{"id":401122,"date":"2002-01-19T23:00:00","date_gmt":"2002-01-19T23:00:00","guid":{"rendered":"https:\/\/exindex.hu\/?p=401122"},"modified":"2002-01-19T23:00:00","modified_gmt":"2002-01-19T23:00:00","slug":"tessek-felebredni","status":"publish","type":"post","link":"https:\/\/exindex.hu\/en\/tema\/tessek-felebredni\/","title":{"rendered":"(Magyar) Tess\u00e9k fel\u00e9bredni"},"content":{"rendered":"
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Dream Image<\/a><\/div>\r\n\t\t
Hungarians of Universal Significance<\/div>\r\n\t\t<\/td>\r\n\t<\/tr>\r\n<\/tbody><\/table>\r\n<\/div>\r\n\r\n
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The monotone iteration of the voices of telephone wake-up call girls concludes The Age of Dreaming: Please,\r\nwake up! The heroes of Istv\u00e1n Szab\u00f3”s film are technical intellectuals who, upon emerging from the university,\r\nwould like to transform the world with their inventions, but they are perpetually coming up against the brick\r\nwalls of the established system.<\/p>\r\n\r\n

One cannot foresee when and how the story of the Dreamers of Dreams – Hungarians of Universal\r\nSignificance<\/i><\/b> exhibition will conclude, to what ends. The fate of the realisation of the exhibition idea\r\nuntil now demonstrates that no matter how far-reaching the original conception, no matter how immense the work\r\ninvested, the system established in the past few years and built upon a fluffed-up-national-image homogenizes\r\nand deteriorates everything.<\/p>\r\n\r\n

The Pantheon of Hungarian invention – in its material form – is the life-size maquette of the Hungarian\r\nveterinary anatomical model (wooden – Trojan) horse. It seems to be, after all, so unparalleled, monumental and\r\ncomprehensive of everything that, facing it, it is difficult to take the position of an outside observer. There\r\nare no declarations because there are no questions either.<\/p>\r\n\r\n

According to one of the greatest art historians of our age, Horst Bredekamp, art history is obliged to\r\nrepossess the general responsibility for images and symbols, from the visual world of soap operas, through works\r\nof art up till the user interfaces of computers. These images, that is, derive from the images of reality or\r\ndesire, which are themselves, without exception, the parts of some sort of image-history.<\/p>\r\n\r\n

Criticism of the most extravagant exhibition of recent years might begin with the story of the chasm that\r\nevolved between the images dreamed and the spectacle in reality. The scenario which was originally elaborated by\r\nexperts and professionals and remained valid until the summer of 2001, when the appointed organiser, Krisztina\r\nJerger, departed, is related to the tulle-wrapped exhibition now visible in just the same way as the National\r\nTheatre plan by Ferenc Ban relates to the building realised by M\u00e1ria Sikl\u00f3s (corporate image design by Happy End\r\nLtd.). It is not certain that the seven-metre-high, Sz\u00e9chenyi head, which one could enter, or the images\r\nprojected onto the plaster sculptures of Hungarian writers would have provided the most suitable solution for\r\nthe presentation of Hungarian inventions, but the notions that arose and were debated occupied a rational order.\r\n<\/p>\r\n\r\n

The original conception comprised the idea to highlight certain elements and focus on the essential, and a\r\nplan that was structured from the accumulated material of an immeasurable quantity, arranged around various\r\naccentuated personalities. It appeared to be capable – and this could have been the single intelligent objective\r\nof the exhibition – of rendering accessible the accumulated knowledge according to novel perspectives. It seemed\r\nto be ready to forget (the rest) with a view to convey information. <\/p>\r\n\r\n

In contrast, the structure of the realised exhibition is chaotic and the emphases to be found are incidental.\r\nThe most elementary harmony between the accentuated objects of great importance and their representation is\r\nlacking. Objectivity is simulated, while the very notion of distinction is not understood. It conceals the fact\r\nthat the exhibited objects could speak for themselves. Instead, it chooses the less original genre of the\r\ndidactic, encyclopedic exhibition, without indicating any context.<\/p>\r\n\r\n

With the disappearance of differences, the target groups also become blurred. The material that was\r\noriginally to be interactive, thought-provoking and inspiring interest, calibrated to youth and students, was\r\ntransformed overnight to an immense inundation of text, impossible to take in, waiting to be packed up. Nowadays\r\nin a freshly built museum or a exhibition realised of high standard, we cannot take even a step without\r\nstumbling into CD-Rom”s to be clicked through, walkman guides or 3D displays. In such places, multimedia is\r\nalso often used just to be fashionable or with the aim of filling empty space. A classic counter-example is the\r\nSan Francisco Exploratorium (\r\nhttp:\/\/www.exploratorium.org<\/a>), which at its establishment in 1969 was the first to exchange the static\r\nexhibition model for a truly tangible, shiftable, experienceable milieu. On the basis of its budget and original\r\nobjectives, The Dreamers of Dreams<\/i> could have been suitable for the development of authentic\r\ninteractivity. As opposed to this, this exhibition is characterised by a complete and utter lack of\r\ninteractivity, where computers are employed in a static and unambitious way, allowing for vandalism (cracking?).\r\n<\/p>

The static spectacle tends toward the absurd: the installation which attempts to include everything,\r\nsparkling in the air, evokes the scenery of Alien<\/i>. \r\n[pic<\/a>] In place of a monumental sculpture, the deformed Sz\u00e9chenyi <\/b>which about to melt \r\n[pic<\/a>] stands about, solitary before the Chain\r\nBridge wrapped in tulle, looking at the functionless Agora<\/i>. And instead of a demanding installation to\r\nSemmelweiss <\/b>– the originally planned marble dissection table, associated with death, did not conform to\r\nthe PR plans – he received a hospital bed with a TV. \r\n[pic<\/a>] In the dusty Liszt memorial room \r\n[pic<\/a>], alongside the descriptive text, two right-handed gloves of the immortal composer look out\r\nat us from the vitrine. The canvases containing the text, on the other hand, cover every original object placed\r\nbeneath them in half-shadow. [pic<\/a>] \r\n[pic+<\/a>] \r\n[pic++<\/a>] \r\n[pic+++<\/a>]<\/p>\r\n\r\n

It also remains obscure how it is possible that the Hungarians of universal importance ultimately speak to\r\nthe world only in Hungarian. And in general, who is talking here, and to whom?<\/p>\r\n\r\n

In our dreams, we are capable of speaking in several languages.
The alarm clock, on the other hand, is\r\nunfortunately not a Hungarian invention<\/p>","protected":false},"excerpt":{"rendered":"

Dream Image Hungarians of Universal Significance   The monotone iteration of the voices of telephone wake-up call girls concludes The Age of Dreaming: Please, wake up! The heroes of Istv\u00e1n Szab\u00f3”s film are technical intellectuals who, upon emerging from the university, would like to transform the world with their inventions, but they are perpetually coming […]<\/p>\n","protected":false},"author":1,"featured_media":631064,"parent":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[11],"tags":[],"class_list":["post-401122","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tema"],"acf":[],"_links":{"self":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/401122","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=401122"}],"version-history":[{"count":0,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/posts\/401122\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media\/631064"}],"wp:attachment":[{"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/media?parent=401122"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/categories?post=401122"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/exindex.hu\/en\/wp-json\/wp\/v2\/tags?post=401122"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}