In the case of Péter Forgács’ current exhibition we might think of using Foucault’s and Caravaggio’s interpretational differences of the human body. Both viewpoints simultaneously appear and collide; therefore the stories of random bodies are about the status of image mapping.
Forgács contrasts the Foucaultian body concept; where the body is defined by the relation between subject and power, and the Caravaggioian male-body’s melodrama. The cloud-like arrangements of the moderate, small pictures and the video work create the illusion that the bodies seem to be stuck in their own movements, turning their graceless dash into an immanent line of momentums.
In the image-groups, the meeting of the two concepts show up rather in the flaws of the body, revealing their clumsiness in their own environment. Mistakes, as the source of the creational process, acknowledge the unavoidable disobedience of body-mapping, similarly to the works of Nan Golding or János Vető.
The exhibition is not a simple inventory of memories, but the revelation of memories and remembrance as a process of progress. The images, arranged around one another, are connected to each other as emotional-chemical elements, in this way forming the personal. This is how the private archives used by Forgács shift into a different zone of meaning.