Accusative

Filling up a room can be thought as a process of abstraction. In this creation of an imaginary picture, the towering amorphous mass dissolves perspective, eliminating the distinction between foreground and background, until finally becoming two-dimensional at the point when it has completely squeezed the observer out from the saturated space. Sometimes this ”picture” takes a visible form: Arman demonstrates this when – reacting to Yves Klein’s empty gallery space (Le Vide, 1958) – he completely fills the Galerie Iris Clert with trash, reducing the closed space to a collage of object spressed to the glass windows.

Zékány Dia recognized this early and has been consciously working ever since with the close-to-abstract visuality of the messy rooms’ entropy. With affirmative irony, she transforms the overcrowded spaces into paintings that are usually presented in white cubes. She is experimenting with collapsing the pure art ideology and techno-utopian structuralism of the modernism into the counter-tradition focusing on the system’s permanent trash, surplus and disorder (from Kurt Schwitters to Thomas Hirschhorn).

Since it does not have reference points to any kind of order, her art’s object is beyond the disorder. This type of space is rather ”orderless” or is against order that creates its own self-referential structure. Her paintings belong to this dialectic field between immanent abstraction and all the stronger stylization. In her recent work one can observe as the contours of the spatial randomness-structure go to the fore, annihilating the last traces of spatiality. This also sheds a new light on her strict and consistently developed artistic program. The exhibition offers a cross-section of these aspects, embracing works from seemingly documentarist big close-ups to almost gestural paintings.