Magyar Nemzeti Galéria English

Aktuális időszaki kiállítások

Balázs Kicsiny: Migrating interpretation

18 April 2011 - 1 June

"The work of memory is not to be thought of as an ethereal,
elusive activity but rather as hard manual labour that involves
our bodies as well as our souls and minds, creating a bridge,
as it were, between past and present."(1)

My four-figure installation-originally titled Domestication Attempt and Aborted Landing-was set up several times between 2007 and 2010, mostly in desacralized environments, former synagogues or churches in Austria, Slovakia, Germany and Hungary.(2)

The intention was for the installation to reach out, so to speak, to the former community or collective memory of the memorial site by virtue of a system used by modern day air controllers. With beehive basket gear on their heads, red indicator lights and black and white checkered flags in their hands, my life-size dummies, dressed in workwear, remind the viewer of air traffic controllers. Such navigators are in a kind of intermediate space, excluded, by virtue of their work, from the individual or collective experiences of arrival or departure. From this position they stage-manage or navigate the route from the unknown into the unknown, or from the known into the unknown.

Entitled Migrating Interpretation, the installation will be exhibited shortly in several locations of the permanent exhibitions of the Hungarian National Gallery. Rather than desacralizing seminal works of Hungarian art, it is aimed at playing an intermediary role between the viewer and the artwork in an intermediate space between the "present" of the visitor and the "past" of the work, or, in other words, the subjective interpretation of the viewer and the work, itself already alienated from its creator. In this context, it is the never ending, always changing and evolving attempts at the interpretation of a work of art that are "stage-managed" by means of the system of symbols used by the installation.

Works that we are familiar with form "gravitational fields"(3), where works already destroyed or not yet created are also present. The series of installations titled Migrating Interpretation invites the viewer to enter that gravitational field.

(1.) Bán Zsófia: Ne bántsátok a végsőt: az emlékezést! Megnyitószöveg, Kis Zsinagóga / Egri Kortárs Galéria, Eger, 2009. május 20. link

(2.) An Attempt at Domestication. Synagogue - At Home Gallery (Contemporary Art Center), Somorja/Samorin, Szlovákia, 2007. május 25 - június 30. link; link

Permanent Landing. Johanniterkirche, Feldkirch, Ausztria, 2008. április 3 - június 8. link

Megszakított földet érés. Kis Zsinagóga / Egri Kortárs Galéria, Eger, 2009. május 20 - június 10. link

"Lipcse, 1945. április 18." A félreértés - Robert Capa nyomában. Kicsiny Balázs kiállítása. / "Leipzig, 18. April 1945". Das Missverständnis - Auf den Spuren von Robert Capa. Eine Ausstellung von Balázs Kicsiny. / "Leipzig, April 18th 1945". The Misunderstanding - In the footsteps of Robert Capa. An exhibition of Balázs Kicsiny's work. Collegium Hungaricum, Berlin, 2010. március 14 - május 21. link; link

Temporary Resurrection. Minoritenkirche im Historichen Museum, Regensburg, Németország, 2010. szeptember 17 - október 31. link

Továbbá ld. még: link

(3) Kubler, George: Az idő formája. Ford. Szilágyi Péter - Jávor Pál. Gondolat Kiadó, Budapest, 1992. 38.