{"id":20318,"date":"2019-10-09T15:28:08","date_gmt":"2019-10-09T13:28:08","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=20318"},"modified":"2024-05-31T11:28:19","modified_gmt":"2024-05-31T09:28:19","slug":"velence-mashogy-3-resz","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/velence-mashogy-3-resz\/","title":{"rendered":"Velence m\u00e1shogy… III. r\u00e9sz"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-2-0″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

M\u00fazeumi s\u00e9tanapl\u00f3 (folytat\u00e1s)<\/h3>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

XII.<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Velenc\u00e9ben j\u00e1runk. Egy id\u0151tlen vagy anakronisztikus v\u00e1rosban, a fantomok v\u00e1ros\u00e1ban, k\u00edv\u00fcl a minket k\u00f6r\u00fclvev\u0151 val\u00f3s\u00e1gon. M\u00e9gis, ha kinyitunk b\u00e1rmilyen \u00fajs\u00e1got, a menek\u00fcltv\u00e1ls\u00e1gr\u00f3l olvashatunk. Erre a k\u00e9rd\u00e9sre reflekt\u00e1l, az olasz napipolitik\u00e1n\u00e1l sokkal okosabban \u00e9s empatikusabban, a Rothko Lampedus\u00e1ban<\/em> c\u00edm\u0171 ki\u00e1ll\u00edt\u00e1s, a Palazzo Queriniben1<\/span> (melyet ne t\u00e9vessz\u00fcnk \u00f6ssze a Querini-Stampalia m\u00fazeum\u00e1val \u00e9s k\u00e9s\u0151 \u00e9jjelig nyitva tart\u00f3 k\u00f6nyvt\u00e1r\u00e1val,2<\/span> ez az Accademia k\u00f6zel\u00e9ben, a San Barnaba t\u00e9rr\u0151l ny\u00edl\u00f3 utc\u00e1ban van).<\/p>\n

Mi\u00e9rt \u00e9ppen Rothko? Mert az akkori Oroszorsz\u00e1g (ma Lettorsz\u00e1g) ter\u00fclet\u00e9n sz\u00fcletett, zsid\u00f3 sz\u00e1rmaz\u00e1s\u00fa, 10 \u00e9vesen sz\u00fcleivel Amerik\u00e1ba emigr\u00e1lt fest\u0151 a bev\u00e1ndorl\u00f3 paradigmatikus alakja: maga is megtapasztalta az idegens\u00e9get \u00e9s a n\u00e9lk\u00fcl\u00f6z\u00e9st, miel\u0151tt a 20. sz\u00e1zad egyik legmeghat\u00e1roz\u00f3bb m\u0171v\u00e9sz\u00e9v\u00e9 v\u00e1lt. A mostani kollekt\u00edv ki\u00e1ll\u00edt\u00e1s tizenh\u00e1rom szerepl\u0151je k\u00f6z\u00fcl nyolc m\u00e1r ismert, \u00f6t m\u00e9g p\u00e1lyakezd\u0151, de valamennyien saj\u00e1t, meg\u00e9lt tapasztalataikb\u00f3l is dolgoznak, pontosan tudva azt, hogy mit k\u00e9pviselnek.<\/p>\n

A k\u00e9t legemblematikusabb alkot\u00e1s a f\u00f6ldszinti termekben tal\u00e1lhat\u00f3: Adel Abdessemed<\/span> (1971) \u00e9s Christian Boltanski<\/span> (1944) munk\u00e1i. Az alg\u00e9riai sz\u00e1rmaz\u00e1s\u00fa, Franciaorsz\u00e1gban \u00e9l\u0151, Abdessemed Politics of Drawings<\/em> (2014\u20132019) sorozat\u00e1nak hat nagym\u00e9ret\u0171 rajza G\u00e9ricault Med\u00faza tutaj\u00e1<\/em>nak (1819) kort\u00e1rs \u00fajra\u00e9rtelmez\u00e9se. A haj\u00f3t\u00f6r\u00e9s k\u00e9peinek n\u00e9z\u0151i vagyunk, mint a t\u00f6rt\u00e9nelem folyam\u00e1n mindig, ahogy ezt Lucretius Carus De rerum<\/em> natur\u00e1ja igazolja: \u201eMily j\u00f3 biztos partr\u00f3l n\u00e9zni, amint a vihart\u00f3l \/ Zajl\u00f3 tenger habjaiban m\u00e1s k\u00fczd a vesz\u00e9llyel. \/ Nem minthogyha \u00f6r\u00f6m voln\u2019 l\u00e1tni a m\u00e1s veszedelm\u00e9t, \/ \u00c1mde mivel j\u00f3 \u00e9rz\u00e9s mentnek lenni a bajt\u00f3l\u2026\u201d[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

1<\/p>\n

Rothko in Lampedusa.<\/em> Fondazione Ugo e Olga Levi, Velence, 2019. m\u00e1jus 11 \u2013 november 24., 24., r\u00e9sztvev\u0151 m\u0171v\u00e9szek: Ai Weiwei, Adel Abdessemed, Christian Boltanski, Nalini Malani, Abu Bakkar Mansaray, Richard Mosse, Dinh Q. Le, Artur Zmijewski,<\/span> valamint Majid Adin, Rasha Deeb, Hassan Yare, Mohamed Keita, Bnar Sardar Sidiq.<\/span> ld. https:\/\/www.fondazionelevi.it\/event\/rothko-in-lampedusa\/<\/a><\/p>\n

2<\/p>\n

http:\/\/www.querinistampalia.org<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21407″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Adel Abdessemed: Politics of Drawings,<\/em> 2014\u20132019 \u00a9 Fot\u00f3k: Eln Ferenc<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A fekete-feh\u00e9r rajzokon l\u00e1that\u00f3, menek\u00fcltekkel telezs\u00fafolt cs\u00f3nakok val\u00f3di l\u00e9lekveszt\u0151k. El\u0151re l\u00e1that\u00f3 rajtuk a k\u00f6zeli vagy m\u00e1r be is k\u00f6vetkezett katasztr\u00f3fa. Az emberi arcok az \u0151ket k\u00f6r\u00fclvev\u0151 semmib\u0151l emelkednek ki, n\u00e9h\u00e1ny k\u00f6z\u00fcl\u00fck pontosan megrajzolt, m\u00edg m\u00e1sok teljesen elmos\u00f3dott von\u00e1sokkal rendelkeznek, mintha m\u00e1ris k\u00eds\u00e9rtetek lenn\u00e9nek, vagy mintha \u00e9l\u0151k \u00e9s halottak egy\u00fctt menek\u00fcln\u00e9nek a felborul\u00f3 ladikokban. Az alaktalan embermassza is egyetlen, kollekt\u00edv testet alkot. A s\u00fcllyed\u00e9s k\u00fcl\u00f6nb\u00f6z\u0151 f\u00e1zisait mutat\u00f3 k\u00e9peken lassan elt\u0171nnek az emberek, de m\u00e9g egyszer, tal\u00e1n utolj\u00e1ra, fel\u00e9nk ford\u00edtj\u00e1k a tekintet\u00fcket.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-5-40″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21409″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Adel Abdessemed: Politics of Drawings,<\/em> 2014\u20132019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Egyik\u00fck, felemelt karj\u00e1val, mintha intene nek\u00fcnk vagy a seg\u00edts\u00e9g\u00fcnket k\u00e9rn\u00e9. Ezek a val\u00f3ban \u201epolitikus rajzok\u201d azt mutatj\u00e1k, hogy t\u00e1voli szeml\u00e9l\u0151k\u00e9nt sem gondolhatjuk biztons\u00e1gban magunkat, nem hihetj\u00fck azt, hogy a k\u00f6r\u00fcl\u00f6tt\u00fcnk zajl\u00f3 esem\u00e9nyek minket nem \u00e9rintenek.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-5-40″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21410″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Adel Abdessemed: Politics of Drawings,<\/em> 2014\u20132019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Ezt a benyom\u00e1st er\u0151s\u00edti meg Christian Boltanski<\/span> Mer dor\u00e9e<\/em> (2017) alkot\u00e1sa is, mely szint\u00e9n egy eg\u00e9sz termet elfoglal\u00f3 install\u00e1ci\u00f3, \u00e1m ebbe a terembe nem l\u00e9phet\u00fcnk be, mert teljesen kit\u00f6lti egy hatalmas, aranysz\u00edn\u0171 ment\u0151f\u00f3lia, melynek \u00f6sszegy\u0171rt anyaga a tenger hull\u00e1mz\u00e1s\u00e1t imit\u00e1lja. Itt m\u00e1r a haj\u00f3t\u00f6r\u00e9s ut\u00e1n vagyunk. Nincsenek emberek, vagy m\u00e1r a f\u00f3liatenger red\u0151i alatt vannak. Ezt a hatalmas aranykopors\u00f3t vagy t\u00f6megs\u00edrt fel\u00fclr\u0151l egyetlen, zsin\u00f3ron l\u00f3g\u00f3, k\u00f6rben forg\u00f3 izz\u00f3 vil\u00e1g\u00edtja meg. A keres\u00e9s bizonytalan f\u00e9nye egyfajta perpetuum mobile. Mindek\u00f6zben nincs n\u00e9ma (halotti) csend. Folyamatosan egy sisterg\u0151, meghat\u00e1rozhatatlan hangot hallunk. Az izz\u00f3 hangj\u00e1t vagy a tenger moraj\u00e1t? Mire figyelmeztet ez a kellemetlen, f\u00fcls\u00e9rt\u0151 hang minket?[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21457″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Christian Boltanski:\u00a0Mer dor\u00e9e,<\/em> 2017<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Boltanski mellett a ki\u00e1ll\u00edt\u00e1s m\u00e1sik legismertebb alkot\u00f3ja a botr\u00e1nyh\u0151s Ai Weiwei<\/span> (1957), aki m\u0171v\u00e9nek c\u00edm\u00e9ben direkt m\u00f3don utal Rothk\u00f3ra: One millimeter taller than the original Rothko \u201eBlack, black on Wine\u201d 1968.<\/em> Ez az \u201ehommage\u201d LEGO kock\u00e1kb\u00f3l rekonstru\u00e1lja Rothko fekete v\u00e1szn\u00e1t. Ha a tenger k\u00e9p\u00e9t akarjuk felfedezni benne (Lampedusa sziget\u00e9t), akkor azt mondhatjuk, hogy ez m\u00e1r egy mozdulatlan hull\u00e1ms\u00edr. Ugyanakkor nem csup\u00e1n a \u201etechnikai sokszoros\u00edthat\u00f3s\u00e1g\u201d jegy\u00e9ben l\u00e9trej\u00f6tt m\u0171alkot\u00e1sk\u00e9nt tekinthet\u00fcnk r\u00e1, hanem olyan \u00f6sszerakhat\u00f3 \u201ej\u00e1t\u00e9kkopors\u00f3k\u00e9nt\u201d is, mely b\u00e1rmikor sz\u00e9tszedhet\u0151 \u00e9s eldobhat\u00f3. Ennyiben a radik\u00e1lis elt\u00f6rl\u00e9s \u00e9s a teljes megsemmis\u00fcl\u00e9s alakzata. Ebb\u0151l a fekete kirak\u00f3sb\u00f3l ugyan hi\u00e1nyzik Rothko m\u0171v\u00e9nek minden metafizikus vonatkoz\u00e1sa, de legal\u00e1bb hi\u00e1nyzik bel\u0151le az a magamutogat\u00f3 gesztus is, amellyel p\u00e1r \u00e9ve Weiwei egy halott sz\u00edriai kisfi\u00fa (Alan Kurdi, akinek vil\u00e1gsajt\u00f3t bej\u00e1rt k\u00e9pe a menek\u00fcltv\u00e1ls\u00e1g szimb\u00f3lum\u00e1v\u00e1 v\u00e1lt) poz\u00edci\u00f3j\u00e1ban f\u00e9nyk\u00e9peztette mag\u00e1t.3<\/span>[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

2<\/p>\n

https:\/\/www.theguardian.com\/artanddesign\/ 2016\/feb\/01\/ai-weiwei-poses-as-drowned-syrian-infant -refugee-in-haunting-photo<\/a>; https:\/\/www.bbc.com\/news\/world-europe-35457936<\/a> (utols\u00f3 hozz\u00e1f\u00e9r\u00e9s: 2019. augusztus 30.)<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21412″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Ai Weiwei:\u00a0One millimeter taller than the original Rothko \u201cBlack, black on Wine\u201d 1968<\/em><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Ezzel szemben, a t\u00f6bbi m\u0171(alkot\u00e1s) ink\u00e1bb az \u00e9let vagy a t\u00fal\u00e9l\u00e9s aspektusait \u00e1ll\u00edtja a k\u00f6z\u00e9ppontba. Azt vizsg\u00e1lj\u00e1k, hogyan \u0151rizhet\u0151 meg az emberi m\u00e9lt\u00f3s\u00e1g a menek\u00fcl\u00e9s sor\u00e1n, a menek\u00fcltt\u00e1borokban. K\u00fcl\u00f6nb\u00f6z\u0151 megjelen\u00edt\u00e9si m\u00f3dok \u00e9s m\u00e9diumok (rajz, fot\u00f3, k\u00e9preg\u00e9ny, video) seg\u00edts\u00e9g\u00e9vel \u00e1br\u00e1zolj\u00e1k a k\u00f6z\u00f6s menek\u00fcltl\u00e9t \u00e1llapotot (vagy a menek\u00fclt l\u00e9t\u00e1llapot\u00e1t), melyet \u00e9pp\u00fagy jellemezhet a teljes elszigetelts\u00e9g \u00e9s mag\u00e1ny, mint az egym\u00e1s fel\u00e9 fordul\u00e1s \u00e9s szolidarit\u00e1s. A probl\u00e9ma aktualit\u00e1s\u00e1n t\u00fal, arra is reflekt\u00e1lnak, hogy olyan t\u00f6bbgener\u00e1ci\u00f3s traum\u00e1kkal \u00e1llunk szemben, melyek a k\u00f6vetkez\u0151 nemzed\u00e9kek sors\u00e1t is meghat\u00e1rozz\u00e1k. Tov\u00e1bb\u00e1 nem csup\u00e1n az otthon elhagy\u00e1s\u00e1t, de a visszat\u00e9r\u00e9s neh\u00e9zs\u00e9g\u00e9t is megmutatj\u00e1k, felsz\u00e1molva azokat a hamis nosztalgi\u00e1kat, melyeket azonnal sz\u00e9tt\u00f6r a h\u00e1trahagyott, egykori otthonokkal vagy azok romjaival val\u00f3 \u00fajabb tal\u00e1lkoz\u00e1s.<\/p>\n

A 21. sz\u00e1zad alaptapasztalatak\u00e9nt \u00edgy az otthontalans\u00e1g<\/em> jelenik meg, mely nem csup\u00e1n a h\u00e1bor\u00fas menek\u00fclteket \u00e9rinti (hab\u00e1r \u0151ket a legradik\u00e1lisabban), hanem mindannyiunkat. M\u00e9g ha nem is tudatosult benn\u00fcnk, de Med\u00faza tutaj\u00e1n valamennyien ott vagyunk.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-0-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21413″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Arthur \u017bmijewski:\u00a0In Beetwen,<\/em> 2018, print, pap\u00edr, 110\u00d7150 cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

XIII.<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Velence maga is egy sz\u00ednh\u00e1z, ami r\u00e9szint azt jelenti, hogy az eg\u00e9sz v\u00e1ros csak egy d\u00edszlet, \u00e9s fantomok lakj\u00e1k, m\u00e1sr\u00e9szt arra utal, hogy itt minden l\u00e1tv\u00e1nyoss\u00e1gg\u00e1 v\u00e1lik. A Bienn\u00e1le sor\u00e1n azonban egy saj\u00e1tos virtu\u00e1lis sz\u00ednh\u00e1zat vagy ink\u00e1bb sz\u00ednh\u00e1zkomplexumot is felfedezhet\u00fcnk a Ca\u2019 Rezzonico gal\u00e9ri\u00e1j\u00e1nak (amit ne keverj\u00fcnk \u00f6ssze a mellette lev\u0151 m\u00fazeummal,4<\/span> ami Velenc\u00e9ben szint\u00e9n kihagyhatatlan, Tiepolo fresk\u00f3i miatt) Immersive Theatre of Virtuality<\/em> ki\u00e1ll\u00edt\u00e1s\u00e1n.5<\/span><\/p>\n

Mivel \u00e9n nem hiszek abban, hogy a k\u00f6zvetlen \u00e9s testi sz\u00ednh\u00e1zi \u00e9lm\u00e9nyt felv\u00e1lthatja a virtu\u00e1lis sz\u00ednh\u00e1z l\u00e1tszatvil\u00e1ga, \u00e9s azt gondolom, hogy minden val\u00f3di el\u0151ad\u00e1s immerz\u00edv hat\u00e1s\u00fa, ez\u00e9rt kiss\u00e9 k\u00e9tkedve engedtem a gal\u00e9ria ajtaj\u00e1ban \u00e1ll\u00f3, \u00f3ri\u00e1s zen\u00e9szb\u00e1b invit\u00e1l\u00e1s\u00e1nak, de a kinti h\u0151s\u00e9g ut\u00e1n cs\u00e1b\u00edt\u00f3 volt a benti h\u0171v\u00f6ss\u00e9g. A k\u00e9t teremben (a Phi \u00e9s az Acute Art m\u0171v\u00e9szeti kutat\u00f3k\u00f6zpontjai \u00e1ltal) megrendezett ki\u00e1ll\u00edt\u00e1s hat munk\u00e1j\u00e1nak megtekint\u00e9se k\u00f6zel egy \u00f3r\u00e1t vesz ig\u00e9nybe. Az egyik f\u0151 t\u00e9ma a kl\u00edmav\u00e1ls\u00e1g, \u00edgy k\u00fcl\u00f6nb\u00f6z\u0151 diszt\u00f3pi\u00e1kat l\u00e1thatunk a (nem is olyan t\u00e1voli) j\u00f6v\u0151re vonatkoz\u00f3an. Ehhez kapcsol\u00f3dik a ki\u00e1ll\u00edt\u00e1s \u201eszt\u00e1rj\u00e1nak\u201d, Marina Abramovi\u0107<\/span>-nak (1946), Rising<\/em> c\u00edm\u0171 VR filmje vagy ink\u00e1bb videoj\u00e1t\u00e9ka, ami egy rettenetes giccs. Kezdetben Abramovi\u0107 avat\u00e1rja a kl\u00edmakatasztr\u00f3fa (pontosabban a glob\u00e1lis felmeleged\u00e9s \u00e9s a sarkk\u00f6ri j\u00e9g felolvad\u00e1s\u00e1nak) k\u00f6vetkezm\u00e9nyeire figyelmeztet minket, hangs\u00falyozva, hogy \u201emindenki, aki megment egy \u00e9letet, a vil\u00e1got menti meg\u201d. Majd a didaktikus felvezet\u00e9st k\u00f6vet\u0151en egy tombol\u00f3 tengeri vihar k\u00f6zep\u00e9n tal\u00e1ljuk magunkat, ahol virtu\u00e1lis kezeinkkel a semmiben tapogat\u00f3zzunk, v\u00e9g\u00fcl a t\u00e1volban \u2013 egy \u00fcvegkalitk\u00e1ba z\u00e1rva, melyet lassan teljesen kit\u00f6lt a v\u00edz \u2013 Abramovi\u0107 fulladoz\u00f3, de sz\u00e9pen gesztikul\u00e1l\u00f3 (val\u00f3sz\u00edn\u0171leg jeleket k\u00fcld\u0151) alakja is \u00fajra megjelenik.<\/p>\n

Ha ezt a sokkhat\u00e1st t\u00fal\u00e9lt\u00fck, az\u00e9rt \u00e9rdemes megn\u00e9zni Anish Kapoor<\/span> (1964) Into Yourself, Fall<\/em> alkot\u00e1s\u00e1t (neki szint\u00e9n ez az els\u0151 VR m\u0171ve), ahol virtu\u00e1lisan beleeshet\u00fcnk a fekete lyukba \u2013 ahogy ez nemr\u00e9g, Kapoor port\u00f3i ki\u00e1ll\u00edt\u00e1s\u00e1n (2018), egy n\u00e9z\u0151vel val\u00f3s\u00e1gosan is megt\u00f6rt\u00e9nt, amikor belel\u00e9pett a Descent into Limbo<\/em> \u00fcreg\u00e9be6<\/span> \u2013, azonban mi most ezt a sz\u00e9d\u00fcletet f\u00e1jdalmas baleset n\u00e9lk\u00fcl \u00e9lhetj\u00fck \u00e1t. A t\u00f6bb mint t\u00edz perces, lass\u00fa zuhan\u00e1s sor\u00e1n saj\u00e1t test\u00fcnk bels\u0151 t\u00e1jait j\u00e1rjuk v\u00e9gig, mint egy bels\u0151 labirintusban bolyongva.<\/p>\n

Sz\u00ednh\u00e1zhoz hasonl\u00f3 \u00e9lm\u00e9nyt \u00e9n azonban csak a Gymnasia,<\/em> Chris Lavis<\/span> \u00e9s Maciek Szczerbowski<\/span> \u00e1ltal k\u00e9sz\u00edtett VR film sor\u00e1n tapasztaltam, mely kiss\u00e9 olyan, mintha Tadeusz Kantor Halott oszt\u00e1ly\u00e1<\/em>nak (1975) \u00fajraj\u00e1tsz\u00e1sa lenne, de t\u00f6rt\u00e9nelmi traum\u00e1k n\u00e9lk\u00fcl, \u00e9s 21. sz\u00e1zadi technik\u00e1kkal megjelen\u00edtve. Val\u00f3ban visszat\u00e9r\u00fcnk egy r\u00e9gi iskola elhagyatott helysz\u00edn\u00e9re: egy \u00fcres \u00e9s poros tornacsarnokban tal\u00e1ljuk magunkat, ahol a kos\u00e1rlabda pal\u00e1nk m\u00f6g\u00f6tt egy sz\u00ednpadny\u00edl\u00e1st l\u00e1tunk, m\u00edg k\u00f6r\u00fcl\u00f6tt\u00fcnk az ottfelejtett labd\u00e1k csattognak, a falakon pedig j\u00e1tsz\u00f3 gyerekek \u00e1rnyalakjai t\u0171nnek fel. Majd a semmib\u0151l el\u0151bukkan egy \u00e9gsz\u00ednk\u00e9k pillang\u00f3, mely lassan s\u00fcllyedni kezd, \u00e9s egy f\u00f6ld alatt alv\u00f3 kisgyerek szem\u00e9n pihen meg. Mire \u00fajra felemelj\u00fck a tekintet\u00fcnket, m\u00e1r megv\u00e1ltozott a helysz\u00edn: m\u00e9g mindig a tornateremben vagyunk, de m\u00e1r a sz\u00ednpadon, melynek sark\u00e1ban egy r\u00e9gi zongora \u00e1ll, a k\u00f6zvetlen\u00fcl mellett\u00fcnk lev\u0151 sz\u00e9ken pedig egy porcel\u00e1narc\u00fa kisfi\u00fa \u00fcl, m\u00edg a f\u00f6ld\u00f6n minden\u00fctt sz\u00e9tsz\u00f3rt kott\u00e1k hevernek. Egy oldalajt\u00f3n, verkliszer\u0171 kiskocsij\u00e1n begurul az \u00f3ri\u00e1s zen\u00e9szb\u00e1b is, aki kor\u00e1bban a bej\u00e1ratn\u00e1l fogadott minket, \u00e9s a sz\u00ednpaddal szemben elhelyezkedve vez\u00e9nyelni kezd. A kisfi\u00fa fel\u00e1ll, fel\u00e9nk fordulva, angyali hangon \u00e9nekel, egy l\u00e1thatatlan k\u00f3rus k\u00eds\u00e9ret\u00e9ben, mik\u00f6zben a csarnok ablakain \u00e1rad be a f\u00e9ny. Azt\u00e1n becs\u00f6ngetnek \u00e9s fel\u00e9bred\u00fcnk.[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

4<\/p>\n

https:\/\/carezzonico.visitmuve.it\/en\/home\/<\/a><\/p>\n

5<\/p>\n

Immersive Theatre of Virtuality.<\/em> Ca\u2019\u00a0Rezzonico Gallery, Velence, 2019. okt\u00f3ber 28-ig, ld. https:\/\/phi.ca\/en\/<\/a><\/p>\n

6<\/p>\n

https:\/\/news.artnet.com\/art-world\/ man-injured-falling-into- anish-kapoor-hole-1335176<\/a> (utols\u00f3 hozz\u00e1f\u00e9r\u00e9s: 2019. augusztus 30.)<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

XIV.<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A Time, Forward!<\/em> ki\u00e1ll\u00edt\u00e1s,7<\/span> mely a V\u2013A\u2013C Foundation \u00e9p\u00fclet\u00e9ben tal\u00e1lhat\u00f3 a Zatter\u00e9n, c\u00edm\u00e9t meglep\u0151 m\u00f3don egy orosz termel\u00e9si reg\u00e9nyt\u0151l: Valentin Katajev<\/span> 1932-es m\u0171v\u00e9t\u0151l8<\/span> k\u00f6lcs\u00f6nzi. A ki\u00e1ll\u00edt\u00e1snak azonban nem ez az egyetlen anakronisztikus von\u00e1sa. M\u00e9g ha az eml\u00edtett irodalmi referenci\u00e1t nem is ismerj\u00fck, a c\u00edm \u00f6nmag\u00e1ban is jelent\u00e9ssel b\u00edr, els\u0151sorban azt a t\u00fcrelmetlen mozdulatot id\u00e9zi, mellyel el\u0151reteker\u00fcnk mindent, az\u00e9rt, hogy gyorsabban haladjunk, vagy ahogy m\u00e1r a c\u00edme alapj\u00e1n el\u0151re min\u0151s\u00edt\u00fcnk egy ki\u00e1ll\u00edt\u00e1st: \u00e9rtelmes id\u0151t\u00f6lt\u00e9snek vagy id\u0151pocs\u00e9kol\u00e1snak \u00edt\u00e9lve. A felgyorsult id\u0151 kor\u00e1ban \u00e9l\u00fcnk, de val\u00f3ban m\u00e9g tov\u00e1bb akarjuk gyors\u00edtani? Vagy elgondolkozunk n\u00e9ha azon, hogy hova vezet a t\u00falhajtott akceler\u00e1ci\u00f3? Tudjuk m\u00e9g k\u00f6vetni az \u00e1ltalunk felp\u00f6rgetett id\u0151t, vagy v\u00e9gk\u00e9pp elmaradunk m\u00f6g\u00f6tte?[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

7<\/p>\n

8<\/p>\n

Valentin Katajev: Hajr\u00e1!<\/em> [1932] (Szovjet \u00edr\u00f3k v\u00e1logatott m\u0171vei), ford. Hat\u00e1r Gy\u0151z\u0151; \u00daj Magyar Kiad\u00f3, Budapest, 1956<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-0-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21416″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Walid Raad:\u00a0Foreword to the Arabic Edition_I,<\/em> 2019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Ez a ki\u00e1ll\u00edt\u00e1s sz\u00e1mos id\u0151probl\u00e9m\u00e1val vagy ink\u00e1bb id\u0151ap\u00f3ri\u00e1val szembes\u00edt. R\u00f6gt\u00f6n az els\u0151 k\u00e9t teremben, az elv\u00e1r\u00e1sainkkal ellent\u00e9tben, nem egy \u00faj id\u0151tapasztalattal, hanem egyfajta id\u0151tlen benyom\u00e1ssal szembes\u00fcl\u00fcnk, a libanoni Walid Raad<\/span> (1967) k\u00e9t \u00f3ri\u00e1s install\u00e1ci\u00f3j\u00e1t, a Foreword to the Arabic Edition I<\/em> \u00e9s II<\/em>-t (2019) n\u00e9zve. Elbizonytalanodunk abban, hogy mit is l\u00e1tunk. \u00c9l\u00fckre \u00e1ll\u00edtott falakat? Befalazott ajt\u00f3kat? Kiz\u00e1rnak vagy v\u00e1rnak minket ezek az \u00fcres terek? Mit jelentenek a rajtuk megjelen\u0151 absztrakt form\u00e1k \u00e9s sz\u00ednek? Mire utalnak a f\u00fcgg\u0151leges \u00e9s v\u00edzszintes falakon elhelyezett horg\u00e1szcsalik? Ahogy a m\u00e1sodik terem fal\u00e1n olvashatjuk, ezek a t\u00e9rinstall\u00e1ci\u00f3k m\u00e9g \u00faton vannak a j\u00f6v\u0151beli hely\u00fck fel\u00e9. De mit \u00e9rthet\u00fcnk az alatt, hogy egy j\u00f6v\u0151beli m\u00fazeum falai v\u00e1lnak itt ki\u00e1ll\u00edt\u00e1si t\u00e1rgyakk\u00e1? Hogyan mutathatj\u00e1k meg magunkat a m\u00e9g nem l\u00e9tez\u0151k? Egy bizonytalan j\u00f6v\u0151 bejelent\u00e9sei vagy maradv\u00e1nyai ezek?<\/p>\n

A ki\u00e1ll\u00edt\u00e1st v\u00e9gigj\u00e1rva t\u00f6bbsz\u00f6r is az az \u00e9rz\u00e9s\u00fcnk t\u00e1mad, hogy egym\u00e1sra torl\u00f3dnak vagy ink\u00e1bb elcs\u00fasznak a k\u00fcl\u00f6nb\u00f6z\u0151 id\u0151r\u00e9tegek, s ez\u00e1ltal felbomlanak a hagyom\u00e1nyos, kronologikus id\u0151viszonyok. T\u00f6bb teremben is l\u00e1thatunk id\u0151maradv\u00e1nyokat, olyan t\u00e1rgyi rekviz\u00edtumokat, melyek egyszerre id\u00e9zik a m\u00faltat \u00e9s a jelent. \u00cdgy a szint\u00e9n libanoni sz\u00fclet\u00e9s\u0171 Joana Hadjithomas<\/span> (1969) \u00e9s Khalil Joreige<\/span> (1969) What we left behind<\/em> (From the Unconformities project,<\/em> 2019) m\u0171v\u00e9szeti \u00e9s archeol\u00f3giai projektj\u00e9nek id\u0151kapszul\u00e1iban egyar\u00e1nt ott van a tengerek \u00fcled\u00e9ke \u00e9s a nagyv\u00e1rosok szem\u00e9ttengere, szoborszarkof\u00e1gjuk pedig legink\u00e1bb a csernobili atomer\u0151m\u0171 torny\u00e1ra eml\u00e9keztet.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-0-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21420″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Joana Hadjithomas, Khalil Joreige:\u00a0What we left behind (From the Unconformities project),<\/em> 2019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Szint\u00e9n egy modern szarkof\u00e1gra ismerhet\u00fcnk Aleksandra Domanovi\u0107<\/span> (1981) Untitled<\/em> (2019) alkot\u00e1s\u00e1ban, mely voltak\u00e9pp egy id\u0151g\u00e9p (ha f\u00f6l\u00e9 hajolunk \u00e9s belen\u00e9z\u00fcnk sz\u00ednes belsej\u00e9be, l\u00e1thatjuk a t\u00e1vir\u00e1ny\u00edt\u00f3j\u00e1t). Ha hosszasabban szeretn\u00e9nk szeml\u00e9lni a s\u00e1rga sz\u00edn\u0171, g\u00f6rg\u0151k\u00f6n \u00e1ll\u00f3 doboz fal\u00e1ra festett kort\u00e1rs hieroglif\u00e1kat, le\u00fclhet\u00fcnk a terem sark\u00e1ban elhelyezett lila gipsz szobor vagy modern m\u00famia mell\u00e9, aki tal\u00e1n m\u00e1r megj\u00e1rta mind a m\u00faltba, mind a j\u00f6v\u0151be vezet\u0151 utat.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-0-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21421″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Aleksandra Domanovi\u0107:\u00a0Untitled,<\/em> 2019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A val\u00f3di emberi jelenl\u00e9t hi\u00e1nyzik err\u0151l a ki\u00e1ll\u00edt\u00e1sr\u00f3l, annak ellen\u00e9re (vagy \u00e9pp amiatt), hogy folyamatosan a megfigyel\u00e9s vagy az ellen\u0151rz\u00e9s tapasztalat\u00e1ba \u00fctk\u00f6z\u00fcnk. Deleuze besz\u00e9lt arr\u00f3l, hogy szemben a Foucault \u00e1ltal olyan pontosan le\u00edrt megfigyel\u00e9s t\u00e1rsadalmaival (ahol a megfigyel\u0151 poz\u00edci\u00f3ja m\u00e9g pontosan beazonos\u00edthat\u00f3 volt), m\u00e1r a szem\u00e9lytelen ellen\u0151rz\u00e9s kor\u00e1ban \u00e9l\u00fcnk, ahol \u00e9let\u00fcnk egyetlen szegmense sem maradhat l\u00e1thatatlan vagy rejtett.9<\/span> Trevor Paglen<\/span> (1974) From Apple to Kleptomaniac<\/em> (Pictures and Words,<\/em> 2019) install\u00e1ci\u00f3j\u00e1ban az egyes kiv\u00e1lasztott szavakhoz (kapitalista, milli\u00e1rdos, hedonista, drogdealer, munk\u00e1s, professzor, szard\u00ednia, android…) az ImageNet \u00e1ltal hozz\u00e1rendelt k\u00e9peket figyelhetj\u00fck meg, ezek vesznek k\u00f6rbe minket. Egy panoptikonban vagyunk, l\u00e1tsz\u00f3lag a k\u00f6zponti helyet elfoglalva, m\u00e9gis az a benyom\u00e1sunk, hogy ezek a szem\u00e9lytelen k\u00e9pek uralkodnak rajtunk, mert mik\u00f6zben n\u00e9zz\u00fck \u0151ket, bev\u00e9s\u0151dnek az eml\u00e9kezet\u00fcnkbe, \u00edgy \u2013 ha tudattalanul is \u2013 m\u00e1r az \u0151 k\u00f6zvet\u00edt\u00e9s\u00fck r\u00e9v\u00e9n \u00e9rtj\u00fck meg vagy k\u00e9pzelj\u00fck el az egyes szavak jelent\u00e9s\u00e9t.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

9<\/p>\n

Gilles Deleuze: Pourparlers<\/em> (1972\u20131990). Editions de Minuit, Paris, 1990<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-0-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21422″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Trevor Paglen:\u00a0From Apple to Kleptomaniac (Pictures and Words),<\/em> 2019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A technikai fejl\u0151d\u00e9ssel egy\u00fctt j\u00e1r\u00f3 manipul\u00e1ci\u00f3t tematiz\u00e1lja t\u00f6bb m\u00e1s alkot\u00e1s, is \u00edgy Valentin Fetisov<\/span> (1989) Call to Action<\/em> (2018\u20132018) m\u0171ve is, ahol egy \u00f3ri\u00e1smonitoron megjelen\u0151 alak el\u0151bb le\u00fcltet minket maga mell\u00e9, majd arra biztat, hogy vele egy\u00fctt tapasztaljuk meg a f\u00e1jdalmat, \u00e9s ha k\u00f6vetj\u00fck az instrukci\u00f3it vagy leut\u00e1nozzuk a mozdulatait, egy kisebb elektrosokk-hat\u00e1st is elszenvedhet\u00fcnk. De ezt jelenti vajon az aktivit\u00e1s? Hogy ir\u00e1ny\u00edtott b\u00e1bokk\u00e9nt al\u00e1vetj\u00fck magunkat egy virtu\u00e1lis l\u00e9ny akarat\u00e1nak?<\/p>\n

Milyen j\u00f6v\u0151 v\u00e1r r\u00e1nk, ha el\u0151retekerj\u00fck az id\u0151gombot? Ha olyan \u00fcres \u00e9s siv\u00e1r v\u00e1rosokban kell majd \u00e9ln\u00fcnk, mint az orosz Where Dogs Run<\/span> csoport \u00e1ltal elk\u00e9pzelt Zero City<\/em> (2018\u20132019), akkor legink\u00e1bb szorong\u00e1st \u00e9rezhet\u00fcnk. Felt\u00e9ve, hogy egy\u00e1ltal\u00e1n lesznek m\u00e9g emberek ezekben a v\u00e1rosokban, hiszen az \u00e1tl\u00e1tsz\u00f3, puszta szerkezeti v\u00e1zk\u00e9nt \u00e1ll\u00f3, \u00e9p\u00fcletekben csak \u00fcres liftek cirkul\u00e1lnak.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-0-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21425″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Adam Linder:\u00a0She Clockwork,<\/em> 2019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\u00c9rdekes, hogy a ki\u00e1ll\u00edt\u00e1s t\u00f6bb pontj\u00e1n is megjelenik a sz\u00ednh\u00e1zra val\u00f3 utal\u00e1s, de csup\u00e1n egy emberek n\u00e9lk\u00fcli sz\u00ednh\u00e1z v\u00edzi\u00f3jak\u00e9nt. A t\u00e1ncos \u00e9s koreogr\u00e1fus Adam Linder<\/span> (1983) siv\u00e1r d\u00edszlet\u00e9ben (She Clockwork,<\/em> 2019) egyetlen sz\u00ednes szilikonzokni utal a t\u00e1ncosra, aki \u00e1ll\u00edt\u00f3lag havonta egyszer megjelenik, de addig csak a hi\u00e1nya \u00e1ltal van jelen, m\u00edg Alexandra Sukhareva<\/span> (1983) install\u00e1ci\u00f3ja (Ligeia,<\/em> 2018\u20132019) \u201ebe nem jelentett performance\u201d-k\u00e9nt aposztrof\u00e1lja mag\u00e1t. Itt n\u00e9gy kutat l\u00e1tunk, benn\u00fck \u00fcvegg\u00e9 dermedt v\u00edzzel, a kutak bels\u0151 perem\u00e9n pedig k\u00e9tsoros versek (Eugenia Suslova k\u00f6ltem\u00e9nyei) olvashat\u00f3k. Mindez azt sugallja, hogy egyed\u00fcl a szavak maradnak fenn, az ember elt\u0171n\u00e9se ut\u00e1n. De vajon a poszthum\u00e1n korban az, ami az ember hely\u00e9t \u00e1tveszi, olvas majd verseket? \u00c9s ha igen, meg\u00e9rti \u0151ket? Felfoghat\u00f3 lehet egy mesters\u00e9ges intelligencia sz\u00e1m\u00e1ra az emberi \u00e9lm\u00e9ny, \u00e1t\u00e9lheti egy android az emberi \u00e9rz\u00e9seket?<\/p>\n

De ne fussunk ennyire el\u0151re az id\u0151ben, vagy ha m\u00e9gis megtenn\u00e9nk, a modern ki\u00e1ll\u00edt\u00f3t\u00e9rb\u0151l kil\u00e9pve, a v\u00e1ros \u00fagyis visszar\u00e1nt a saj\u00e1t idej\u00e9be. Velenc\u00e9re ugyanis, ha az embernek jut r\u00e1 el\u00e9g ideje, legink\u00e1bb egy v\u00e9gtelen\u00fcl lelassult id\u0151tapasztalat a jellemz\u0151.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-20l” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21426″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Alexandra Sukhareva:\u00a0Ligeia,<\/em> 2018\u20132019<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-0-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21427″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”helyek” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

XV.<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”01″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Vannak nagy fest\u0151k \u00e9s vannak nagyon szerencs\u00e9s fest\u0151k. Adrian Ghenie<\/span> (1977) ink\u00e1bb az ut\u00f3bbiak k\u00f6z\u00e9 tartozik, ezt igazolja, hogy a mind\u00f6ssze 42 \u00e9ves, rom\u00e1n sz\u00e1rmaz\u00e1s\u00fa (Nagyv\u00e1radon sz\u00fcletett, a Kolozsv\u00e1ri Iskol\u00e1b\u00f3l indul\u00f3, de legink\u00e1bb Berlinben \u00e9l\u0151) fest\u0151 m\u0171vei ma rekord\u00e1ron kelnek el, a kort\u00e1rs m\u0171v\u00e9szeti piacon: t\u00f6bbet \u00e9r Br\u00e2ncu\u0219in\u00e1l. Ha a Palazzo Ciniben l\u00e1that\u00f3 ki\u00e1ll\u00edt\u00e1sa (The Battle between Carneval and Feast<\/em>)10<\/span> nyom\u00e1n pr\u00f3b\u00e1ln\u00e1nk ezt meg\u00e9rteni, gondban lenn\u00e9nk. Hab\u00e1r az k\u00e9ts\u00e9gtelen, hogy Ghenie k\u00e9pei nagyon impoz\u00e1ns, sz\u00ednes \u00e9s figurat\u00edv \u00f3ri\u00e1sv\u00e1sznak, sz\u00e1mos m\u0171v\u00e9szett\u00f6rt\u00e9neti \u00e9s aktu\u00e1lis utal\u00e1ssal. A ki\u00e1ll\u00edt\u00e1s sz\u0171kszav\u00fa ismertet\u0151je nyom\u00e1n azt is megtudhatjuk, hogy az itt ki\u00e1ll\u00edtott kilenc k\u00e9p nagyr\u00e9sz\u00e9t Ghenie direkt ide festette, \u00e9s a tengeri k\u00e9pek a geopolitikai helyzetre reflekt\u00e1lnak. Ez ugyan szerintem (a The Drowning<\/em> \/2019\/ kiv\u00e9tel\u00e9vel) egy\u00e1ltal\u00e1n nem der\u00fcl ki, de biztosan igaz. Az viszont egy\u00e9rtelm\u0171, hogy a festm\u00e9nyek a velencei iskol\u00e1ra utalnak, els\u0151sorban Tintoretto- \u00e9s Tiepolo-hat\u00e1s fedezhet\u0151 fel a kompoz\u00edci\u00f3kon, a robusztus alakokon, a figur\u00e1k csoportos\u00edt\u00e1s\u00e1n, a sz\u00ednv\u00e1laszt\u00e1son, valamint a Velenc\u00e9t id\u00e9z\u0151 v\u00edzen, kuty\u00e1kon \u00e9s maszkokon (Self-Portrait with Animal Mask,<\/em> 2018).[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

10<\/p>\n

Adrian Ghenie. The Battle between Carnival and Feast.<\/em> Fondazione Giorgoione Cini (Palazzo Cini. La Galleria), Velence, 2019. \u00e1prilis 19 \u2013 november 18., ld. https:\/\/www.cini.it\/en\/events\/the-battle-between-carnival-and-feast<\/a><\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”20″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-0-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21432″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Adrian Ghenie:\u00a0The Drowning,<\/em> 2019, olaj, v\u00e1szon, 190\u00d7295 cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”01″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Enn\u00e9l azonban sokkal meghat\u00e1roz\u00f3bb a Bacon-hat\u00e1s, melyet Ghenie<\/span> is elismer, \u00e9s ami a kezdeti \u00e9vekt\u0151l jellemz\u0151 r\u00e1. Bacon fest\u00e9szet\u00e9nek szinte minden jellegzetes eleme felfedezhet\u0151 ezen a t\u00e1rlaton, ha Deleuze nagyszer\u0171 k\u00f6nyv\u00e9t, Az \u00e9rzet logik\u00e1j\u00e1<\/em>t11<\/span> vessz\u00fck alapul, akkor defigur\u00e1ci\u00f3r\u00f3l, Alakokr\u00f3l (melyek val\u00f3j\u00e1ban \u201eszervek n\u00e9lk\u00fcli testek\u201d), h\u00fasr\u00f3l (a k\u00e9pek m\u00e9sz\u00e1rsz\u00e9k-jelleg\u00e9r\u0151l, a rajtuk megjelen\u0151 besti\u00e1lis, sz\u00e9ttrancs\u00edrozott, felismerhetetlen testekr\u0151l), az ember \u00e9s az \u00e1llat k\u00f6z\u00f6tti hat\u00e1r felsz\u00e1mol\u00e1s\u00e1r\u00f3l, vagy \u201e\u00e1llatt\u00e1 v\u00e1l\u00e1sokr\u00f3l\u201d besz\u00e9lhet\u00fcnk. Ghenie h\u00e1rom 2019-es Untitled<\/em> portr\u00e9ja esz\u00fcnkbe juttatja Francis Bacon Three Studies for a Self-Portrait<\/em>-j\u00e1t (1967) vagy m\u00e1s triptichonjait, a Figure with a Dog<\/em> (2019) \u00e1llat\u00e1ban pedig Bacon<\/span> kuty\u00e1j\u00e1ra ismerhet\u00fcnk (mik\u00f6zben a kompoz\u00edci\u00f3 Giandomenico Tiepolo,<\/span> a Palazzo Rezzonic\u00f3ban l\u00e1that\u00f3, fresk\u00f3it is felid\u00e9zi). Csakhogy ezekb\u0151l az \u00fajra\u00e9rtelmez\u00e9sekb\u0151l hi\u00e1nyzik Bacon<\/span> val\u00f3di kegyetlens\u00e9ge (ahogy Tintoretto dr\u00e1mai ereje \u00e9s Tiepolo j\u00e1t\u00e9kos k\u00f6nnyeds\u00e9ge is). Tov\u00e1bb\u00e1 hi\u00e1nyzik a k\u00e9pekb\u0151l az a val\u00f3di jelenl\u00e9t, mely valamennyi nagy m\u0171 ismertet\u0151jegye. Ghenie k\u00e9pei nem hatnak minden \u00e9rz\u00e9kszerv\u00fcnkre, nem v\u00e1ltanak ki m\u00e9lyen felkavar\u00f3 hat\u00e1st. L\u00e1tszatprovok\u00e1ci\u00f3k, ut\u00e1nj\u00e1tsz\u00e1sok, \u00fcgyes, \u00e1mde \u00fcres sz\u00ednj\u00e1t\u00e9kok.<\/p>\n

Mindezt a csal\u00f3d\u00e1st azonban feledteti, ha egy szinttel lejjebb ben\u00e9z\u00fcnk az \u00e1lland\u00f3 ki\u00e1ll\u00edt\u00e1sra, ahol sz\u00e1mos m\u00e1s alkot\u00e1s k\u00f6z\u00f6tt Piero della Francesca szenvtelen vagy csak mag\u00e1ba mer\u00fcl\u0151 Madonn\u00e1<\/em>ja (1470\u20131499.k.), Fra Angelico szel\u00edd \u00e9s \u00e1br\u00e1ndoz\u00f3 Aquin\u00f3i Szent Tam\u00e1s<\/em>a (1438\u20131443.k.) vagy Cosimo Tura r\u00f3zsasz\u00edn, testre fesz\u00fcl\u0151 jelmezt visel\u0151, t\u00e1ncos-harcos Szent Gy\u00f6rgy<\/em>e (aki s\u00e1rk\u00e1ny\u00e1val egy\u00fctt Velence egyik szimb\u00f3luma, 1460\u20131480.k.) v\u00e1r minket, az elrejt\u0151z\u0151 nagy m\u0171v\u00e9szet p\u00e9ld\u00e1ik\u00e9nt.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

11<\/p>\n

Gilles Deleuze: Francis Bacon. Az \u00e9rzet logik\u00e1ja.<\/em> Ford. Seregi Tam\u00e1s, Atlantisz K\u00f6nyvkiad\u00f3, Budapest, 2014<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-0-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21451″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Adrian Ghenie:\u00a0Figure with Dog,<\/em> 2019, olaj, v\u00e1szon, 240\u00d7210 cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”helyek” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

XVI.<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”01″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]A fontos tal\u00e1lkoz\u00e1sok \u00e9s val\u00f3di felfedez\u00e9sek nem jelentik be el\u0151re az \u00e9rkez\u00e9s\u00fcket, hanem az ember egyszercsak ott van, ahol lennie kell. Ilyesmit \u00e9reztem, amikor Jannis Kounellis<\/span> (1936\u20132017) \u00e9letm\u0171 ki\u00e1ll\u00edt\u00e1s\u00e1ra12<\/span> bet\u00e9vedtem, melynek a Fondazione Prada, Velenc\u00e9ben nyolc \u00e9ve megnyitott, kort\u00e1rs m\u0171v\u00e9szeti k\u00f6zpontja ad helyet. Az arte povera jelent\u0151s m\u0171v\u00e9sz\u00e9nek alkot\u00e1sai egy csod\u00e1latosan fel\u00faj\u00edtott, 18. sz\u00e1zadi palot\u00e1ba (a Ca\u2019 Corner della Regina \u00e9p\u00fclet\u00e9be) ker\u00fcltek. A fogad\u00f3csarnok oldaltermeiben Kounellis sz\u00ednpadi d\u00edszletterveir\u0151l l\u00e1thatunk arch\u00edv fot\u00f3kat \u00e9s vide\u00f3kat, k\u00f6zt\u00fck a Velenc\u00e9be (Sz\u00ednh\u00e1zi munka,<\/em> Teatro di Palazzo Grassi, 1969), illetve mag\u00e1ra a Bienn\u00e1le<\/em>ra (Proszc\u00e9nium \u2013 \u00c1tv\u00e1ltoz\u00e1sok<\/em> Teatro Maliban, 1984) k\u00e9sz\u00fclt el\u0151ad\u00e1sokr\u00f3l. Nem v\u00e9letlen ez a sz\u00ednh\u00e1zi felvezet\u00e9s, hiszen az eg\u00e9sz ki\u00e1ll\u00edt\u00e1st egy letisztult, elemi teatralit\u00e1s jellemzi. Erre utal, hogy az emeleti szint k\u00f6zponti term\u00e9be l\u00e9pve, az els\u0151, ami megragadja a figyelm\u00fcnket, egy f\u00e9l szob\u00e1t kit\u00f6lt\u0151 install\u00e1ci\u00f3, melyet f\u00f6ldre fektetett kab\u00e1tok, kalapok \u00e9s cip\u0151k alkotnak. Valamennyi r\u00e9gi, s\u00f6t\u00e9t, kopott f\u00e9rfiviselet. Sz\u00e9pen elrendezve hevernek a f\u00f6ld\u00f6n (ha j\u00f3l sz\u00e1moltam, nyolc sorban, soronk\u00e9nt hat v\u00e1lt\u00e1s ruha).[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

12<\/p>\n

Jannis Kounellis.<\/em> Fondazione Prada, Velence, 2019. m\u00e1jus 11 \u2013 november 24., ld. http:\/\/www.fondazioneprada.org\/project\/jannis-kounellis\/?lang=en<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-0-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21444″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Jannis Kounellis: C\u00edm n\u00e9lk\u00fcl,<\/em> 2011, kab\u00e1tok, kalapok, cip\u0151k, v\u00e1ltoz\u00f3 m\u00e9ret, (r\u00e9szlet)<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”01″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Hov\u00e1 t\u0171ntek a ruh\u00e1kat visel\u0151 emberek? Milyen t\u00f6rt\u00e9netet rejtenek, milyen \u00fczenetet k\u00f6zvet\u00edtenek ezek a magukra hagyott ruhadarabok? A c\u00edm (Senza titolo,<\/em> 2011) nem ad semmilyen eligaz\u00edt\u00e1st. Ugyanakkor ez az enigmatikus m\u0171 mintegy el\u0151revet\u00edti (vagy k\u00e9sei d\u00e1tuma miatt visszautal arra), hogy milyen eszk\u00f6z\u00f6kkel \u00e9l a m\u0171v\u00e9sz. Mindenekel\u0151tt felt\u0171n\u0151en sok az ism\u00e9tl\u00e9s, a visszat\u00e9r\u0151 mot\u00edvum az alkot\u00e1saiban. Ilyenek az itt l\u00e1tott ruh\u00e1k, de eml\u00edthetn\u00e9nk az ablakokat, az ajt\u00f3kat, a t\u00e1rl\u00f3kat, a falik\u00e9peket, vagy ezeket egy sz\u00f3ban \u00f6sszefoglalva: a keretez\u00e9seket.<\/em> Kounellis mindent emelv\u00e9nyekre, tabl\u00f3kba rak, majd ezeken a kiemel\u00e9st szolg\u00e1l\u00f3 elemeken rendezi el (n\u00e9ha szinte m\u00e1ni\u00e1kus gondoss\u00e1ggal) k\u00fcl\u00f6nb\u00f6z\u0151 gy\u0171jtem\u00e9nyeit. A felhalmozott t\u00e1rgyak a lehet\u0151 legv\u00e1ltozatosabbak: a term\u00e9szethez k\u00f6t\u0151dnek (k\u00f6vek, n\u00f6v\u00e9nyek, nyers gyapj\u00fa), vagy az ember \u00e1ltal el\u0151\u00e1ll\u00edtottak (hangszerek, \u00f3cskavasak, b\u00fatorok, szobortorz\u00f3k, pap\u00edrlapok, harangok).<\/p>\n

Mit k\u00e9pviselnek ezek a maradv\u00e1nyok? Prof\u00e1n vagy szakr\u00e1lis jelent\u00e9st hordoznak? \u00d6nmagukra vagy \u00f6nmagukon t\u00fal utalnak? Tal\u00e1n egyik magyar\u00e1zat sem \u00e1ll a m\u0171v\u00e9sz intenci\u00f3j\u00e1t\u00f3l t\u00e1vol. Egyr\u00e9szt a legh\u00e9tk\u00f6znapibb, a legalantasabb val\u00f3s\u00e1g t\u00e1rgyait l\u00e1tjuk (ahogy Kounellis kort\u00e1rs\u00e1t, a k\u00e9pz\u0151m\u0171v\u00e9sz \u00e9s sz\u00ednpadi m\u00e1gus Tadeusz Kantort is a \u201etal\u00e1lt\u201d vagy a \u201ev\u00e9letlen\u201d, nyomor\u00fas\u00e1gos \u00e9s szeg\u00e9ny t\u00e1rgyak \u00e9rdekelt\u00e9k). T\u00f6bbnyire m\u00e1r kidob\u00e1sra \u00edt\u00e9lt, haszn\u00e1laton k\u00edv\u00fcli, hib\u00e1s vagy av\u00edtt t\u00e1rgyak ezek. \u00d3cskatelepeken vagy r\u00e9gis\u00e9gpiacokon l\u00e1thatunk hasonl\u00f3kat, de m\u00e9gis, egy szokatlan keretbe \u00e9s m\u00e1s kontextusba helyezve, \u00faj \u00e9rtelmet nyernek. Mintha meghozt\u00e1k volna (hasznoss\u00e1guk, haszn\u00e1lhat\u00f3s\u00e1guk elveszt\u00e9s\u00e9vel) azt a sz\u00fcks\u00e9gszer\u0171 \u00e1ldozatot, melynek r\u00e9v\u00e9n megszentel\u0151dnek: mint egy vaslemez el\u00e9 helyezett, le\u00e9gett gyertya, vagy egy kormos fal el\u0151tt felhalmoz\u00f3dott k\u0151rak\u00e1s. Egyszerre utalnak az elm\u00fal\u00e1sra (a csend\u00e9let vagy ink\u00e1bb a csendes hal\u00e1l, nature morte,<\/em> form\u00e1j\u00e1ban) \u00e9s a fennmarad\u00e1sra. Van ezekben az install\u00e1ci\u00f3kban valami szel\u00edd melank\u00f3lia, egy meg nem fogalmazhat\u00f3 vesztes\u00e9g miatti b\u00e1nat, mik\u00f6zben nagy nyugalmat \u00e1rasztanak.<\/p>\n

Kounellis n\u00e9ha egy k\u00f6z\u00e9pkori gondolkod\u00f3ra eml\u00e9keztet, aki a t\u0171zr\u0151l (a tiszt\u00edt\u00f3t\u0171z l\u00e1ngj\u00e1r\u00f3l vagy a misztikus \u00e1talakul\u00e1s sz\u00fcks\u00e9gszer\u0171 felt\u00e9tel\u00e9r\u0151l), valamint a k\u0151 \u00e9s az arany alkimista elemeir\u0151l medit\u00e1l, melyeket kortalan kontextusba helyez. Ugyanakkor ott van m\u0171vei h\u00e1tter\u00e9ben a 20. sz\u00e1zad tragikus tapasztalata. Ezt mutatja szokatlanul besz\u00e9des c\u00edm\u0171 remekm\u0171ve, a Tragedia civile<\/em> (1975), mely egy aranyfal el\u00e9 \u00e1ll\u00edtott ruhafogas, r\u00e1akasztott fekete kab\u00e1ttal \u00e9s kalappal. Olyan ez az install\u00e1ci\u00f3, mint egy rejt\u00e9lyes sz\u00ednpadk\u00e9p, egy emberek n\u00e9lk\u00fcli (vagy az ember t\u00e1voz\u00e1sa ut\u00e1ni) sz\u00ednh\u00e1z. Egy v\u00e9gtelen\u00fcl egyszer\u0171, ugyanakkor val\u00f3di dr\u00e1mai fesz\u00fclts\u00e9get hordoz\u00f3 jelenetre ismerhet\u00fcnk benne, melynek szerz\u0151je a t\u00f6rt\u00e9nelem.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21447″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Jannis Kounellis: C\u00edm n\u00e9lk\u00fcl (Civil trag\u00e9dia),<\/em> 1975, aranylapokkal bevont fal, ruhafogas, kalap, kab\u00e1t, olajl\u00e1mpa, v\u00e1ltoz\u00f3 m\u00e9ret (r\u00e9szlet)<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”01″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Az \u00e9letm\u0171-ki\u00e1ll\u00edt\u00e1s (mely szerencs\u00e9re nem tartja mag\u00e1t szigor\u00faan a kronologikus sorrendhez, hanem az \u00e9leten \u00e1t tart\u00f3 kutat\u00e1s k\u00fcl\u00f6nb\u00f6z\u0151 f\u00e1zisait \u00fctk\u00f6zteti egym\u00e1ssal) nagy \u00e9rdeme, hogy teret ad a m\u0171veknek, leveg\u0151s \u00e9s t\u00e1gas tereket. Kounellis gyakran monument\u00e1lis alkot\u00e1sai pedig ilyen befogad\u00f3 k\u00f6rnyezetet ig\u00e9nyelnek ahhoz, hogy val\u00f3ban megmutatkozhassanak. Ek\u00f6zben a ki\u00e1ll\u00edt\u00e1si t\u00e9r, a Ca\u2019 Corner Regina palot\u00e1ja, egyr\u00e9szt keretet alkot, m\u00e1sr\u00e9szt maga is a ki\u00e1ll\u00edt\u00e1s r\u00e9sze lesz. Egyszerre sz\u00ednpad \u00e9s kell\u00e9kt\u00e1r. Ezt j\u00f3l illusztr\u00e1lja a m\u00e1sodik szint nagy install\u00e1ci\u00f3ja, ahol a fakazett\u00e1s mennyezetr\u0151l bel\u00f3gatott ruh\u00e1sszekr\u00e9nyek alatt j\u00e1runk (C\u00edm n\u00e9lk\u00fcl,<\/em> 1993\u20132008). Vajon a f\u00fcgg\u00f6ny el\u00e9 vagy m\u00f6g\u00e9 kell k\u00e9pzeln\u00fcnk magunkat? Voltak\u00e9pp mindegy, sokkal l\u00e9nyegesebb, hogy mi is szerepl\u0151kk\u00e9 v\u00e1lunk, akik belakj\u00e1k \u00e9s \u00e9lettel t\u00f6ltik meg a teret. Mi teremtj\u00fck meg az egyes install\u00e1ci\u00f3k (magyar\u00e1zat n\u00e9lk\u00fcl hagyott jelenetek) k\u00f6z\u00f6tt a kapcsolatot. Mindek\u00f6zben, a felf\u00fcggesztett b\u00fatorok alatt \u00e1llva, kock\u00e1zatot is v\u00e1llalunk. De a val\u00f3di m\u0171v\u00e9szet mindig vesz\u00e9lyes.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”full-0-20″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21448″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Jannis Kounellis: C\u00edm n\u00e9lk\u00fcl,<\/em> 1993\u20132008, (r\u00e9szlet)<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”helyek” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

XVII.<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”01″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Ha egy \u00e9p\u00fclettel tov\u00e1bb s\u00e9t\u00e1lunk a Canal Grande ment\u00e9n, m\u00e1ris ott tal\u00e1ljuk a Ca\u2019 Pesaro modern m\u0171v\u00e9szeti gal\u00e9ri\u00e1j\u00e1t, mely egy m\u00e1sik fontos \u00e9letm\u0171ki\u00e1ll\u00edt\u00e1s helysz\u00edne.<\/p>\n

Az Arshile Gorky<\/span> 1904\u20131948<\/em> t\u00e1rlat13<\/span> bepillant\u00e1st ny\u00fajt egy tragikusan r\u00f6vid \u00e9s s\u00falyos traum\u00e1kat hordoz\u00f3 \u00e9letbe. Az \u00f6rm\u00e9ny sz\u00e1rmaz\u00e1s\u00fa Gorky (Rothk\u00f3hoz hasonl\u00f3an) szint\u00e9n a kitasz\u00edtott, \u00fcld\u00f6z\u00f6tt, migr\u00e1ns m\u0171v\u00e9sz paradigmatikus alakja. Csal\u00e1dj\u00e1val, m\u00e9g gyermekk\u00e9nt, a t\u00f6r\u00f6k n\u00e9pirt\u00e1s el\u0151l kell menek\u00fclnie, a legnagyobb nyomorban telik \u00e9lete els\u0151 fele, im\u00e1dott \u00e9desanyja (akir\u0151l egy megrend\u00edt\u0151en sz\u00e9p, k\u00f6z\u00f6s portr\u00e9t fest: The Artist and his Mother,<\/em> 1926\u20131936) belehal a n\u00e9lk\u00fcl\u00f6z\u00e9sekbe. 1920-ban \u00e9rkezik meg Amerik\u00e1ba, ahol teljesen autodidakta m\u00f3don, m\u00fazeumokba j\u00e1rva, saj\u00e1t\u00edtja el a m\u0171v\u00e9szetet, els\u0151sorban szorgalmas m\u00e1sol\u00e1ssal. A ki\u00e1ll\u00edt\u00e1s nyit\u00f3term\u00e9ben l\u00e1that\u00f3, C\u00e9zanne, Picasso, Kandinszkij, L\u00e9ger festm\u00e9nyekr\u0151l k\u00e9sz\u00fclt m\u00e1solatai \u00edgy legink\u00e1bb k\u00e9pz\u0151m\u0171v\u00e9szeti tanulm\u00e1nyoknak tekinthet\u0151k. Gorky a m\u00e1sol\u00e1s r\u00e9v\u00e9n pr\u00f3b\u00e1lja meg\u00e9rteni az egyes fest\u00e9szeti technik\u00e1kat \u00e9s m\u0171v\u00e9szeti formanyelveket, de egyikn\u00e9l sem ragad le, hanem kitart\u00f3an keresi a saj\u00e1t \u00fatj\u00e1t. Eg\u00e9sz \u00e9lete egy szakadatlan tanul\u00e1si \u00e9s kutat\u00e1si folyamat, ez figyelhet\u0151 meg a k\u00f6vetkez\u0151 teremben ki\u00e1ll\u00edtott rajzaiban, melyek k\u00f6z\u00fcl tal\u00e1n az Agony<\/em> (1946) v\u00e1zlatai a leger\u0151sebbek \u00e9s legfelkavar\u00f3bbak. Gorky viszonylag k\u00e9s\u0151n \u00e9r\u0151 m\u0171v\u00e9sz, igaz\u00e1n az 1940-es \u00e9vekben bontakozik ki m\u00e1r senki m\u00e1shoz nem hasonl\u00edthat\u00f3 fest\u0151i vil\u00e1ga, ett\u0151l kezdve alkot \u00f6sszet\u00e9veszthetetlen st\u00edlusban, alakul ki saj\u00e1t l\u00e1t\u00e1sm\u00f3dja. Szint\u00e9n az 1940-es \u00e9vek elej\u00e9re tehet\u0151 \u00e9let\u00e9nek legboldogabb korszaka: megn\u0151s\u00fcl, gyereke sz\u00fcletik, viszonylagos biztons\u00e1gban \u00e9lnek, gyakran kil\u00e1togatnak feles\u00e9ge csal\u00e1dj\u00e1nak vid\u00e9ki h\u00e1z\u00e1ba, ahol \u00fajra felfedezi a gyermekkor\u00e1ban elhagyott term\u00e9szetet (ezt az \u00e9lm\u00e9nyt mutatja a One year the Milkweed,<\/em> 1944 vagy a Landscape-table,<\/em> 1945). Err\u0151l az id\u0151szakr\u00f3l sok sz\u00f3 esik a ki\u00e1ll\u00edt\u00e1sra k\u00e9sz\u00fclt, The Eye-Spring<\/em> c\u00edm\u0171, dokumentumfilmben (melynek rendez\u0151je Gorky unok\u00e1ja: Cosima Spender). Tal\u00e1n a csal\u00e1di kegyelet miatt, ez a film hallgat az utols\u00f3 \u00e9vek nagy kr\u00edziseir\u0151l, csak annyit eml\u00edt, hogy Gorky r\u00e1kban szenvedett. Nem esik sz\u00f3 viszont a fest\u0151 m\u0171term\u00e9nek le\u00e9g\u00e9s\u00e9r\u0151l, sz\u00e1mos k\u00e9p\u00e9nek megsemmis\u00fcl\u00e9s\u00e9r\u0151l, s\u00falyos aut\u00f3baleset\u00e9r\u0151l, melynek k\u00f6vetkezt\u00e9ben jobb keze gyakorlatilag leb\u00e9nult, vagy arr\u00f3l, hogy a feles\u00e9ge elhagyta, mag\u00e1ra maradt, \u00e9s v\u00e9g\u00fcl az \u00f6ngyilkoss\u00e1gba menek\u00fclt. De a k\u00e9pek meg\u00e9rt\u00e9s\u00e9ben am\u00fagy sem a t\u00f6rt\u00e9neti t\u00e9nyek vagy a visszaeml\u00e9kez\u00e9sek, hanem maguk a k\u00e9pek seg\u00edtenek. Az utols\u00f3 terem munk\u00e1iban (Final works<\/em>), ugyan m\u00e9g l\u00e1thatjuk az \u00e9let v\u00e9gs\u0151 felvillan\u00e1sait, de sz\u00e1mos ezek k\u00f6z\u00fcl, kiv\u00e1ltk\u00e9pp a Last Painting<\/em> (1948), ny\u00edltan besz\u00e9l a kib\u00edrhatatlann\u00e1 v\u00e1l\u00f3 f\u00e1jdalomr\u00f3l.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

13<\/p>\n

Arshile Gorky 1904\u20131948.<\/em> Ca\u2019 Pesaro, Velence, 2019. m\u00e1jus 9 \u2013 szeptember 22., ld. https:\/\/capesaro.visitmuve.it\/en\/mostre-en\/mostre-in-corso-en \/exhibition-arshile-gorky\/2019\/01\/20267\/arshile-gorky-2\/<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21465″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Arshile Gorky: The Artist and his Mother,<\/em> 1926\u20131936 | forr\u00e1s: wikiart.org<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”01″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Befejezetlenek ezek a k\u00e9pek, ahogy az eg\u00e9sz \u00e9letm\u0171 is az. Gorky m\u00e9g a legm\u00e9lyebb v\u00e1ls\u00e1g idej\u00e9n is azt hangs\u00falyozta, hogy \u201e\u00fajra \u00e9s \u00fajra el kell kezdeni festeni, de semmit sem szabad befejezni\u201d. De vajon l\u00e9tezik egy\u00e1ltal\u00e1n t\u00f6k\u00e9letesen befejezett m\u0171alkot\u00e1s? Nem minden befejez\u00e9s csak t\u00f6bb\u00e9-kev\u00e9sb\u00e9 esetleges f\u00e9lbehagy\u00e1sa valaminek? Nem az a legtisztess\u00e9gesebb m\u0171v\u00e9szi \u00e1ll\u00e1spont, amelyik \u0151szint\u00e9n beismeri az \u201eutols\u00f3\u201d gesztus v\u00e9letlenszer\u0171s\u00e9g\u00e9t?<\/p>\n

A ki\u00e1ll\u00edt\u00e1sra \u00e9rkezve \u00e9s onnan t\u00e1voz\u00f3ban, ugyanazzal az ajt\u00f3ban \u00e1ll\u00f3 k\u00e9ppel tal\u00e1lkozunk: a fest\u0151 1937-es \u00f6narck\u00e9p\u00e9vel, melyen els\u0151sorban a szel\u00edd \u00e9s szomor\u00fa tekintet ragad meg minket, mely mintha egy feln\u0151tt arc\u00e1ban rejt\u0151z\u0151, elveszett kisfi\u00fa tekintete lenne. Gorky portr\u00e9ja nyom\u00e1n azt is pontosan \u00e9rtj\u00fck, mi\u00e9rt mondhatta r\u00f3la Rothko (akinek korai m\u0171v\u00e9szet\u00e9re er\u0151sen hatott), hogy k\u00fcl\u00f6n\u00f6sen \u00e9rz\u00e9keny \u00e9s m\u00e9ly ember volt, nem csup\u00e1n szenved\u00e9lyes m\u0171v\u00e9sz.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-4-4″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][image_with_animation image_url=”21468″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”center” img_link_large=”yes” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Banksy: Little migrant with a smoke bomb<\/em>\u00a0\u00a9 Fot\u00f3: Darida Veronika<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” id=”01″ overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”2\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]Mark Rothko \u00e9s Arshile Gorky, a k\u00e9t sz\u00e1m\u0171z\u00f6tt (migr\u00e1ns), ma a vil\u00e1g minden nagy m\u00fazeum\u00e1ban befogadott alkot\u00f3. Persze mindig egyszer\u0171bb \u201ehalott\u201d m\u0171veket befogadni, mint \u00e9l\u0151 embereket. B\u00e1r tegy\u00fck hozz\u00e1, hogy az \u00faj m\u0171alkot\u00e1sok befogad\u00e1sa sem egyszer\u0171 vagy egy\u00e9rtelm\u0171 folyamat. Velenc\u00e9ben m\u00e9g mindig \u00e9l\u00e9nk vita folyik Banksy streetart alkot\u00e1sa, a Little migrant with a smoke bomb<\/em> kapcs\u00e1n, melyet m\u00e9g m\u00e1jusban, a Rio di San Pantalon mellett tal\u00e1lhat\u00f3 palazzo fal\u00e1ra festett,14<\/span> \u00e9s amelyet a h\u00e1z tulajdonosa m\u00e1r legsz\u00edvesebben elt\u00e1vol\u00edtott volna. A v\u00e1ros most m\u0171alkot\u00e1snak akarja nyilv\u00e1n\u00edtani, \u00e9s ekk\u00e9nt meg\u0151rizni. Ha ez megval\u00f3sul, otthonra lelhet. De vajon Banksy kis migr\u00e1ns\u00e1nak sorsa v\u00e1ltoztat b\u00e1rmit is azon, hogy mit gondol a k\u00f6zv\u00e9lem\u00e9ny (vagy mit gondol a politika) a F\u00f6ldk\u00f6zi tengeren haj\u00f3t\u00f6r\u00e9st szenved\u0151, kort\u00e1rs Med\u00faza tutajokr\u00f3l?[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

14<\/p>\n

https:\/\/www.designboom.com\/art\/banksy-migrant-child-mural-venice-05-27-2019\/<\/a>; https:\/\/www.dw.com\/en banksy-street-artist-credited-with-fringe-venice-biennale-artwork\/a-48843320<\/a> (utols\u00f3 hozz\u00e1f\u00e9r\u00e9s: 2019. augusztus 30.)<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”padding-10-percent” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”top” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

\"Velence<\/a><\/div><\/div>\n
\"Velence<\/a><\/div><\/div>\n
\"Velence<\/a><\/div><\/div>\n
\"Velence<\/a><\/div><\/div><\/div><\/div><\/div>\t\t\t

Time, Forward!.<\/em> V\u2013A\u2013C Foundation, Velence, 2019. m\u00e1jus 11 \u2013 okt\u00f3ber 20., r\u00e9sztvev\u0151 m\u0171v\u00e9szek: Rosa Barba, Aleksandra Domanovi\u0107, Valentin Fetisov, Joana Hadjithomas<\/span> and Khalil Joreige, Daria Irincheeva, Alexandra Sukhareva, Christopher Kulendran Thomas<\/span> in collaboration with Annika Kuhlmann, Adam Linder, Haroon Mirza, Trevor Paglen, Walid Raad, James Richards, Kirill Savchenkov, Where Dogs Run,<\/span> ld. http:\/\/www.v-a-c.ru\/exhibition\/time-forward\/<\/a><\/p>\n