Untitled Document<\/title>\r\n<style type=\"text\/css\">\r\n\r\n<\/style>\r\n<\/head>\r\n\r\n<body>\r\n Krisztina Dékei: <\/p>\r\n Puzzle Solving<\/span> \r\nGyula Várnai’s exhibition in the acb Gallery <\/p>\r\n In my experience any literature about an artist should include two thoughts. On the one hand, it is customary to state that the personally regarded everyday objects, which inspire the works, are mere tools for reaching the metaphysical realm of the poetry of objects, which transcends them. What follows from this, on the other hand, is the difficulty of verbalising artwork. This Gábor Andrási refers to as a double punchline killer: with the explanation (solution) a “complete existence” which flashes in, and is experienced through, an understanding of the work is lost. The fact that Várnai’s pieces are not linked to an artistic discourse or style<\/strong>– if not to post-conceptualism – may, in my opinion, only be a problem in an art historic “description” or in the case of art market sales. Viewers care not about deciphering the artist’s intention, but their own interpretation anyway. As will I. <\/p>\r\n The title of the exhibition, “But let us have it!” (“De legyen nekünk!”), takes Claes Oldenburg’s declaration from the end of the 60s, starting “I am for an art…” – which can now be read in Hungarian on the wall of the acb Gallery – one thought further. It is not clear why the name of the pop artist is misspelled (it doesn’t end in “h”) and, furthermore, why the Hungarian translation ignores an already existing solution<a href=\"#_ftn1\" name=\"_ftnref1\">1<\/a>. Although as synonyms for the term “I am for” it is acceptable to use “I believe in” and “let me have,” I don’t understand why at the beginning of each line the singular and plural forms of the Hungarian personal possessive are alternated (“legyen nekem-legyen nekunk” translates as “let me have-let us have”). Let them have it…<\/p>\r\n On the invitation of the exhibition part of an artwork, the first frame of a Japanese manga-like comic strip, is shown. The dialogues in the text bubbles prompted independently of the action plot suggest an ironic attitude (“I will not tell anyone that I have stolen,” or “deny everything without restraint until viewers believe what they see is original”). The verbalisation of theft , not to even mention its demonstration (in the form of photocopies), obviously mean that it is no longer a secret. The question of traversability between the original and the copy, between reality and appearance offers an interpretational line along which one can set off – as if responding to the call for “absolute dialogue” in the final word of the final text bubble. The texts linked to the pieces – hanging on them more like dead weights – can only rarely interfere with one’s dialogue-based own interpretation. <\/p>\r\n Let the beginning of interpretation be the beginning: the work titled “The Evolution of the Big Bang” (“A nagy bumm evolúciója”). The digital photo works on a “dual plane”: in the hazy surrounding appears the interior of a room shot from above, while up close a ceiling lamp is visible. It is onto this microcosm that the circularly depicted, textual model of the origins of the world – the scientific description of the Universe – is projected. Next to this, in an image that similarly separates the backdrop from the foreground, the letters, which levitate in the air, make up the following sentence: “A path which can be contained in words is not of the eternal.” Although Várnai’s work has been created in an age when the basic belief in the rational world has been shaken, when the validity of the scientific systems, models and equations created by mankind are becoming increasingly uncertain, his work indicates not so much an attitude of scepticism, but one of humour, about all of this. The position of the letters in the image allows for readings of multiple meanings. For example, the process of reading the mass of letters, which become strutted while falling (“a path which can be contained in words”) is only possible in a temporary, braced state. From a world divided by autocratic signs (letters, numbers, algebraic, mathematic and other signs), Várnai picks out the hand signals formerly used for indicating the letters of the alphabet, which appear in his installation on the horizontal page edges of closed books (opposite the spine), as if on a board. (“ I am for the art of things lost or thrown away, coming home from school. ”) The organisation of the books stacked on the shelf is reminiscent of houses, of miniature life units, and, furthermore, demonstrate, in addition to the existence of the cosmos, the presence of the human system of the Gutenberg Galaxy. <\/p>\r\n The books, as universal carriers of human knowledge, refer not only to the shared, cultural treasures of the intellect. Due to their unique, shelf-balancing position, it is as if they were providing unshakable support to the system ( “Winter Tale\/Téli rege ”). On the false stereo image, the outside world (building from a housing project) and the interior (detail of a flat with practically bare shelves) make a simultaneous appearance. On the shelf, one book is closed, another one is open. It is especially in the case of books, that Heisenberg’s quotation, which comprised the thrust of one of Várnai’s earlier works, carries unequivocal truth: “The appearance of reality always depends on whether someone is observing it or not. ”<a href=\"#_ftn2\" name=\"_ftnref2\">2<\/a><\/p>\r\n A book is a lifeless object unless someone opens it. And it is as such that it appears in the picture titled “Library” (“Könyvtár”). In a video installation introduced earlier<a href=\"#_ftn3\" name=\"_ftnref3\">3\r\n<\/a>, the viewer could witness the magical transformation of 13 books on a shelf, as each unnoticeably melted into the one adjacent to it. The work now on display is based on the principle of the 3-D “winking wallet” and for technique and material is marked with the word “atoran”<a href=\"#_ftn4\" name=\"_ftnref4\">4\r\n<\/a>. By simply changing our position, we can elicit the change and can look for the exact point where past becomes future, and vica versa. The reason we regard this piece – which operates with a familiar visual trick characteristic of tiny collectible items intended for children – more highly is, obviously, to be found in the “manifested.” Furthermore, the symbolically loaded interpretational field of the book is coupled with a device that is capable of capturing the passing of time. In the “atoran” which bears the subtitle “ I am for an art that tells you the time of day, that tells you to turn left from inside there and then right on the second street, ” we can make the book that is laid on the shelf “switch places ” with a blue and a red bookmark. All this change (happening) – this transformation only measurable by the viewer’s own time – is watched over by an eternally stopped clock. The opposite of this is a puzzling installation still life, among whose lifeless objects (reading lamp on a shelf and six standing books “stifled into numbers ” from one to ten) a clock can be found – its quiet ticking signalling the passing of seconds. The real natura morta exposed to time was named pertinently ( “kfnth ”), as well as the DVD clip ( “Ishlgass ”).<a href=\"#_ftn5\" name=\"_ftnref5\">5\r\n<\/a><\/p>\r\n We will sidestep the, otherwise excellent, somewhat altered reincarnations of previously exhibited works (1993, Liget Gallery)<a href=\"#_ftn6\" name=\"_ftnref6\">6\r\n<\/a>, in order to turn our attention to puzzle solving. In front of the background of digital photos glimmering with shadow and light, we find simple “what’s the difference?” and “find the odd one out” exercises. “Twenty-four Houses” (“Huszonnégy ház”) and “Six Dice” (“Hat kocka”) provide us with easy problems to solve. We only realise after we are finished that the image of reality and the pictures composed of geometric drawings and placed on top of it are somehow strangely related. The most difficult task is posed by a photo, where letters imitated by photograph cut-outs of the various details of objective reality (toothbrush, nutcracker, doorknob, drain, kitchen sink, bookshelf, washing machine, light switch, computer mouse, scissors) read the following Oldenburg\/Várnai sentence: “ I am for an art that grows up not knowing it is art at all, an art given the chance of having a staring point of zero. ” Art literature is right after all: what is this if not the metaphysical poetry of objects? <\/p>\r\n <\/p>\r\nTranslated by: Zsófia Rudnay <\/em><\/p>\r\n <\/p>\r\n<hr>\r\n <a href=\"#_ftnref1\" name=\"_ftn1\">1<\/a> In: Kortárs képzőművészeti szöveggyűjtemény I.; A & E ’93 Kiadó, 1995. pp. 28-31. (translated by: István Farkas, Vera Gáthy)<\/p>\r\n<a href=\"#_ftnref2\" name=\"_ftn2\">2<\/a> 1996. Székesfehérvár, Szent István Király Museum<\/p>\r\n<a href=\"#_ftnref3\" name=\"_ftn3\">3<\/a> 2004. acb Gallery, PLZ 1, DVD, 9 min<\/p>\r\n<a href=\"#_ftnref4\" name=\"_ftn4\">4<\/a> I would like to note, just as a matter of curiosity, that in searching for the word “atoran” on the internet, I have stumbled upon a Japanese comic book and its illustrations here: @run-city.<\/p>\r\n<a href=\"#_ftnref5\" name=\"_ftn5\">5<\/a> I could come up with an idea or two.<\/p>\r\n<a href=\"#_ftnref6\" name=\"_ftn6\">6<\/a> These are light installations set up in the hall on the right 1. “I am for the art of scratchings in the asphalt, daubing at the walls.” – precedent: “Not quite five, not quite six” (“Nem egészen öt, nem egészen hat”) 2. “I am for an art…” (“Legyen nekem a művészet”) – predecessor: “Passage II” (“Átjáró”) <\/p>\r\n<\/strong><\/p>\r\n<\/body>\r\n<\/html>","protected":false},"excerpt":{"rendered":"Untitled Document Krisztina Dékei: Puzzle Solving Gyula Várnai’s exhibition in the acb Gallery In my experience any literature about an artist should include two thoughts. On the one hand, it is customary to state that the personally regarded everyday objects, which inspire the works, are mere tools for reaching the metaphysical realm of the poetry […]<\/p>\n","protected":false},"author":1,"featured_media":630283,"parent":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6],"tags":[],"class_list":["post-400285","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\/400285","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=400285"}],"version-history":[{"count":0,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400285\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media\/630283"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media?parent=400285"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/categories?post=400285"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/tags?post=400285"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

{"id":400285,"date":"2005-10-05T22:00:00","date_gmt":"2005-10-05T22:00:00","guid":{"rendered":"https:\/\/exindex.hu\/?p=400285"},"modified":"2005-10-05T22:00:00","modified_gmt":"2005-10-05T22:00:00","slug":"rejtvenyfejtes","status":"publish","type":"post","link":"https:\/\/exindex.hu\/en\/kritika\/rejtvenyfejtes\/","title":{"rendered":"Puzzle Solving"},"content":{"rendered":"\r\n\r\n\r\n\r\nUntitled Document<\/title>\r\n<style type=\"text\/css\">\r\n\r\n<\/style>\r\n<\/head>\r\n\r\n<body>\r\n Krisztina Dékei: <\/p>\r\n Puzzle Solving<\/span> \r\nGyula Várnai’s exhibition in the acb Gallery <\/p>\r\n In my experience any literature about an artist should include two thoughts. On the one hand, it is customary to state that the personally regarded everyday objects, which inspire the works, are mere tools for reaching the metaphysical realm of the poetry of objects, which transcends them. What follows from this, on the other hand, is the difficulty of verbalising artwork. This Gábor Andrási refers to as a double punchline killer: with the explanation (solution) a “complete existence” which flashes in, and is experienced through, an understanding of the work is lost. The fact that Várnai’s pieces are not linked to an artistic discourse or style<\/strong>– if not to post-conceptualism – may, in my opinion, only be a problem in an art historic “description” or in the case of art market sales. Viewers care not about deciphering the artist’s intention, but their own interpretation anyway. As will I. <\/p>\r\n The title of the exhibition, “But let us have it!” (“De legyen nekünk!”), takes Claes Oldenburg’s declaration from the end of the 60s, starting “I am for an art…” – which can now be read in Hungarian on the wall of the acb Gallery – one thought further. It is not clear why the name of the pop artist is misspelled (it doesn’t end in “h”) and, furthermore, why the Hungarian translation ignores an already existing solution<a href=\"#_ftn1\" name=\"_ftnref1\">1<\/a>. Although as synonyms for the term “I am for” it is acceptable to use “I believe in” and “let me have,” I don’t understand why at the beginning of each line the singular and plural forms of the Hungarian personal possessive are alternated (“legyen nekem-legyen nekunk” translates as “let me have-let us have”). Let them have it…<\/p>\r\n On the invitation of the exhibition part of an artwork, the first frame of a Japanese manga-like comic strip, is shown. The dialogues in the text bubbles prompted independently of the action plot suggest an ironic attitude (“I will not tell anyone that I have stolen,” or “deny everything without restraint until viewers believe what they see is original”). The verbalisation of theft , not to even mention its demonstration (in the form of photocopies), obviously mean that it is no longer a secret. The question of traversability between the original and the copy, between reality and appearance offers an interpretational line along which one can set off – as if responding to the call for “absolute dialogue” in the final word of the final text bubble. The texts linked to the pieces – hanging on them more like dead weights – can only rarely interfere with one’s dialogue-based own interpretation. <\/p>\r\n Let the beginning of interpretation be the beginning: the work titled “The Evolution of the Big Bang” (“A nagy bumm evolúciója”). The digital photo works on a “dual plane”: in the hazy surrounding appears the interior of a room shot from above, while up close a ceiling lamp is visible. It is onto this microcosm that the circularly depicted, textual model of the origins of the world – the scientific description of the Universe – is projected. Next to this, in an image that similarly separates the backdrop from the foreground, the letters, which levitate in the air, make up the following sentence: “A path which can be contained in words is not of the eternal.” Although Várnai’s work has been created in an age when the basic belief in the rational world has been shaken, when the validity of the scientific systems, models and equations created by mankind are becoming increasingly uncertain, his work indicates not so much an attitude of scepticism, but one of humour, about all of this. The position of the letters in the image allows for readings of multiple meanings. For example, the process of reading the mass of letters, which become strutted while falling (“a path which can be contained in words”) is only possible in a temporary, braced state. From a world divided by autocratic signs (letters, numbers, algebraic, mathematic and other signs), Várnai picks out the hand signals formerly used for indicating the letters of the alphabet, which appear in his installation on the horizontal page edges of closed books (opposite the spine), as if on a board. (“ I am for the art of things lost or thrown away, coming home from school. ”) The organisation of the books stacked on the shelf is reminiscent of houses, of miniature life units, and, furthermore, demonstrate, in addition to the existence of the cosmos, the presence of the human system of the Gutenberg Galaxy. <\/p>\r\n The books, as universal carriers of human knowledge, refer not only to the shared, cultural treasures of the intellect. Due to their unique, shelf-balancing position, it is as if they were providing unshakable support to the system ( “Winter Tale\/Téli rege ”). On the false stereo image, the outside world (building from a housing project) and the interior (detail of a flat with practically bare shelves) make a simultaneous appearance. On the shelf, one book is closed, another one is open. It is especially in the case of books, that Heisenberg’s quotation, which comprised the thrust of one of Várnai’s earlier works, carries unequivocal truth: “The appearance of reality always depends on whether someone is observing it or not. ”<a href=\"#_ftn2\" name=\"_ftnref2\">2<\/a><\/p>\r\n A book is a lifeless object unless someone opens it. And it is as such that it appears in the picture titled “Library” (“Könyvtár”). In a video installation introduced earlier<a href=\"#_ftn3\" name=\"_ftnref3\">3\r\n<\/a>, the viewer could witness the magical transformation of 13 books on a shelf, as each unnoticeably melted into the one adjacent to it. The work now on display is based on the principle of the 3-D “winking wallet” and for technique and material is marked with the word “atoran”<a href=\"#_ftn4\" name=\"_ftnref4\">4\r\n<\/a>. By simply changing our position, we can elicit the change and can look for the exact point where past becomes future, and vica versa. The reason we regard this piece – which operates with a familiar visual trick characteristic of tiny collectible items intended for children – more highly is, obviously, to be found in the “manifested.” Furthermore, the symbolically loaded interpretational field of the book is coupled with a device that is capable of capturing the passing of time. In the “atoran” which bears the subtitle “ I am for an art that tells you the time of day, that tells you to turn left from inside there and then right on the second street, ” we can make the book that is laid on the shelf “switch places ” with a blue and a red bookmark. All this change (happening) – this transformation only measurable by the viewer’s own time – is watched over by an eternally stopped clock. The opposite of this is a puzzling installation still life, among whose lifeless objects (reading lamp on a shelf and six standing books “stifled into numbers ” from one to ten) a clock can be found – its quiet ticking signalling the passing of seconds. The real natura morta exposed to time was named pertinently ( “kfnth ”), as well as the DVD clip ( “Ishlgass ”).<a href=\"#_ftn5\" name=\"_ftnref5\">5\r\n<\/a><\/p>\r\n We will sidestep the, otherwise excellent, somewhat altered reincarnations of previously exhibited works (1993, Liget Gallery)<a href=\"#_ftn6\" name=\"_ftnref6\">6\r\n<\/a>, in order to turn our attention to puzzle solving. In front of the background of digital photos glimmering with shadow and light, we find simple “what’s the difference?” and “find the odd one out” exercises. “Twenty-four Houses” (“Huszonnégy ház”) and “Six Dice” (“Hat kocka”) provide us with easy problems to solve. We only realise after we are finished that the image of reality and the pictures composed of geometric drawings and placed on top of it are somehow strangely related. The most difficult task is posed by a photo, where letters imitated by photograph cut-outs of the various details of objective reality (toothbrush, nutcracker, doorknob, drain, kitchen sink, bookshelf, washing machine, light switch, computer mouse, scissors) read the following Oldenburg\/Várnai sentence: “ I am for an art that grows up not knowing it is art at all, an art given the chance of having a staring point of zero. ” Art literature is right after all: what is this if not the metaphysical poetry of objects? <\/p>\r\n <\/p>\r\nTranslated by: Zsófia Rudnay <\/em><\/p>\r\n <\/p>\r\n<hr>\r\n <a href=\"#_ftnref1\" name=\"_ftn1\">1<\/a> In: Kortárs képzőművészeti szöveggyűjtemény I.; A & E ’93 Kiadó, 1995. pp. 28-31. (translated by: István Farkas, Vera Gáthy)<\/p>\r\n<a href=\"#_ftnref2\" name=\"_ftn2\">2<\/a> 1996. Székesfehérvár, Szent István Király Museum<\/p>\r\n<a href=\"#_ftnref3\" name=\"_ftn3\">3<\/a> 2004. acb Gallery, PLZ 1, DVD, 9 min<\/p>\r\n<a href=\"#_ftnref4\" name=\"_ftn4\">4<\/a> I would like to note, just as a matter of curiosity, that in searching for the word “atoran” on the internet, I have stumbled upon a Japanese comic book and its illustrations here: @run-city.<\/p>\r\n<a href=\"#_ftnref5\" name=\"_ftn5\">5<\/a> I could come up with an idea or two.<\/p>\r\n<a href=\"#_ftnref6\" name=\"_ftn6\">6<\/a> These are light installations set up in the hall on the right 1. “I am for the art of scratchings in the asphalt, daubing at the walls.” – precedent: “Not quite five, not quite six” (“Nem egészen öt, nem egészen hat”) 2. “I am for an art…” (“Legyen nekem a művészet”) – predecessor: “Passage II” (“Átjáró”) <\/p>\r\n<\/strong><\/p>\r\n<\/body>\r\n<\/html>","protected":false},"excerpt":{"rendered":"Untitled Document Krisztina Dékei: Puzzle Solving Gyula Várnai’s exhibition in the acb Gallery In my experience any literature about an artist should include two thoughts. On the one hand, it is customary to state that the personally regarded everyday objects, which inspire the works, are mere tools for reaching the metaphysical realm of the poetry […]<\/p>\n","protected":false},"author":1,"featured_media":630283,"parent":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6],"tags":[],"class_list":["post-400285","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\/400285","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=400285"}],"version-history":[{"count":0,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400285\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media\/630283"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media?parent=400285"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/categories?post=400285"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/tags?post=400285"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}