Bozsó

Nóra Bozsó’s gestures also seem more instinctive and archetypal than programmatic. However, neither their occasional nature nor their visceral impulse prevent a theoretically describable and sensually, hic et nunc experienceable system from emerging in this space suggesting transience: the continuous survival of the original grid structure in an age dominated by pixels. This system is closer – if only because of its obvious materiality to Gottfried Semper’s “practical aesthetics” described some 180 years ago, and to its chapter on textiles linked to branches of art and eras, as well as to more recent comprehensive theories dealing with grid-like patterns and mostly related to modernity (Rosalind Krauss). This order is more an imprint of an inward-looking way of life than a ceaseless and actionist proclamation of a world model. However, if we were to indulge in the dreamlike image of everyday craftsmanship and almost vegetative weaving, we would immediately be struck by the conscious and provocative absurdity of the “canvas binding” assembled from iron saw blades on the wall, a frivolous refutation of Semper’s materialistic logic. Nevertheless, the “textile” system also appears in the exhibited material in the form of panel paintings, though not so much in the paintings themselves as in the traditional techniques of collage, the latter’s staccato rhythm clashing with the strict beat of the law, the “shackles of reason”.