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Balázs Kicsiny: Migrating interpretation

Second location: 1 June, 2011 - 7 July

The second location was "marked out" by Mihály Munkácsy's Christ Trilogy. Once again (as in the case of the first location with respect to István Farkas's The Fool of Syracuse), Migrating Interpretation underlines the specific manner in which art represents time.
Mediaeval and early Renaissance sacred art depicted human figures in a surprisingly contemporaneous manner, frequently dressed in contemporary garb, like Erwin Panofsky, art historian, wrote: "personages of the remote past or the distant future could share the stage of time-or, rather, timelessness-with characters of the present."
By contrast, the historicist-religious art of the19th century was one of reconstructed past, a style anchored in scholarly, historical realism. Working as an ethnographer, archaeologist or anthropologist, the historicist-religious artist used his studio to stage the past, reconstructing Biblical scenes with models dressed in period costumes and frozen in set postures. Migrating Interpretation sets out to incorporate the exhibition space and the viewer into that studio stage. The viewer is invited to enter the motionless time of the air traffic controller dummies, in other words, the time of past reconstructed, the time of dummies dressed up and frozen in postures. The deliberate design of the stills reflects the glaring contradiction between sacred art and realistic representation; between infinite transcendent time and time measured in hours and minutes. Migrating Interpretation is set to land and come to a rest in the labyrinths of these timestreams, pointing, out of Munkácsy's dark tones, the way for meaning in search of a path. We in the 21st century can only guess at the results Munkácsy got with the story of Christ more than 100 years ago. The identity, however, of the actual hero of Christ before Pilate, Golgotha, and Ecce Homo is probably hinted at by a contemporary photograph showing no other than Munkácsy himself, "crucified" in his studio.

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