radulescu mirela on Tue, 27 Apr 2010 21:12:21 +0200 (CEST)

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[Nettime-ro] Conferinta la MNAR - Goya in literatura / 28.04 / 17:00

Buna ziua, 


Muzeul National de Arta al Romaniei, Ambasada Regatului Spaniei in 
Romania si Institutul Cervantes din Bucuresti va invita miercuri, 28 
aprilie, orele 17:00 la conferinta Goya in literatura sustinuta de 
domnul Leonardo Romero Tobar, profesor de literatura spaniola la 
Universitatea din Zaragoza. 


Conferinta are loc in cadrul expozitiei FaÅete ale conÅtiinÅei. 
Capriciile lui Goya (SÄlile Kretzulescu) si isi propune sa surprinda 
relationarea dintre artele vizuale si literatura, cu referire la modul 
in care figura lui Francisco de Goya s-a reflectat in arta si 
literatura, din secolul al XIX-lea pana in zilele noastre. 


Participarea este gratuita, pe baza de inscriere la (021) 313 30 30, 
interior 923. 


Va multumim si va asteptam. 


Sectia Educatie, Comunicare, Proiecte culturale si Maketing 

 Muzeul National de Arta al Romaniei, Calea Victoriei 49-53 

Mirela Radulescu

Education Curator

Education and Communication Department

The National Museum of Art of Romania

Calea Victoriei 49-53, 010063 Bucharest, Romania

Tel. 00 40 21 314 81 19

Mobile. 00 40 745 070 553

email. mirela.radulescu@art.museum.ro


--- On Wed, 3/3/10, nettime-ro-request@nettime.org <nettime-ro-request@nettime.org> wrote:

From: nettime-ro-request@nettime.org <nettime-ro-request@nettime.org>
Subject: Nettime-ro Digest, Vol 84, Issue 3
To: nettime-ro@nettime.org
Date: Wednesday, March 3, 2010, 3:00 AM

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Today's Topics:

ÂÂÂ1. INFO - MODEM Modern and Contemporary Art Center,ÂÂÂ Debrecen,
   Hungary (BERSZAN ZSOLT)


Message: 1
Date: Mon, 1 Mar 2010 15:05:44 +0100
From: BERSZAN ZSOLT <berszan@gmail.com>
Subject: [Nettime-ro] INFO - MODEM Modern and Contemporary Art Center,
ÂÂÂ Debrecen, Hungary
To: incepem@yahoogroups.com
Cc: Romenian Nettime list <nettime-ro@nettime.org>
ÂÂÂ <a226a8141003010605h343f5117l59467f42bcb082a1@mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-2

MODEM Modern and Contemporary Art Center

Debrecen, Baltaz?r Dezs? t?r 1.



Project Genesis

11 March - 20 June 2010

Curator: Gerda Szeplaky


*Zsolt Bersz?n (1974, Marosv?s?rhely) is an artist living at Cs?ksomly?,
editor of the art journal B?zis. He had individual exhibitions at the
Brukenthal Museum at Nagyszeben in 2008, and in Kolozsv?r, at the birthplace
of King Matthias in 2009. His works, which are so characteristic of using
industrial materials, can be found at several Rumanian art galleries. His
works were present at the MODEM's exhibition of contemporary Transylvanian
art called Term?szetes k?r?lm?nyek k?z?tt (In natural circumstances, 2008)
and also at Messi?sok (Messiahs, 2009). Project Genesis is his first
independent exhibition in Hungary.*

*Project Genesis
Western Civilisation is strongly influenced by the discourse of science. At
the beginning of the 21st century one is hardly capable of conceiving the
world as an untouched natural unity, as people of previous historical times
could. Instead of universes, Western man beholds microcosms, broken pieces
of a disintegrated whole. These new worlds are usually not even visible to
the naked human eye: they can be perceived only through microscopes and
other technological instruments.

Zsolt Bersz?n's project aims to reconstruct this invisible historical
process during which the human being, previously conceived as an organic
unity, has fallen to pieces and turned into a heterogeneous collection of
tiny organisms, and became ex-centric with regard to his/her human essence.
The pieces of art displayed here show the radical transformation during
which the human being becomes another type of being: a multiplicity of life
forms, a being showing previously unseen qualities of life. When one enters
the body, goes under the skin and the flesh, into the bowels, one encounters
those tiny organisms that condition one's life, organisms difficult to face
as they call attention to the transient, vulnerable nature of one's
existence. The human body is eaten up by maggots from the inside: a process
that leads to the ultimate destruction of the complete body after death. As
Edgar Allan Poe put it: "...the play is the tragedy, "Man," / And its hero the
Conqueror Worm."*

*But Project Genesis unveils the other aspect of this process of devastation
by maggots as well: it also shows the way death leads to new life. In the
micro-world of maggots (that one can visit thanks to art, leaving our human
macrocosm behind) one may wonder at the powers of genesis residing within
demise, at the breathtaking circle of the reproduction of life. Within this
microcosm the instrument of genesis is the maggot, but when one dives into
the invisible worlds of the deepest recesses of the body, one meets
microscopic organisms like bacteria and viruses, beings on the margins of
the thinkable that live in symbiosis with the human body, organisms whose
function is sometimes precisely the regeneration of life. The world-view of
humanism, which placed the human being at the centre of divine genesis,
collapses in this artistic reinterpretation of the production and
regeneration of life.

In his "rewriting" of genesis Bersz?n uses industrial materials: concrete,
asphalt, poliurethan foam, aluminium, and most importantly silicon. As it is
well-known, modern science regards silicon-based life as an alternative to
carbon-based life. Using silicium-silicon therefore may already point
towards the possibility of an "alternative genesis." This aspect is further
strengthened by the presence of water (which is used in case of many works
of art here), by the material needed for life to spring. In the
"trough-pieces" the black silicon forms rise from the smooth surface of
water; but, on the other hand, this smooth, motionless surface does not
swallow anything: it only reflects everything as multiplied, rootless, fake

Almost all the works of Bersz?n are painted completely black: concrete,
foam, or silicon alike. This strategy of the reduction of colour is
connected to the approach in painting that wishes to return to one of the
basic colours of our world. Bersz?n follows the tradition of Malevicsian
reduction, which the maker of Black Square invented and elaborated as a
theory of the economism of colour. Within this theory, which Malevics
employed within his art as well, black signifies the point of origin that
stands for the limited nature of the world, as opposed to the limitlessness
of white and the lightness of the immaterial world. In 20th century fine art
there were many who followed Malevics, giving the colour black a privileged
role for some time - one may think of Gerhard Richter or Robert
Rauschenberg, Mark Rothko as outstanding examples. Others, artists of
monochrome painting, completed what one could see as the perfect pictorial
abstraction, reaching the "heart of darkness" - Ad Reinhardt for example,
possibly the most outstanding artist of them. Following these trends,
Bersz?n gets from the minimalism of black to remarkable complexities of
meaning: in his works black does not simply signify death and impermanence,
but also talks about the dark powers inherent in creation.

Project Genesis involves about thirty pieces, arranged in three spaces that
represent different qualities. One goes through a narrowing corridor that
leads to the hall that contains "trough-pieces" that use water and are laid
on the floor, panel paintings hanging on the walls, and monumental pieces of
art hanging in the air. In the "crypt," which is separated from the hall one
may see three open aluminium boxes that resemble coffins. Within these
coffins that are hanging in the air one may witness the different states of
the transformation of the human body after death. From the other end of the
hall (dominated by the atmosphere of the sacred) one may enter another
installation that looks like the inverse of the other exhibited pieces: a
piece of art inside out. The visitor stepping inside this space may feel
like entering the cavities of the body of a "triumphant maggot." The
invincible power of this black genesis swallows the visitor, who stops being
simply a spectator. Through the creative forces of art one gains access to
this unknown micro-world invisible to the naked eye, and gets a chance of
actually experiencing it from the inside, becoming a part of art.*

Gerda Sz?plaky








MODEM Modern ?s Kort?rs M?v?szeti K?zpont

Debrecen, Baltaz?r Dezs? t?r 1.


2010. m?rcius 11. - j?nius 20.

Kur?tor: Sz?plaky Gerda


Bersz?n Zsolt (1974, Marosv?s?rhely) Cs?ksomly?n ?l? k?pz?m?v?sz, a
*B?zis*c?m? m?v?szeti foly?irat szerkeszt?je. 2008-ban a nagyszebeni
M?zeumban, 2009-ben Kolozsv?ron, M?ty?s kir?ly sz?l?h?z?ban volt egy?ni
ki?ll?t?sa. Sz?mos rom?niai gal?ri?ban jelen van jellegzetes, ipari
alapanyagokat felhaszn?l? m?veivel. Szerepelt a Modem *Term?szetes
k?r?lm?nyek k?z?tt* c?m? kort?rs erd?lyi t?rlat?n (2008), valamint a *
Messi?sok*on (2009). A *Genezis-projekt* c?m? ki?ll?t?s els? magyarorsz?gi
?n?ll? bemutatkoz?sa.


A nyugati civiliz?ci?t er?teljesen meghat?rozza a tudom?nyoss?g paradigm?ja.
A XXI. sz?zad elej?n m?r aligha vagyunk k?pesek a vil?got ?rintetlen
term?szeti eg?szk?nt felfogni, ahogyan azt kor?bbi korok emberei m?g
megtehett?k. A nyugati ember az univerzum helyett mikrokozmoszokat fog ?t
tekintet?vel, a nagy eg?sz sokas?gg? sz?thullott r?szeit - s?t, szabad
szemmel ezt m?r nem is tudja megtenni, csup?n a l?t?s?t kieg?sz?t? m?szerek,
nagy?t?k ?s mikroszk?pok seg?ts?g?vel.

Bersz?n Zsolt projektje azt az ?vsz?zadok alatt l?thatatlanul v?gbement
folyamatot k?veti nyomon, amely sor?n az ember mint egys?gk?nt megragadhat?
l?tez? par?nyi organizmusokk? esett sz?t - ekk?nt ker?lve k?v?l saj?t
l?nyeg?n. A ki?ll?t?son l?that? m?alkot?sok azt a radik?lis ?talakul?st
jelen?tik meg, amely eredm?nyek?ppen az ember *m?sf?le* ?l?l?nny? l?nyeg?l:
az ?let m?s min?s?geit felmutat? l?tez?v?, pontosabban l?tez?k sokas?g?v?
v?lik. Az emberi test belsej?be, a b?r al?, a h?s al?, a belekbe hatolva
felt?rulnak azok a par?nyi organizmusok, amelyek alapvet?en meghat?rozz?k az
?let?t, ?m l?tez?s?kkel nem k?nny? szembes?lni, hiszen ezzel az embernek
saj?t esend?, muland?s?gnak kitett volt?t is be kell ismernie. Az ember
test?t bel?lr?l f?rgek em?sztik fel, s ha meghal, a m?r ?lettelen, f?ldbe
elkapart testet is sz?tr?gj?k. Ahogyan Edgar Allan Poe ?rja: "Ez az >>Ember<<
c?m? dr?ma volt,/ s a Gy?ztes F?reg a h?s" (Babits Mih?ly ford?t?sa).

A *Genezis-projekt* azonban a f?reg ?ltali pusztul?s m?sik oldal?t is
felt?rja: azt, ahogyan ?let ?bred a hal?lban. A f?reg mikrovil?g?ban, melybe
az emberi makrokozmoszb?l - a m?alkot?sok j?volt?b?l - ?tl?phet?nk,
r?csod?lkozunk az elm?l?sban rejl? teremt? er?re is, az ?let
?jratermel?d?s?nek b?mulatos k?rforg?s?ra. A mikrokozmoszban a keletkez?s
let?tem?nyese a f?reg, de ha tov?bbhaladunk a test m?g s?t?tebb, m?g kisebb
?regeibe, a l?thatatlan vil?gok fel?, akkor egyre par?nyibb organizmusokra
bukkanunk, v?rusokra ?s bakt?riumokra p?ld?ul, olyan alig-alig elgondolhat?
l?nyekre, amelyek l?tez?s?nek legf?bb ide?ja ?ppens?ggel az ?let
tov?bb?r?k?t?s?ben, vagy legal?bbis az ?lettel val? szimbi?zisban ?ll. A
humanizmus ?ltal meghat?rozott vil?gk?p, mely az embert helyezte a teremt?s
k?z?ppontj?ba, ebben a genezist ?jra?rtelmez? m?v?szeti projektben
?sszed?lni l?tszik.

Bersz?n a teremt?s "?jra?r?s?hoz" ipari alapanyagokat haszn?l: betont,
szurkot, purhabot, alum?niumt?bl?t ?s legf?k?ppen - szilikont. Ismeretes,
hogy a tudom?ny a sz?n alap? ?let alternat?v?jak?nt t?telezi a szil?cium
alap? ?letet. A szil?cium-szilikon beemel?se ilyen form?n m?r ?nmag?ban egy
"alternat?v genezis" lehet?s?g?t jelzi. Ezt er?s?ti a v?z is (amely
?gyszint?n a m?vek anyagak?nt jelenik meg) mint az ?let kisarjad?s?nak
felt?tele. A "tekn?-munk?kban" a v?z sima fel?let?b?l egyfel?l kimerednek a
szilikonb?l megalkotott, fekete form?k, m?sfel?l ez a rezzen?stelen
v?zfel?let nem nyel mag?ba semmit, csup?n visszat?kr?z minden k?pet -
megsokszorozott, gy?k?rtelen, hamis k?pm?sk?nt.

Bersz?n m?alkot?sai szinte teljes eg?sz?ben feket?re vannak festve: fekete a
beton, a poliuret?nhab, fekete maga a szilikon is. A sz?neknek ez a
lereduk?l?sa nem f?ggetlen att?l a fest?i gesztust?l, melyet a vil?gunk
egyik alapsz?n?hez val? visszatal?l?s v?gya m?k?dtet. Bersz?n a malevicsi
redukci?t viszi tov?bb, amelyet a *Fekete n?gyzet* megalkot?ja a sz?nek
?konomizmus?nak elm?letek?nt dolgozott ki ?s hajtott v?gre saj?t
m?v?szet?ben. A sz?nek ?konomizmus?ban a fekete jelenti azt a kezd?pontot,
melyben a vil?g v?gess?ge kifejez?dik - szemben a feh?r v?gtelens?g?vel, az
anyagtalan vil?g k?nny?s?g?vel. A XX. sz?zadi k?pz?m?v?szetben Malevics ut?n
sokan emelt?k piedeszt?lra egy-egy korszakukban ezt a sz?nt - Gerhard
Richter p?ld?ul vagy Robert Rauschenberg, Mark Rothko. A monokr?m fest?szet
k?pvisel?i pedig v?grehajtott?k a legt?k?letesebb fest?szeti absztrakci?t, a
feketes?g "legm?ly?re" hatoltak - Ad Reinhardt p?ld?ul, aki alighanem a
legjelent?sebb m?v?sz volt k?z?tt?k. Bersz?n mindezen t?rekv?sek
k?vet?jek?nt a fekete minimalizmus?t?l elrugaszkodva jut el egy komplex
jelent?s megragad?s?ig: a fekete n?la nemcsak az elm?l?s ?zenet?t, hanem a
teremt?sben rejl? s?t?ts?g er?t?bblet?t is mag?ban foglalja.

A *Genezis-projekt* mintegy harminc m?alkot?sa h?rom, k?l?nf?le min?s?get
k?pvisel? t?rben van elrendezve. Egy sz?k?l? folyos?r?l l?p?nk be abba a
csarnokba, amelyben f?ldre fektetett, vizes "tekn?-munk?kat", falra
akasztott "t?blak?peket", valamint t?rben lebeg?, monument?lis m?ret?
m?t?rgyakat l?tunk. A csarnokt?l elk?l?n?l? "kripta"-szob?ban h?rom kopors?t
id?z?, nyitott alum?nium l?da tal?lhat?. A semmiben lebeg? kopors?kban az
emberi test hal?l ut?ni ?talakul?s?nak "st?ci?i" jelennek meg. A szakr?lis
hangulat? csarnok m?sik v?g?b?l pedig egy olyan install?ci?ba s?t?lhatunk
be, amely a ki?ll?tott alkot?sok inverzek?nt hat: kiford?tott m?alkot?sk?nt.
Az ide bel?p? l?togat? mintha egy hatalmasra n?tt, "gy?zedelmes f?reg"
test?reg?be ?rkezne. A fekete genezis legy?rhetetlen ereje mag?ba szippantja
az embert, ?gy m?r nem is puszta szeml?l?-befogad? t?bb?, hanem -
bebocs?t?st nyerve ebbe az ismeretlen mikrovil?gba, mely "szabad szemmel"
val?j?ban nem l?that?, csak a m?v?szet teremt?ereje ?ltal v?lik egy?ltal?ban
megtapasztalhat?v? - maga is a m? r?sze.



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