In recent years, my artistic work and exhibitions have included video-installed spaces, performances, virtual processes, where natural science analogies play a role, and the use of co-artistic permeations in a visual arts medium.
In my exhibition “Corresponding overview”, I present a sketch of the intertwining of our world as seen from an external perspective, in which I illustrate the structural symbols of time through the metaphor of a frame clock and a jukebox, where the horizon is fragmented in view of our granular world. This strange axis of symmetry is used in my work as an analogy for model-dependent reality.
To paraphrase Dante from the Divine Play from Hell: “We shall yet experience the world beyond the sun / Never inhabited by man”. As analogy is a reuse of a concept, whether in science or art, I relate it to the central theme of my work, the theory of black and white holes as a pair of model-object-art objects.
What is this analogy? It is the representation and realisation of a conceptual model in an installation. Going beyond Euclidean geometry, the ideas of theoretical physicist Carlo Rovelli: based on the looped horizon of looped -quantum gravity, the model-dependent reality of space-time, imagined, what is more mapped in the representation of a pair of objects. Its analogy is the entanglement of black and white holes, the physical entity of space where, falling into the past, it passes on its horizon, understood as a quantum entanglement, into the state of a white hole moving towards the future.
What does the asymmetry of past-future, where the human rhetoric of “space-time” meets the allegorical model image of thought in the projection of generations, show in the “corresponding overview”?
Zsolt Kororknai