"There Is Nothing to See Here" is the title of the exhibition hosted in the Hungarian Pavilion at the Venice Architecture Biennale 2025. Since 2015, the Ludwig Museum of Contemporary Art has managed and organized both the temporary exhibition and the building. This year, it presents an alternative vision for the future of the profession. Curated by creative director and assistant professor Márton Pintér, in collaboration with Ingrid Manhertz, András Graf, and Júlia Böröndy, founder of the platform Women in Architecture (WIA), the exhibition will showcase the work of 12 architecture professionals who apply their expertise in fields beyond the profession.
The exhibition is the result of a decade-long experiment conducted by the curator and documented in his doctoral dissertation, The Professional, the Specialist, and the Technician. The central concept of the proposal is based on the ongoing tension between traditional architectural practice and the demands of the real estate market. Through an analysis of 12 case studies, the curators highlight the potential of architectural knowledge applied to other industries, expanding the boundaries of what it means to be an architect. The exhibition aims to offer alternative career perspectives for newcomers, dropouts, and career changers alike, driven by the conviction that "an architect is capable of much more than designing houses."
The professionals featured in the exhibition are not only distinguished by their unconventional career paths but also by their embodiment of values that market-driven architecture fails to represent. Their work will be presented in a staged recreation of an abandoned architecture studio, with the graphic design overseen by Gergely Lukács Szőke. The content will be divided into three categories, each represented by an RGB color scheme (red for the participants, green for the projects, and blue for student reports from Hungarian architecture faculties). The topics explored range from cooperation and value to creativity and narrative, forming a framework for understanding 12 alternative career trajectories:
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- Dániel Gryllus, Vilmos Gryllus and Balázs Radványi, Musicians (Kaláka band)
- Máté Győrffy, Politician (Terézváros Masterplan)
- Áron Losonczi, Inventor (LiTraCon)
- Péter Janesch DLA, Architect (System-islands)
- Csaba Kelemen and Balázs Tompa, Creative Developers (Kirowski)
- Péter Pozsár DLA, University Teacher (Hello Wood Summer Schools)
- Balázs Rajcsányi and Pál Varsányi, Producers (Playdead)
- Krisztina Regős, Researcher (Space-filling Patterns)
- Imre Rimóczi, Chief Art Director (Budapest Park)
- Ernő Rubik, Inventor (Cube)
- Adam Somlai-Fischer, Inventor (Prezi)
- Judit Varga, Scenographer (Propclub)
The building representing Hungary was the third to be constructed at the Giardini della Biennale. Inaugurated in 1909, it was originally a two-story Art Nouveau structure designed by Géza Maróti. However, during its modernization by Ágost Benkhard in 1958, it lost its decorative elements and distinctive roof shape, transforming into a more conventional modern building. The pavilion version visitors see today dates back to 1990 when it was restored under the direction of art historian György Sümegi, who reinstated the original roof and uncovered the ornaments and mosaics on the façade.
The 19th International Architecture Exhibition – La Biennale di Venezia 2025, running from May 24 to November 23, 2025, will be curated by Carlo Ratti and centered around the theme "Intelligens. Natural. Artificial. Collective." The event will feature a diverse array of perspectives on the future of architecture, whether in the neighboring pavilions at the Giardini della Biennale or through side exhibitions and events. In the immediate vicinity of the Hungarian Pavilion, the Belgian Pavilion will host an exhibit on plant-based architecture, while the United States Pavilion will showcase an exhibition exploring the architectural and cultural significance of the American porch.
We invite you to check out ArchDaily's comprehensive coverage of the 2025 Venice Biennale.
