{"id":400292,"date":"2006-01-12T23:00:00","date_gmt":"2006-01-12T23:00:00","guid":{"rendered":"https:\/\/exindex.hu\/?p=400292"},"modified":"2006-01-12T23:00:00","modified_gmt":"2006-01-12T23:00:00","slug":"less-is-beautiful","status":"publish","type":"post","link":"https:\/\/exindex.hu\/en\/kritika\/less-is-beautiful\/","title":{"rendered":"Less is Beautiful"},"content":{"rendered":"
\n\n\n

 <\/p>\n\n\n

The exhibition Private Matter?<\/I> promises a new start for the M\u0171csarnok, headed by a new curatorial team, who through their choice\nof artists have made a strong statement about contemporary Hungarian art. There are several aspects of the exhibition which come across\nas different to the previous practise of M\u0171csarnok exhibitions, the reduced number of participating artists in the first place, its\ncross-generational stretch, bold interventions in the exhibition space, ascendancy of relational aesthetics, dematerialisation, and,\nintentional or not, the sense of sustainability in many works.<\/p>\n\n\n\n\n

\n\n\"\"<\/a>
\n\n\"\"<\/a>\nphoto: P\u00e9ter Cs\u00edkv\u00e1ri<\/span>\n<\/div>\n

The central artworks of the exhibition, G\u00e1bor Kerekes’s Tent<\/I> and Island<\/I>, reuse postaments\nfrom the M\u0171csarnok storeroom complete with cushions and large flags, successfully creating an environment of a more informal\natmosphere, as if the space belonged to the artists and visitors rather than the institution and the exhibition guards. The retro\nappeal of the work lies in the reference to post-minimalist experiments in gallery \u201eenvironments\u201d that were common in the early 70s,\nand the idea of transforming the gallery space into a place for communication, transgression, and social critique.<\/p>\n\n

Although artists from all generations of contemporary Hungarian art are included, arguably it is the younger generation that carries\nthe show with their common interests in collaborative work, concern with ecology and recycling, lightness of touch and desire to\ncommunicate, and by placing up-coming artists with the established ones, the specific character of the new tendency appears more\nstarkly. <\/p>\n\n\n\n\n

\n\n\"\"<\/a>\nphoto: P\u00e9ter Cs\u00edkv\u00e1ri<\/span>\n<\/div>\n\n

The purpose-built installation by the Randomroutines is an allegory for the over-production of images,\npaintings and art objects. A conveyor belt runs uninterruptedly across the floor into a skip, suggesting the fate of creative ideas in\nthe contemporary art world. Visitors are implicated in this process of art consumerism by being forced to trample over the work to pass\nthrough the room. The work is carried out in sustainable materials, such as cardboard and plywood, commenting on over-production in\nsociety, while the cardboard cut outs in the skip are suggestive of urban guerrillas, and banner like objects in one corner add to the\natmosphere of protest in this environment.<\/p>\n\n\n\n\n

\n\n\"\"<\/a>\nphoto: P\u00e9ter Cs\u00edkv\u00e1ri<\/span>\n<\/div>\n

Since the early Seventies, feminists have famously proclaimed that the \u201epersonal is the political\u201d, and this slogan is very visible\nin a number of works, and possibly stands for the question mark in the exhibition title. In that sense, it is possible to view the work\nof Gabriella Csosz\u00f3 both as a personal photographic diary of artist’s walk along the polluted Danube and as a\ndirectly environmental work underlined by the text accompanying the images. Or as one eco-psychologist has it: \u201eHow can society be\nhealthy if our river’s are so polluted?\u201d<\/p>\n\n\n\n\n

\n\n\"\"<\/a>\nphoto: Edit Moln\u00e1r<\/span>\n
\n\n\"\"<\/a>\nphoto: Szabolcs Kissp\u00e1l<\/span>\n
\n\n\"\"<\/a>\nphoto:esterhazymarcell.com<\/a><\/span>\n
\n\n\"\"<\/a>\nphoto: Gy\u00f6rgy Orb\u00e1n<\/span>\n\n<\/div>\n

Interestingly related to the previous two works, Emese Bencz\u00far’s monumental sheet of bubble wrap divides a\nroom with the slogan Never Close Enough to Things<\/i>. Her simple message sets in train philosophical speculations such as: Can art\napproach the grittiness of reality? Do we expect too much from art objects? Should we be satisfied by art that packages reality and\nisolates us from the real world?<\/p>\n\n

On the interface of the personal and political is also a work by Szabolcs Kissp\u00e1l, entitled Shards<\/I>. Through personal experience and\nthe documentation of a chance encounter with a deer in an overgrown Jewish cemetery in Vienna, his film talks about memory and the\nghosts of the tragedy of Kristalnacht. <\/p>\n\n

On the opposite wall is projected Marcell Esterh\u00e1zy’s meditation on the individual experience of time\nshowing his grandfather at family Sunday lunch. Sitting at the head of the table, and eating his soup with great care and enjoyment,\nthe pater familias takes life at a slower pace, seemingly oblivious of the hustle and bustle of the contemporary world. In common with\nthe other films in Private Matter?, it demonstrates a concern with the spontaneous, the unstaged, documentary style, and takes reality\nas source, rather than fiction, media or intertextuality.<\/p>\n\n

While Anna Fabricius uses staged scenes and obscure fictional scenarios to create attractive images in Temporary Contemporary<\/I>,\nGy\u00f6rgy Orb\u00e1n’s Self-Portrait<\/I> series is more characteristic of the overall trend: there is no enigma in black and white photographs\nthat, while playful, are presented in the mode of conceptual performance.<\/p>\n\n

The preferred medium of the show is drawing, while painting appears to be the least favoured. The exception is the painter Attila\nSz\u0171cs, whose peculiar status in the Hungarian art establishment is suggested by the fact that he is the only artist in the show to\nexhibit oil on canvas. Although it could be argued that drawing is highly personal and immediate, while painting could be perceived as\na perhaps more calculated activity, in this show the stress on drawing seems to rely on a formal understanding of dematerialisation.\n<\/p>\n\n

In that sense, and in reference to the curators’ statement on the precursors of the show, maybe it is the exhibition Poesis<\/I> curated\nby Judit Angel a couple of years ago, that inaugurated drawing and personal aesthetics as the new creative maxim in Hungary. On the\ninternational scene, the peak of relational aesthetics, as articulated by Nicolas Bourriaud its leading spokesman, was Utopia Station<\/I>\nat the Venice Biennale before last. So, from the point of view of international art consumerism, Private Matter?<\/I> would be labelled as\n\u201eso 2003\u201d. <\/p>\n\n

More seriously, this show once more confirms the change in contemporary art in the wake of the Nineties. The reasons for this\napparent shift can be sought in the post-September 11th<\/sup> world, as it was clearly not just the towers that collapsed. The\nother turning point could be Michael Landy’s Breakdown<\/I> of 2001, in which he systematically destroyed all his belongings on the ultimate\nLondon shopping street, symbolically destroying the myth of the Young British Artists as well.<\/p>\n\n

In this new approach, where artists take these changes as background knowledge, the need for sustainability, the naturalness of\ncollaborative working, and the desire to ask bigger questions are common traits. These are the notions the exhibition Private Matter?<\/I>\nis mediating and this is the way to \u201eget closer to things\u201d.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

  The exhibition Private Matter? promises a new start for the M\u0171csarnok, headed by a new curatorial team, who through their choice of artists have made a strong statement about contemporary Hungarian art. There are several aspects of the exhibition which come across as different to the previous practise of M\u0171csarnok exhibitions, the reduced number […]<\/p>\n","protected":false},"author":1,"featured_media":630290,"parent":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6],"tags":[],"class_list":["post-400292","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\/400292","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=400292"}],"version-history":[{"count":0,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/400292\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media\/630290"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media?parent=400292"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/categories?post=400292"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/tags?post=400292"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}