The Pleasure of Waiting<\/b>
Junction<\/b><\/p>\r\n
When I travel abroad\r\nI always notice that works of art are very well positioned in urban surroundings.\r\nIn Europe the notion of art in public space<\/i> does not only include\r\nstone or bronze monuments. It may refer to memorable and various things:\r\nI myself will never forget the controllable crane-lights in Rotterdam.\r\nSo I was very happy when during the Autumn Festival this genre also appeared\r\nin Budapest in the form of a project called Junction<\/i>, planned and\r\nrealised by Eike and Andrea Schneemeier, artist-curator, which included\r\nvideo works continuously projected for two weeks at three underground\r\nstations of Budapest.<\/p>\r\n
Art for those who\r\nare waiting. I still remember the times when I used to travel by underground\r\n(now I don’t enjoy it as much as I used to, so I avoid using it, if I\r\ncan) and how much the underground environment is lacking in stimulation,\r\nand they keep reducing the number of trains, so at first it seemed to\r\nme as a great idea. So I went under the ground with great expectations,\r\nbut I was soon disappointed: the equipment was not working. The second\r\ntime I tried was not successful either, but I did not give up, I was really\r\ncurious, and even in fairy tales they give it a try at least three times.\r\nAnd on the third time I saw it.<\/p>\r\n
The works follow\r\neach other in alphabetical order. S\u00e1ndor Bartha’s animation is\r\nbased on the synchrony of pictures and sounds, it is a nice piece generating\r\nexpectations, it wound me up, but did not give a solution.<\/p>\r\n
According to Bal\u00e1zs\r\nBe\u00f6thy mercy spreads in a circular shape. <\/i>I doubted it for\r\na few minutes while the boys shown from above in a fatherly manner were\r\ntravelling around, but by the time they had got to the end, the circle\r\nclosed: I had to see that they were not travelling in vain.<\/p>\r\n
Monsieur Delmotte,\r\nin his etude called Dungs<\/i> reflects on the basis of his own emotions\r\nto acute, unsolved international problems: in the roughly recorded, documentary\r\nvideo film there is a well dressed young man, or at least he is wearing\r\nnice shoes, treading on piles of dog mess as he is walking along the street,\r\nin a determined, even angry manner, one after the other, somewhere in\r\nGermany. They say that if you tread in shit, you will be lucky. But as\r\nfar as I know this saying involves that you do it accidentally. Or am\r\nI wrong? Well, I think this is not the way I would like to provoke my\r\nluck.<\/p>\r\n
Dominic Hislop’s\r\nserially repeated football match remix converts television broadcasting\r\ninto repetitive ballet. I liked it very much, although I guess that for\r\nsome of the underground visitors this delay did not result in the expected\r\naccomplishment.<\/p>\r\n
The video film of\r\nthe sponsor DNN does not fit in with the rest of the works, it lacks all\r\nsorts of visual invention, it is spiritless engineering work. I hope that\r\nnext year they will ask a specialist, an artist to make their film sent\r\nto the second occasion of Junction<\/i>.<\/p>\r\n
Tam\u00e1s Komor\u00f3czky\r\nOCD-bonus <\/i>is a real extra, it playfully accumulates stimuli, putting\r\nfinely elaborated and readily found scenes together to make a flow of\r\nimages squirting small meanings.<\/p>\r\n
P\u00e1l Szabolcs\r\nKs is also playing with our senses: making use of the dynamism of movement\r\nhe buoyantly rolls his spotted ball from streets into rooms, from positive\r\ninto negative, amazing the viewers. Just precisely, nicely, as the ball\r\nis rolling in the picture.<\/p>\r\n
\u00c1d\u00e1m\r\nLendvai’s 2YK problem<\/i> is a clear-headed review at a mythical time:\r\nin the first few seconds of 01\/01\/2001: hmm, the world still seems to\r\nbe in one piece. Everything is the same. We cannot see anything else,\r\nwe are just watching time. Well, today not everybody who uses the underground\r\nbelieves these video films. In secret I wish it turned out that the author\r\nhad put forward the counter of his video camera weeks before, he was so\r\nsure about what he was doing.<\/p>\r\n
Isabelle L\u00e9v\u00e9nez\r\nis an internationally known mature artist. In this case she goes along\r\nher Hopscotch<\/i> in a black space, with a mature woman’s body. Girls\r\nseem to play it everywhere, it is a global cultural treasure. In return\r\nyou get the pleasure of forgetting.<\/p>\r\n
Hajnal N\u00e9meth’s\r\nvideo film suggests that the loss of innocence is due to the ability of\r\nmaking trips into other cultures. She is right, it is really modern experience.\r\nHere a white girl is acting a yellow girl (sic). I can see both in her:\r\nthe one wearing a kimono and the assertive one. This is exactly what makes\r\nme think that her works are among the most exciting artistic accomplishments\r\nof the present.<\/p>\r\n
Rudolf Pacsika recorded\r\nthe serpentine dance of a shower pipe moved by the pressure of water,\r\nout of focus and (I guess) accidentally, nicely, you can even see blood\r\nin the picture. He added drama to the lyricism, and maybe this is why\r\nthe cutting has come out a bit too long.<\/p>\r\n
Stracke Caspar’s\r\nrefined video film called Global String<\/i> on the place of the window\r\nthere is a huge screen which reacts to simple bodily functions such as\r\nbreathing, jumping or even boxing. It is a pleasant picture of the future,\r\nI wish the relationship between people and computers were such a smooth\r\noperation<\/i>.<\/p>\r\n
J\u00e1nos Sug\u00e1r\r\nis a master of poetic titles. In his video film called The Illiterate’s\r\nTypewriter <\/i>he connects Kalashnikovs refined morf<\/i>, creating\r\na shockingly beautiful and encyclopaedic picture flow. We are astonished\r\nto see this damned widely-spread Soviet invention in the hands of children\r\nand women, soldiers, white people and men, species of all sorts. The Coca-Cola\r\nof the Soviet Union, although it is not the cold war any more.<\/p>\r\n
The Taxi Val Mentek\r\nduet is one of my secret favourites. In their works they use both subtly\r\nand brutally effective elements. Local patriots who are at home in our\r\ncity’s artistic life have already been able to see their work called Yvonne<\/i>\r\nat the excellent \u00c1lomgy\u00e1r<\/i> (Dream Factory) exhibition\r\ncurated<\/i> by Ildik\u00f3 Petrina (but only them, because nobody\r\nwrote a word about it – no critics, no special journals, what a shame).\r\nThis work belongs to the subtle category: you can see an everyday scene,\r\nand the stenker<\/i> gets you when you realise that it is not a photograph\r\nthat is shown to you for a long time, but models stiffened into a still\r\npicture with their breaths held back, with great effort. You can only\r\nhear the camera operator’s breathing, not mine, it is suppressed by me\r\nlaughing.<\/p>\r\n
The duet redoubles:\r\nFrom Beyond <\/i>shows their brutal side elegantly: the synchronous\r\nmovements of the blue-skinned joggers sound in polyphony: they are different.<\/p>\r\n
It is a great hit\r\nto show Attila Till’s M\u00e9dia Plaza<\/i>–promotion <\/i>in an\r\nunderground context: the author, who confidently uses the language of\r\nthe media, believably animates his dream into a media fact. I wish those\r\nwho are responsible for Happy End<\/i> also had similar nice dreams\r\nshowing the future. In this case for the first time I really wanted fiction\r\nto become real. Well, intellectual capital is the most valuable, and art\r\nis the highest-ranking work.<\/p>\r\n
Gyula V\u00e1rnai\r\nL\u00e9gellen\u00e1ll\u00e1s<\/i> (Air Resistance) has made a\r\ncareer virtually, it can even be seen in Zsebt\u00e9v\u00e9<\/i>.\r\nIt shows the correlation of the forms created by people and the body.\r\nThe test works, the body wins: it is aerodynamic.<\/p>\r\n
In Kriszti\u00e1n\r\nViktorin’s video film the parking sign visualises the thoughts of drivers\r\nand pedestrians; it is a nice future machine<\/i>.<\/p>\r\n
The video films of\r\nJohn Wood and Paul Harrison are not unknown in Hungary either. It is nice\r\nto see them again here, because they are good: this time they appear triply:\r\nin three video films they show three different sides of defencelessness.\r\nThey do it with feeling, you can see it that they like to show these faces,\r\nand you do not become sad from them.<\/p>\r\n
Brian Gibson’s animation\r\nis a lyrical ending to the flow of images shown by the others. As the\r\nstuff is<\/i> being shown. The films are selected from the crème\r\nof the video films shown in Budapest in the recent years. And they do\r\nnot only stand the test under the ground. They would not really fit in\r\nthe collection of the Museum of Modern Arts<\/i>, but rather the Museum\r\nof Contemporary Arts<\/i>. Well, if I were a curator there, I would buy\r\nthe whole thing all in one for the collection. And I would also buy a\r\nDVD player for it, so that it could run all the time without wearing the\r\ntape out<\/p>\r\n
Bori B\u00f3dy<\/p>\r\n
<\/p>\r\n\r\n\r\n\r\n<\/body>\r\n<\/html>","protected":false},"excerpt":{"rendered":"
The Pleasure of WaitingJunction When I travel abroad I always notice that works of art are very well positioned in urban surroundings. In Europe the notion of art in public space does not only include stone or bronze monuments. It may refer to memorable and various things: I myself will never forget the controllable crane-lights […]<\/p>\n","protected":false},"author":1,"featured_media":630144,"parent":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-400144","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-flex"],"acf":[],"_links":{"self":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400144","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=400144"}],"version-history":[{"count":0,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400144\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media\/630144"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media?parent=400144"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/categories?post=400144"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/tags?post=400144"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}