress. She has definite ties to magic. Her headgear is wide, and though she looks intently, she never has a definite face - still I have the impression of a woman with dark eyes and hair. This lady has a similarity to Ms Orszag as well as some of the likely autobiographical figures in her paintings (but perhaps the abstract ones are the most interesting). I never figured out what these flashes of visions mean, but in my late twenties as well as now I tended to associate this flash with a sign that one of my Guides wants to watch me or communicate with me or is sending a warning. I never see this headgear in my dreams. In my early twenties I saw her sometimes while being stoned on marijuana and she scared me a bit.All in all, there is a similarity of a type of vision to the gestalt of Orszag, though it is obvious to me that Guides are attracted early on or assigned from birth. What do you think?

RR: I've never seen images of my Guides or other spirits that were clear enough to remind me of any particular historical or fictional figure.