{"id":24139,"date":"2020-01-10T20:53:59","date_gmt":"2020-01-10T19:53:59","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=24139"},"modified":"2023-01-23T20:00:48","modified_gmt":"2023-01-23T19:00:48","slug":"doubt-and-onesess-katalin-kaldi-the-perfect-six","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/en\/doubt-and-onesess-katalin-kaldi-the-perfect-six\/","title":{"rendered":"Doubt and Oneness | On the new works of Katalin K\u00e1ldi"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Katalin K\u00e1ldi: The Perfect Six<\/em><\/h2>\n[\/vc_column_text][vc_column_text]\n

Budapest Gallery
\n6 December 2019 \u2013 19 January 2020<\/h4>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text](Doubt)<\/p>\n

The starting point of every thought is doubt \u2013 a kind of indecision and uncertainty. If there was no doubt, I suspect, there would be no sense in thinking. In this regard, ambiguity and multiple possible meanings appear more fruitful than unequivocality. Unequivocality is not a point of departure, but the final goal. The task is to articulate one\u2019s thoughts about ambiguity in an unambiguousmanner, that is to say, to contain doubt within oneness. In writing and speaking about their creative process, numerous artists have described starting from a point of fertile doubt, with a view to achieving clarity of thought and form.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” 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” scene_position=”center” text_color=”dark” text_align=”left” class=”full-20l-1000″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24122″ alignment=”” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Katalin K\u00e1ldi: The Perfect Six,<\/em> Budapest Gallery (exhibition view) \u00a9 Photo: Ferenc Eln<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Oneness and doubt are among the key concepts of Katalin K\u00e1ldi<\/span>\u2019s art. As apparent from M\u00f3nika Zsikla<\/span>\u2019s monograph, even the artist\u2019s earliest works from around 1996 are connected to these concepts, and later, in her DLA dissertation, she also placed great emphasis on these terms.In the Hungarian language, the word \u201ck\u00e9ts\u00e9g\u201d, meaning \u201cdoubt\u201d, can be traced back to \u201ckett\u0151ss\u00e9g\u201d, or \u201cduality\u201d, just as the English word \u201cdoubt\u201d\u2013 of Latin roots \u2013 is close in sound to \u201cdouble\u201d, and the German \u201cZweifel\u201d to \u201czwei\u201d.<\/p>\n

Dual shapes are often returning elements and modules in Katalin K\u00e1ldi\u2019s art. For instance, the dumbbells, which, at first glance, appear banally unambiguous in her paintings and sculptures, on second take, assume a myriad of other possible meanings: they become piles of bones, stylised parts of molecules, or simplified structural representations of the organic and inorganic worlds. They appear as images or formulas of the balance between two identical, but oppositely positioned, forms(of two fundamental principles, as it were), as if they provided a basic scheme for unifying opposites \u2013 for bringing doubt (duality) into oneness.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” 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” scene_position=”center” text_color=”dark” text_align=”left” class=”full-20l-1000″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24124″ alignment=”” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Katalin K\u00e1ldi: The Perfect Six,<\/em> Budapest Gallery (exhibition view) \u00a9 Photo: Ferenc Eln<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]In other cases, it is not the dumbbell but the number two itself that becomes a basic unit of the world on the whole,from which, in some instances, masses of stick figures (skeletons), and, at other times, a hilly landscape unfolds. The forms are articulated by the number two and its absence, as well as the subtle painterly play of varyinggrades of colour tones. The numbers, as basic units of all existing entities, float and swim in an undefined space. We may recall that anything \u2013 essentially, the universe on the whole \u2013 can be described through the system of binary codes; it is enough to think of the digital world that rules our everyday life. The word \u201cdigital\u201d comes from the Latin \u201cdigitus\u201d, originally meaning \u201cfinger\u201d. Human beings use their hands and fingers to count, just as they do to paint: in both cases, the intellectual activity is connected to the tactile sense.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” 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” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24125″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Katalin K\u00e1ldi: The Perfect Six,<\/em> Budapest Gallery (exhibition view) \u00a9 Photo: Ferenc Eln<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]I often feel that what Katalin K\u00e1ldi is doing is counting \u2013 in space and on the two-dimensional plane. Consciously and unconsciously, she follows a numerical order: 1, 2, 3, 4, 5, 6 \u2013 from the countable to the uncountable, the finite to the infinite, and the measurable to the immeasurable. She sometimes playfully switches the steps, thereby breaking the monotony. Apparent mistakes \u2013 irregularities \u2013 are the exceptions that prove the rule, while also curbing-counteracting the teaching. Katalin K\u00e1ldi counts on the randomness and chance that is encoded in the creative process, thereby discounting the illusion of perfection. At the same time, she also discounts certain painterly traditions. The monochromy that dominates her works inherently carries doubts regarding the classic concept of easel painting. Katalin K\u00e1ldi does more than merely invoke the doubts that rule monochrome painting, however; she questions them \u2013 the doubt she represents in her paintings is, itself, doubtful.<\/p>\n

In pondering the duality encoded in the notion of doubt, it may occur to us: the metaphysical thinking that has defined European culture for millennia is itself nothing but a binary system that confronts matter with spirit, body with soul, things with ideas. The objects of Katalin K\u00e1ldi\u2019s latest works are ideal forms, and numbers that can be connected to them. These \u2013 by necessity \u2013 abstract things, however, in every instance, assume emphatically material-like form.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” 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” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24127″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Katalin K\u00e1ldi: The Perfect Six,<\/em> Budapest Gallery (exhibition view) \u00a9 Photo: Tam\u00e1s Juh\u00e1sz G.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]As a next step, it would be tempting to also describe Katalin K\u00e1ldi\u2019s art as a dialectic playing field of theses and antitheses. Doing so, however, would divert our attention away from the works themselves. For the most part, painters are not philosophers. They work primarily with matter, not words. Katalin K\u00e1ldi, too, struggles with matter; with the fragility and weight of plaster, the floating of shell-structures, the drying time and diverse properties of pigments, and the technical pitfalls inherent in the millennia-old methods of mosaic making. Matter appears measurable (it has mass and volume), and yet, it is uncountable. Only those most knowledgeable about the properties of matter can surmise how many tubes of paint were applied to a piece of canvas, or how much liquid was necessary for the plaster surface to set.<\/p>\n

Katalin K\u00e1ldi articulates numerability through the innumerable. Mosaic laying is, in essence, the segmentation of a two-dimensional surface, and then its rearrangement with the resulting pieces. While mosaic pieces are countable, they are difficult to count with the naked eye. The gleam of their reflective surfaces cannot be counted or calculated either. What we see is exact, measured and contoured, and yet it continuously changes in accordance with the light hitting it. The glimmering pieces of the mosaic, the silky surface of the paintings and the microscopic creases of the pigments appear ever different, depending on the time of day or given vantage point.<\/p>\n

What the viewer sees appears clearly given, and yet, in reality, it is nevertheless doubtable.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” 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” scene_position=”center” text_color=”dark” text_align=”left” class=”full-20l-1000″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24128″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Katalin K\u00e1ldi: Shineing I,<\/em> 2019, oil on canvas, 40\u00d750 cm \u00a9 Photo: Ferenc Eln<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-3-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Shining<\/h6>\n

Perfection dazzles us, it shines towards us. Shining arrives from afar. It reaches the lenses of our eyes, penetrates through to the insides of our heads, but it does not touch the skin, we cannot feel it. In order to bridge a distance we need time, however short it may be. It is an immeasurable expanse, an intensive presence. Shining consists simultaneously of the coolness of crystal structures and the warmth of heat radiation, as well as all the colours in the spectrum. It also has direction, but not quantity.<\/p>\n

Blue is an indeterminate colour. Blotchy and fluid. Let us ignore for now the little blue flowers of Novalis, their surface is too small. Blue is incapable of radiating, it does not transmit matter or heat. Any sensible person dislikes it and considers getting rid of it. And yet its great neutrality is there just waiting to be used, it is so neutral, it is nothing for a multitude of straight lines drawn towards a single point or (and I myself am unable to decide) from a single point to be marked out, even with pale blue ceramic mosaic stones, ultimately it is possible to record their direction. It is possible to do anything, the main thing is the direction, which should be accurate, comparatively accurate. And the straight lines should keep moving, in time as well, at an indeterminate speed. They should divide the fields up into parts, into sections. But where they lead should be a single point, always only one.<\/p>\n

For desire, for the prime mover, distance is needed.<\/p>\n

Blue is an aberration, but even with that it can be done. (Katalin K\u00e1ldi)<\/p>\n[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” 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” scene_position=”center” text_color=”dark” text_align=”left” class=”full-20l-1000″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24129″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Katalin K\u00e1ldi: Shineing,<\/em> 2019, ceramic mosaic, 100\u00d7125 cm \u00a9 Photo: Ferenc Eln<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text](Oneness)<\/p>\n

The basic form of oneness in Katalin K\u00e1ldi\u2019s art is the circle. Around a point with no dimensions, she draws an infinite number of points. The circle is but the sum total of an infinite number of edges. The unity of a circleshape cannot be broken without its deterioration.<\/p>\n

In Katalin K\u00e1ldi\u2019s paintings, the circle is formed by the rim of a bucket or a drinking glass. To the viewer, however, it looks cosmic in scale. It is like a simultaneously majestic and blinding solar eclipse. In her previous works, K\u00e1ldi arranged objects into structures. She created conceptual still lifes. Lately, she has been shaping structures of thoughts into objects; that is to say, rather than merely conceptualising still life and (object) painting, she makes the concept itself the object of painting.<\/p>\n

Her shapes are ideal forms; the apparent source of hermotifs is planar and spatial geometry. While it seems she thinks in terms of two- and three-dimensional forms, in reality, she builds a bridge between one- and four-dimensional shapes.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” 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” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24130″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Katalin K\u00e1ldi: The Perfect Six,<\/em> Budapest Gallery (exhibition view) \u00a9 Photo: Ferenc Eln<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]She often starts with a single point \u2013 a zero-dimensional formation that does not extend into space. Her circular shapesare concentrated in a solitary point. Paradoxically, however, the object of Katalin K\u00e1ldi\u2019s art is not this point, but the concentration itself.<\/p>\n

Reduction is connected to the act of concentration. K\u00e1ldi, for the most part, limits her palette to a single colour (although she does not use more than two or three colours in her \u201cmore colourful\u201d works either). Visual unity is realised through monochromy. Her compositions are based on aunicolour surface. In the beginning, there was the two-dimensional plane. In the beginning, there was colour. Katalin K\u00e1ldi\u2019s genesis would begin something like this.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” 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” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-20″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24131″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Katalin K\u00e1ldi: Hexagon,<\/em> 2019, ceramic mosaic, 100\u00d7150 cm \u00a9 Photo: Tam\u00e1s Juh\u00e1sz G.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]In addition toher paintings, the artist\u2019s plaster works \u2013 the other commonly used medium of the oeuvre \u2013are also monochromes, while, in her mosaics, she builds reduced polychromy using monochrome quanta. In her plaster forms, the painting extends into space. In her paintings, her austere plaster shapes are saturated with colour. They begin to vibrate and pulsate. Plaster may bring to mind plaster models;the cylinder, the\u00a0sphereand the conethat Paul C\u00e9zanne talked about. Plaster forms \u2013 just as plaster replicas \u2013 are teaching aids used in drawing lessons. The ephemeral plaster objects are models. Are they perhaps models of thought? I cannot regard Katalin K\u00e1ldi\u2019s paintings in any other way: I see them as models of thought. Her mosaics \u201cdepicting\u201d floor plans also confirm this impression, and, in that, they are but the mapping out of three-dimensional space. They are maps in both the literal and abstract sense of the word \u2013 that is to say, they are ultimately models.<\/p>\n

In Katalin K\u00e1ldi\u2019s current exhibition, oneness is expressed not so much by the number one, as the number six. The perfect six, as denoted in the title. We are inadvertently reminded of throwing dice and cleromancy, as well as their various (re)interpretations from St\u00e9phane Mallarm\u00e9 to Marcel Duchamp. (The dicemotif had also appeared in K\u00e1ldi\u2019s previous works.) One may wonder: how much of a role does random chance play in Katalin K\u00e1ldi\u2019s art? Clearly, it plays a significant role \u2013 in spite of the fact that everything is calculated and well-structured.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” 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” scene_position=”center” text_color=”dark” text_align=”left” class=”full-20l-1000″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”24132″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default” el_class=”full-img”][vc_column_text]\n

Katalin K\u00e1ldi: The Perfect Six,<\/em> Budapest Gallery (exhibition view) \u00a9 Photo: Ferenc Eln<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” class=”p-4-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]The perfect six, this time around, consists of three times three centrally symmetrical triangles extending into space. It is a phalanx shaped from plaster: a lean collection of suspended shields, simultaneously aggressive and fragile. It is like a statement articulated with ruthless precision that nevertheless questions itself. I am reminded of a sentence written by Imre Bak many years ago, which still offers an extraordinarily accurate characterisation of Katalin K\u00e1ldi\u2019s art practice: \u201cThe statement is like a simple sentence, with its definitiveness simultaneously questioned. In this way, the sentence becomes suspended and the visual significance of the work \u2013 the painting as vision \u2013 emerges to the fore.\u201d<\/p>\n

Katalin K\u00e1ldi\u2019s works are simple sentence-like statements that question themselves over and over again. The perfect six is, in reality, not perfect, which is perhaps what makes it perfect. As the artist herself puts it: \u201cThere is a strong temptation to achieve order, or at least the illusion of it. It nevertheless seems natural that our attempts to that end should fail, one after the other. But I don\u2019t really see this as failure; we are unable to be precise.\u201d I, too, feel that the real power of the \u201cperfect six\u201d is exactly in this. It refers with needle-sharp precision to the impossibility of achieving precision, of being exactly \u201con point\u201d \u2013 and to the intangibility of that \u201cpoint\u201d. Katalin K\u00e1ldi\u2019s statement with regards to this intangibility takes shape in objects \u2013 in tangible, palpable, perceivable objects \u2013 which present doubt, or duality, as indivisible-divisible oneness.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” 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” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-cont-4-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

\u00a9 Photo: Ferenc Eln<\/p>\n[\/vc_column_text][image_with_animation image_url=”24133″ alignment=”center” animation=”Fade In” img_link_large=”yes” hover_animation=”none” 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” scene_position=”center” text_color=”dark” text_align=”left” class=”p-3-0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

The Perfect Six<\/h6>\n

The number six, to mathematicians, is a \u201cperfect number\u201d, meaning that its factors add up to the number itself (1+2+3=6).<\/p>\n

There are two concepts here: perfection and the name of a number, six, which is associated with perfection. The first concept, by definition, is indivisible, limitless and infinite. The second, whatever number is represented (in this case, six), has a defined limit, can be divided, and is finite. It is wedged in between two other numbers. And yet we say that it is not wedged, not finite, but perfect, and therefore infinite. How can this be? (Katalin K\u00e1ldi)<\/p>\n[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” 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” vertically_center_columns=”true” column_margin=”default” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-2-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” overlay_strength=”0.3″ column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”]

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