The Story of O.

Balázs Kicsiny’s exhibition in the 2B Gallery relates to various installations exhibited over the last few years. The common motive amongst these installations is the black and white chequered pattern, which originates from an English 16th Century sarcophagus.

Henry Carey, Baron of Hunsdon’s memorial in Westminster Abbey, London shows an unusual reverential abnormality. Instead of representing the deceased in a figurative way, as was usually the practice, the tomb consists simply of a chequered sarcophagus, a memorial to Henry Carey, Baron of Hunsdon. A minor historical disquisition could give some explanation to the absence of this individual’s representation. Contemporary sources contest Carey’s origins, the question that he was the illegitimate son of Henry the VIII. or the legitimate son of John Carey the older.

Balázs Kicsiny installations interpret the 16th Century tomb as a memorial of identity disorder. Coincidence also plays an important role in this interpretation. For example the fact that a few hundred meters from Westminster Abbey, the Grosvenor Estate with it’s chequered universe built in 1930, can be found. Also becoming part of this chain of arbitrary interpretation is the former communist leader János Kádár’s passion for playing chess, as well as Gabriel Orozco’s checkered skull, which in Kicsiny’s artistic association relates to Kadar’s stolen skull. Also part of this paradoxical narrative the recent identity crises of the Hungarian political life is juxtaposed with the Louis Vuitton’s fashion collection for the year 2013, where the chequered pattern will dominate.

Balázs Kicsiny’s four installations depict the absence of the representation of Henry Carey in tragicomic frozen performances. As a consequence of these „temporary resurrections” Baron of Hunsdon and his alter egos are reincarnated into a Decorator who suffers a fatal accident, or is it suicide, through to a parachutist who’s body lies lifeless. But also Carey transfigures into a prisoner, locked into a checked car, which is unable to move, through to his alter egos who are participants of a sacrilegious ritual set up in a Circus.

In the 2B Gallery, for the first time, Balázs Kicsiny”s paintings, photos and documentation in relation to these installation’s will be exhibited. Film documentation of the Killing Time installation, which was exhibited in the spring of 2012 at the Washington University in Saint Louis, Kemper Art Museum, USA will also be on view.