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WHEREIN METALS

OUGHT TO DIE

2012.

instalacija, video petljainstallation with video-loop

M ON U M E NTA LN OST KOJA PROG A NJA

Á R O N F E N Y V E S I

ÁDÁM ULBERT

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MONUMENTALNOST KOJA PROGANJA skupna je izložba prvi put pos­tavljena u Galeriji Plan B u Berlinu 2012. godine, no razvila se u dugo-ročan kustoski istraživački projekt, najblaže rečeno u niz izložbi koja kreće u svoju treću razvojnu fazu u NO galeriji zagrebačkog MSU­a, nakon što je nedavno zatvorena u Clubu Electrouptere u Craiovi.

Ova serija izložaba općenito promatra funkciju društvenog pamće-nja u umjetničkim praksama zastupljenih umjetnika te kako se njiho-va i naša kognitivna apstrakcija u kombinaciji s poviješću utjelovlju-je u vizualnim znakovima i simbolima u različitim prostorima različitih izlagačkih ustanova.

Prvo izdanje propitivalo je postojanje kolektivnog pamćenja na teme-lju konsenzusa, drugo je već opovrgnulo takvu mogućnost i izrazilo nemogućnost bilo kakvog totalnog konsenzusa. Nove mračne i bez-vremene utopije, koje se često ne doimaju kao statične već ekstatič-ne, uzdižu se iz pustoši privatnih internpretacija i vode nas duboko u carstvo apstrakcije. Treće izdanje ove skupne izložbe koja neprestano mijenja svoj oblik pobliže se bavi umjetničkim praksama mladih mađar-skih umjetnika koji su prigrlili apstrakciju instinktivno i nereferencijalno.

Dijelovi ove izložbe mogu se protumačiti kao pokretači povijesne histe­rije, a svi se služe asptrakcijom kao sredstvom za oslobađanje obli-ka usredotočenih na temu spomenika i monumentalnosti. Svi monu-mentalni oblici osjetilno dočarani u okviru ove izložbe mogu se protu-mačiti kao prolazni spomenici, koji se više ne odnose ni na prošlost ni na budućnost, već postaju bezvremenski prisutni. Svojom osjetil-nošću žele primorati gledatelja da ih prati kroz taj oslobađajući vrtlog apstrakcije. Apstrakcija stoga postaje nova vrsta jezive monumental-ne prisutnosti koja obnavlja funkciju spomenika u doba kada više ne posjedujemo jasno i određeno znanje o istini i moralu u društvu. Ova treća, zagrebačka izložba sažima i sintetizira ishode prvih dviju, no još više hoda po rubu oštrice.

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Mračne crne slike Adriána Kissa igraju važnu ulogu u ovoj izložbi. Njegovo slikarstvo stvara bezvremenu vizualnu dimenziju u prostoru, a vaze koje doslovno rezbari iz površina radova mogu se protumačiti kao interkulturni protosimboli koji se pojavljuju u svakoj fazi naše civi-lizacije, a često se povezuju s arheološkim oblicima. U Kissovoj inter-pretaciji postaju još i više od toga, postaju simbolima muškosti.

Slike Mártona Nemesa izrastaju iz napuštenih arhitektonskih struk-tura te postaju igralište boja i apstrakcije. Arhitektonski nusproizvodi modernih utopija 20. stoljeća iznova se tumače u veoma živopisnom i fluo rescentnom kontekstu. Funkcionalizam ovih struktura postaje je-ziva prisutnost koja se transformira u nove oblike, slikarska po lja boje koja jednoznačno vode i rastvaraju se u apstraktnim idejama poveza-nima sa slikarstvom.

Péter Puklus u svojim novijim radovima, na granici fotografije, skulptu-re i instalacije, bavi se proučavanjem. Radovi prikazani na ovoj izlož-bi mogu se istaknuti s pomoću dva snažna objekta, čija estetska di-menzija više nalikuje brikolažu nego montaži. Dvije makete spome­nika oslobođenju jasan su nastavak apstraktne i avangardne tradici-je, a obasjane su svjetlošću. Fotografski eseji koji ih prate na zidu i u monografiji dodaju osobniju notu formi skulpture i pregled Puklusova područja istraživanja u novije vrijeme.

Video Pétera Szabóa pod naslovom “Dobro jutro!” najkonkretniji je rad na ovoj izložbi. Umjetnik je u videu dokumentirao tri javna performansa koje je održao u sklopu javnog umjetničkog programa u Rumunjskoj. Posjetio je tri goleme tvornice u tri različita rumunjska grada i orga-nizirao vatromete za radnike u najranijoj jutarnjoj smjeni. Apstraktne radnje čiste su situacionističke tvorevine koje promatraju reakciju pro­laznika. Osim apstraktne i zaigrane dimenzije vatrometa, ovaj rad za-lazi duboko u šumu društvenih veza i nove kapitalističke povijesti na-ših istočnoeuropskih društava.

Instalacija Ádáma Ulberta popraćena kratkim video radovima u loopu djeluje kao okvir za mračne, interkulturne znakove i simbole u vezi s monumentalnim formama. Ulbert kombinira brojne materijale i oblike i stvara psihodelične kratke situacije nalik transu u kojima je izu-zetno prisutan faktor bezvremenosti. Na taj način potresaju gledate-lja i tjeraju ga da sagleda dublje formalne odnose upisane u podsvi-jet našeg kulturnog pamćenja, a odnose se na monumentalne forme.

WHEREIN METALS

OUGHT TO DIE

2014.

pogled br. 1, arhivski pigmentirani printview nr. 1., Archival pigment print

PÉTER PUKLUS

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HAUNTING MONUMENTALITY WAS a group exhibition which first premiered in Galeria Plan B, Berlin in 2012, but since its first edi-tion it emerged to become a long­term cu-ratorial research project, minimum a circle, now rather a saga of exhibitions arriving to its third stage of evolution in NO Gallery of MSU, Zagreb, after recently appearing also in Club Electrouptere in Craiova.

The exhibition­series in general analyze the function of social memory through the art practices of the exhibitors and how their, our cognitive abstraction connected to his-tory becomes manifest through visual signs and symbols in different spaces of different institutions.

The first edition questioned the existence of a collective memory based on consensus; the second already negates such a possi-bility and rather declares the impossibility of any total consensus. The new obscure and timeless utopias, which often seem ecstat-ic rather than static, rise from the desert of private interpretations and take us deep into the realm of abstraction. The third edition of the group exhibition which is constant-ly changing its shape takes a closer look on art practices of emerging Hungarian artists, who deal with or use abstraction in a rather instinctive and non­referential way.

The pieces of the exhibition which can all be interpreted as vehicles of the hysteria of history, all try to use abstraction as a libe­rating tool of forms which engage the topic

ADRIÁN KISS

BOWL

2013.

ulje na platnuOil on canvas

H A U N T I N G M O N U M E N TA L I T Y

Á R O N F E N Y V E S I

of monuments and monumentality. All monumental forms sensually depicted in this exhibition frame become interpretable as ephemeral monuments, which don›t refer anymore to the past, or the future, but they become timeless presence. With their sensuality they try to force the viewers to follow their paths in this liberating vortex of abstraction. Thus abstraction becomes a new type of ghostly monumental pre­

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MÁRTON NEMES

OPEN BLOCKS 02

2014.

ulje, akril na platnuOil, acrylic on canvas

sence, which re­enacts the function of the monument in an age when we don’t have much clear and definable knowledge left about truth and moral as a society. The third Zagreb edition summarises and synthesizes the outcomes of the first two exhibitions, but walks even more and more towards the edge of the razor.

Adrián Kiss›s obscure black paintings play an important role in the exhibition. His painting create a timeless visual dimension in the space, as the vases which are literally carved in the surfaces of the works can be interpreted as cross­cultural proto­symbols, which ap-pear in every phase of our civilization, and are often associated with archaeological forms. In Kiss›s interpretation they are even more than this, they become symbols of masculinity.

The paintings of Márton Nemes grow out of abandoned architectural structures, and they become a playground of colour and abstraction. The architectural side­products of 20th century modern utopias are reinterpreted in a very vivid and fluorescent context. The func-tionalism of these structures becomes a ghostly presence, as they are transformed into new shapes, colour fields of paintings which clearly lead and dissolve into ideas of ab-straction connected with painting.

Péter Puklus explores with his recent works, series the borderline between photography and sculpture, installation. His works featured in the exhibition can be highlighted with two very strong objects, which also have a rather bricolage than montage aesthetical dimen-sion. The two maquettes for monuments of liberation clearly descend from the abstract and avant­garde tradition, as they are also painted with light. The photographic essays which accompany these works on the wall and in the artist’s book give a more personal dimen-sion to the sculptural form and give you an overview on Puklus› recent territory of research.

The video of Péter Szabó entitled «Good Morning!» is the most concrete piece of the ex-hibition. The artist documented in the video three public performances, which he orga­nised in the frame of a public art programme in Romania. He visited three huge factories in different cities of Romania, and organised fireworks for the workers who arrived there for their first morning shifts. The abstract actions are pure situationist creations, exami­ning the reaction of the passersby. The work beside the abstract and playful dimension of the firework also leads deeply in the forest of social connections, and new capitalist his-tory of our societies in Eastern­Europe.

The installation of Ádám Ulbert accompanied by a short video­loop works as a frame of obscure, trans­cultural signs and symbols connected to monumental forms. Ulbert mixes many materials and forms together in his works and created trans­like, psychedelic short situations which all feature a very strong timeless factor, and with that they try to throw the visitors off balance to understand deeper formal relations which are written in subcon-scious of our cultural memory in connection with monumental forms.

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Izdavač Publisher Muzej suvremene umjetnosti Museum of Contemporary Art, Avenija Du brov­nik 17, 10010 Zag reb; Cro atia; tel: +385 1 605 27 00; E­mail: msu@msu.hr; www.msu.hr • Za izdavača For the publi sher Snježana Pintarić • Urednica kataloga Catalogue editor Leila Topić • Kustos izložbe Exhibition curator Tekst Text Áron Fenyvesi • Prijevod Translation Ivana Ostojčić • Lektura Language Editing Jadranka Pintarić • Autori postava Display Authors Áron Fenyvesi, Leila Topić • Tehnički pos tav Technical Set-up Tehnička služba MSU­a • Grafičko oblikova nje Graphic design artmashine (Zubić/Jukić) • Tisak Print EDOK d.o.o. Samobor • Na klada Print run 300 kom

PÉTER SZABÓ

GOOD MORNING!

2009.

Video prikazi iz dokumentacija niza akcija, svibanj, 2009. Stills from documentation of series of actions, May, 2009. Lokacije / Locations: VULCAN S.A. Bucharest, UZUC S.A. Ploiesti, MEFIN Sinaia (Romania).