{"id":400064,"date":"2002-05-06T22:00:00","date_gmt":"2002-05-06T22:00:00","guid":{"rendered":"https:\/\/exindex.hu\/?p=400064"},"modified":"2002-05-06T22:00:00","modified_gmt":"2002-05-06T22:00:00","slug":"kodde-foszlo-vilagunk","status":"publish","type":"post","link":"https:\/\/exindex.hu\/en\/kritika\/kodde-foszlo-vilagunk\/","title":{"rendered":"Our world into mist"},"content":{"rendered":"
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Net pictures<\/i> is a neutral and quite general technographical designation, there is no higher or lower emotional connotation\r\nbehind it. It is a structuralist classification, nothing more, and precisely due to this it may be a little deceiving.<\/p>\r\n\r\n

The dramaturgy situation, however, is more complex than this. We see a series of pictures\r\nof a car accident – a so-called fender bender – broken down into scenes, which, basically, is nothing more than simple documentation; an\r\neveryday urban life picture. In other words freezing a motion into still pictures. Taken event by event it is not too shocking, only a\r\nthought-provoking spectacle; not a tragedy, an accident. At the most it arouses compassion in the observer, for the police on the scene it\r\nis a routine case, and the real participants suffer only an annoyance providing them with experience instead of stress. One thing though is\r\nobvious to everyone: you can’t rewind the “film”, time. What happens, happens.<\/p>\r\n\r\n

On the wall opposite the photograph enlargements displaying the event there is a single picture visible, a composition consisting of\r\nporcelain figures (whoever has seen Orsolya Drozdik’s latest Knoll Gallery exhibition can easily imagine this). This special, solemn and\r\ncontemplative company is formed by some Buddha statuettes and angel forms. Heavenly eternity is contrasted with the event fragments of\r\nmortal, earthly happenings, and in the contrasted heavenly sphere situation the flutter of the wings of the angel of care infiltrates,\r\nsometimes conscientiously, sometimes with less watchfulness. The movement beneath becomes calm, then finally becomes rigid and gets\r\ninto tune with the deep immobility of that above. <\/p>\r\n\r\n

Within this basic situation the physical nature of the net<\/i> comes to the fore, in other words the formation of a squinting\r\nperspective derived from its covering, masking, blurring and fogging effect. Here a stylised, ornamental grid is woven from small and large\r\ncircular patterns, which, placed over the photographs, represses the whole of the spectacle, the profile of the figures, just like the colour\r\nsurfaces. A mathematically uniform patterned, monotone fog mantle covers the happenings: the cars disappear, get lost in obscurity, as do\r\nthe people, the events, the environment, and slowly the picture disappears, too. But not in its iconic existence, only on the level of the\r\nspectacle. Be\u00f6thy extrapolates the weight of things, makes them relative and atomises the things that happen. We now do not know how\r\nand why it happened. Just like with the players in the film by Kurosawa entitled Rashomon,<\/i> who all describe the crime that took\r\nplace along the forest path differently, and also with Be\u00f6thy the framework of real facts becomes loose. Creating centrifugal force the\r\nrotation of the spokes of time questions the combinatory feature of the attributes of existence and the necessity of the interdependence of\r\nthe spiritual and materials worlds.<\/p>\r\n\r\n

The story isn’t spectacular, but even still it contains a subjective philosophical issue. The picture is like it is turning against its own surface structure, like it is chewing up the pigmentation from within. It is like an undercoated canvas on every point of which it disappears into nothing all at once. It stands on shaky legs, just like the\r\ndispassionate, naked intellect.<\/p>","protected":false},"excerpt":{"rendered":"

  Net pictures is a neutral and quite general technographical designation, there is no higher or lower emotional connotation behind it. It is a structuralist classification, nothing more, and precisely due to this it may be a little deceiving. The dramaturgy situation, however, is more complex than this. We see a series of pictures of […]<\/p>\n","protected":false},"author":1,"featured_media":630064,"parent":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6],"tags":[],"class_list":["post-400064","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritika"],"acf":[],"_links":{"self":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400064","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/comments?post=400064"}],"version-history":[{"count":0,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400064\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media\/630064"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media?parent=400064"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/categories?post=400064"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/tags?post=400064"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}