The Tools of Experience | RHYTHMS Video Installation n1 2024
The intention of the installation is to create a unique environment for reception that is surprising, soothing and at the same time transcendental, through deep audiovisual impressions. Visual language used in the collection evokes the phenomenon of the blinking light through breath delicious layers and filmy occurrences, which – through continuously changing light and tones – automatically induce the eye to attend actively, shift out from calm, and stimulate cognition. Details show up and fade away, the viewer becomes observer by means of the active participation of the eyesight – for example, twinkling, amazement, that is, by alternate phases of openness-closeness. This circumstance, the eye’s ‘respiration’ provokes assertive action in the attentiveness to the picture.
The Tools of Experience | RHYTHMS Visual score graphics 2024
The intention of the installation is to create a unique environment for reception that is surprising, soothing and at the same time transcendental, through deep audiovisual impressions. Visual language used in the collection evokes the phenomenon of the blinking light through breath delicious layers and filmy occurrences, which – through continuously changing light and tones – automatically induce the eye to attend actively, shift out from calm, and stimulate cognition. Details show up and fade away, the viewer becomes observer by means of the active participation of the eyesight – for example, twinkling, amazement, that is, by alternate phases of openness-closeness. This circumstance, the eye’s ‘respiration’ provokes assertive action in the attentiveness to the picture.
Places: Miskolc Gallery 2024 | 12 HERTZ exhibition 2024
Detailed description
coming soon...
Research background
coming soon...
The Tools of Experience Light Objects at The Formula of the Present 2017
The objects are backlit with LEDs, the aim is to formulate a light space in which one extreme is glare and the other is darkness, inviting the viewer to search for an inner point of rest. In the philosophy of the installation, the points of infinity are repeating or infinitely varying sets. By imagining infinity we imagine an indeterminate unknown, a particular determinacy of the points of infinity as time can be interpreted as a deadlock.
Places: The Formula of the Present Digital Natives, Digital Immigrants, New Budapest Gallery 2017, Dunartcom7 International Art Colony of Samorin 2017
Detailed description
Size: 2 x 80 x 80 cm
Material: plexi, paint, LED
The installation is a reflection on Kazimir Malevich’s white on white and white on black squares, a ‘neutralisation’ of space: a white frame on black and a black frame on white is expressed in a dark space, a ‘black box’ simulating an underground party space (1). The objects are backlit with LEDs, the aim is to formulate a light space in which one extreme is glare and the other is darkness, inviting the viewer to search for an inner point of rest. In the philosophy of the installation, the points of infinity are repeating or infinitely varying sets. By imagining infinity we imagine an indeterminate unknown, a particular determinacy of the points of infinity as time can be interpreted as a deadlock. A deadlock is a state of shifting from one reality or a visionary reality to another reality or visionary reality. The techno-figure is not merely an aesthetic reflection, since the underground party culture was created in a social environment where the aim was to create an idealism, a total absence of matter, a release of energy, a comfortable environment. On this point, it is deeply linked to the suprematist theory of Kazimir Malevich. As Zoltán Sebők puts it, “Suprematism is anti-utilitarian and energetic. It denies the reality of the material world because it considers it […] a correlate of various complex, purely energetic processes. Consequently, it regards as unreal everything that could be the object of a utilitarian desire. The artist’s task is to discover and to embody in images the energetic processes at work behind the visible, tangible world.'(2)
(1) Balázs FEJÉR: The Cult of LSD /a chronicle of a cultural stage in Budapest/, MTA PTI Etnoregional Research Centre 312 Budapest, 1997. p.12.
(2) my translation of Zoltán SEBŐK: The Suprematist Theory of Kazimir Malevich 1984
Research background
coming soon
