{"id":24328,"date":"2020-03-12T22:29:34","date_gmt":"2020-03-12T21:29:34","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=24328"},"modified":"2025-02-15T20:00:16","modified_gmt":"2025-02-15T19:00:16","slug":"elfujja-a-szel-art-encounters-2019","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/elfujja-a-szel-art-encounters-2019\/","title":{"rendered":"Elf\u00fajja a sz\u00e9l?"},"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” shape_type=”” gradient_type=”default”][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

Art Encounters<\/em> \u2013 Tal\u00e1lkoz\u00e1sok a m\u0171v\u00e9szettel \u2013 3. Temesv\u00e1ri Bienn\u00e1l\u00e91<\/span><\/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 kezdetben antik t\u00e9rk\u00e9peket, majd modern \u00e9s kort\u00e1rs rom\u00e1n m\u0171v\u00e9szetet gy\u0171jt\u0151 Ovidiu \u0218andor<\/span>t 2018-ban Rom\u00e1ni\u00e1ban az \u00e9v v\u00e1llalkoz\u00f3j\u00e1nak v\u00e1lasztott\u00e1k meg; a Forbes<\/em> rom\u00e1niai kiad\u00e1s\u00e1nak Power 100<\/em>-as list\u00e1j\u00e1n \u00e9vek \u00f3ta foglalt helye van. A sikeres gy\u0171jt\u0151-\u00fczletember a m\u0171v\u00e9szet egy\u00e9b ter\u00fcletein is akt\u00edv: a Tate Modern kelet-eur\u00f3pai akviz\u00edci\u00f3s bizotts\u00e1gi tags\u00e1ga2<\/span> mellett, 2015-ben Temesv\u00e1ron l\u00e9trehozta az Art Encounters Alap\u00edtv\u00e1nyt,3<\/span> amely jelent\u0151s v\u00e1rosi t\u00e1mogat\u00e1ssal az id\u00e9n m\u00e1r harmadik alkalommal rendezte meg Temesv\u00e1ron nemzetk\u00f6zi bienn\u00e1l\u00e9j\u00e1t.4<\/span> A 2019-es kiad\u00e1s kur\u00e1torai Maria Lind<\/span> \u00e9s a Szingap\u00farb\u00f3l erre a projektre hazat\u00e9rt Anca Rujoiu,<\/span> a helyi m\u0171v\u00e9szeti int\u00e9zm\u00e9nyekkel \u00e9s szervezetekkel egy\u00fcttm\u0171k\u00f6d\u00e9sben, egy k\u00f6zel egy \u00e9vig tart\u00f3 programsorozatot val\u00f3s\u00edtott meg, olvas\u00f3szemin\u00e1riumokkal, besz\u00e9lget\u00e9sekkel, filmvet\u00edt\u00e9sekkel, a Bevezet\u00e9s a kort\u00e1rs m\u0171v\u00e9szetbe<\/em> c\u00edm\u0171 t\u00f6bbr\u00e9szes el\u0151ad\u00e1ssal, \u00e9s sz\u00e1mos egy\u00e9b diszkurz\u00edv esem\u00e9nnyel. Az \u00e9ves terv csup\u00e1n egyik, de nem elhanyagolhat\u00f3 egys\u00e9ge volt a 2019. szeptember 20. \u00e9s okt\u00f3ber 27. k\u00f6z\u00f6tt k\u00f6zel huszon\u00f6t helysz\u00ednen bemutatott a The Whole and Its Parts (Az eg\u00e9sz \u00e9s r\u00e9szei)<\/em> c\u00edm\u0171 ki\u00e1ll\u00edt\u00e1s-sorozat.<\/p>\n

Ez ut\u00f3bbi asszociat\u00edv kerete az 1987-ben Rom\u00e1ni\u00e1b\u00f3l N\u00e9metorsz\u00e1gba emigr\u00e1lt Nobel-d\u00edjas \u00edr\u00f3, a b\u00e1ns\u00e1gi sv\u00e1b sz\u00e1rmaz\u00e1s\u00fa Herta M\u00fcller<\/span> m\u0171veiben gyakran visszat\u00e9r\u0151 sz\u00e9l mot\u00edvuma. A (temesv\u00e1ri) sz\u00e9l, amely akad\u00e1lytalanul \u00e1ramlik, \u00e9szrev\u00e9tlen\u00fcl hatol \u00e1t a falakon, vagy hirtelen ir\u00e1nyt v\u00e1ltva feler\u0151s\u00f6dik, hogy azt\u00e1n \u00fajra szel\u00edden elcsendesedjen. A leveg\u0151 \u201e\u2026amikor megmozdul, sz\u00e9l lesz bel\u0151le. Megemelkedik, \u00e9s belek\u00f6lt\u00f6zik abba a vid\u00e9kbe, ami \u00e9ppen az \u00fatj\u00e1ba ker\u00fcl, kit\u00f6lti a saj\u00e1t k\u00f6rnyezet\u00e9t. \u00c9s csak a dolgok mozg\u00e1s\u00e1b\u00f3l l\u00e1tni, hogy a sz\u00e9l birtok\u00e1ba vette a k\u00f6rny\u00e9ket. Mag\u00e1t a szelet nem l\u00e1tjuk, csak az \u00e1ltala meg\u00e9rintett t\u00e1rgyak lebben\u00e9s\u00e9t, verdes\u00e9s\u00e9t. Ezek a t\u00e1rgyak n\u00e9m\u00e1n vagy jajvesz\u00e9kelve megtelnek sz\u00e9llel, szelesek lesznek. A nyughatatlan, megb\u00edzhatatlan, kapkod\u00f3-csapkod\u00f3 vagy alattomosan lebeg\u0151 emberr\u0151l szint\u00e9n azt mondjuk: sz\u00e9llelb\u00e9lelt. Itt bez\u00e1rul egy k\u00f6r: ha valami a leveg\u0151ben l\u00f3g, annak az emberb\u0151l kiindul\u00f3 vesz\u00e9lyhez van k\u00f6ze.\u201d5<\/span> \u2013 foglalja \u00f6ssze az \u00edr\u00f3n\u0151 a sz\u00e9l v\u00e1ltozatos alakzatait. A kur\u00e1torok a sz\u00e9l-metaf\u00f3r\u00e1<\/em>t egy olyan megk\u00f6zel\u00edt\u00e9si lehet\u0151s\u00e9gnek tekintik, amely a bienn\u00e1l\u00e9n bemutatott munk\u00e1khoz k\u00f6z\u00f6s nevez\u0151ket rendel: az \u00f6nszervez\u0151d\u00e9s, a tal\u00e1l\u00e9konys\u00e1g, az identit\u00e1s, a v\u00e1ndorl\u00e1s vagy a fizikai \u00e9s ideol\u00f3giai hat\u00e1rok p\u00e9ld\u00e1ul nemcsak Temesv\u00e1r m\u00faltj\u00e1ra \u00e9s jelen\u00e9re vonatkoztathat\u00f3 kateg\u00f3ri\u00e1k, hanem a v\u00e1roson t\u00fal is aktu\u00e1lis t\u00e9m\u00e1kat jel\u00f6lnek.[\/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

https:\/\/2019.artencounters.ro\/en\/home_en\/<\/a><\/p>\n

2<\/p>\n

Ld. https:\/\/www.tate.org.uk\/about-us\/tate-reports<\/a> (Utols\u00f3 bel\u00e9p\u00e9s a sz\u00f6vegben hivatkozott webhelyekre: 2020. janu\u00e1r. 14.)<\/p>\n

3<\/p>\n

https:\/\/www.artencounters.ro\/en\/fundatia\/<\/a><\/p>\n

4<\/p>\n

A t\u00e9m\u00e1hoz ld.: Szegedy-Masz\u00e1k Zsuzsanna: Egy szem\u00e9lyesebb n\u00e9zet | Besz\u00e9lget\u00e9s Diana Marincuval. Balkon \u2013 Online (2018. febru\u00e1r 2.): https:\/\/balkon.art\/home\/egy-szemelyesebb-nezet-beszelgetes-diana-marincuval\/<\/a><\/p>\n

5<\/p>\n

Herta M\u00fcller: Ha valami a leveg\u0151ben l\u00f3g, az nem sok j\u00f3t jelenthet.<\/em> (2014. m\u00e1rcius 1.), ld. http:\/\/ujnautilus.info\/herta-muller-ha-valami-levegoben<\/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-20l-1000″ 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-cont-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=”24348″ 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

Michael Beutler: Moby Dick<\/em> | ki\u00e1ll\u00edt\u00e1si n\u00e9zet a Hamburger Bahnhof-ban \u2013 Museum f\u00fcr Gegenwart, Berlin, 2015. \u00a9 Staatliche Museen zu Berlin, Nationalgalerie. Fot\u00f3: Thomas Bruns. Michael Beutler \u00e9s Galerie Nagel Draxler, Berlin \/ K\u00f6ln j\u00f3volt\u00e1b\u00f3l.<\/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” class=”p-4-0″ 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

A falakon innen \u00e9s t\u00fal<\/h4>\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” 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 K\u00e1rp\u00e1t medence d\u00e9lkeleti r\u00e9sz\u00e9n tal\u00e1lhat\u00f3 B\u00e1ns\u00e1gon t\u00f6bb \u00e1llam (Magyarorsz\u00e1g, a T\u00f6r\u00f6k Birodalom, Szerbia \u00e9s Rom\u00e1nia) \u00e9s m\u00e9g t\u00f6bb nemzet osztozott m\u00e1r a t\u00f6rt\u00e9nelem sor\u00e1n. Temesv\u00e1r nemcsak az id\u0151nk\u00e9nt konfliktusokkal terhelt etnikai egy\u00fctt\u00e9l\u00e9s, hanem a k\u00e9nyszer\u0171 menek\u00fcl\u00e9s vagy ak\u00e1r a szabad akarat vez\u00e9relte v\u00e1ndorl\u00e1s jelk\u00e9pe is.6<\/span> A nemzeti \u00e9s az etnikai, a f\u00f6ldrajzi \u00e9s a szellemi hat\u00e1rok, illetve az ezek k\u00f6z\u00e9 nem szor\u00edthat\u00f3 identit\u00e1sok<\/em> k\u00e9rd\u00e9s\u00e9vel t\u00f6bb munka is foglalkozott a bienn\u00e1l\u00e9n.<\/p>\n

P\u0131nar \u00d6\u011frenci<\/span> a M\u00e1ria Ter\u00e9zia-b\u00e1sty\u00e1ban7<\/span> bemutatott, 2017-ben k\u00e9sz\u00fclt vide\u00f3j\u00e1ban (A Gentle Breeze Passed Over Us \/ Gyeng\u00e9d szell\u0151 suhan \u00e1t felett\u00fcnk<\/em>) egy arab lant (\u00fad) lebeg az \u00c9gei-tenger hull\u00e1main, mik\u00f6zben egy bagdadi zen\u00e9sz menek\u00fcl\u00e9s\u00e9nek t\u00f6rt\u00e9net\u00e9t hallhatjuk, aki csomagjait, \u00edgy hangszer\u00e9t is h\u00e1trahagyva volt k\u00e9nytelen a hossz\u00fa \u00fatra elindulni, \u00e9s aki azt\u00e1n B\u00e9csben \u201ekik\u00f6tve\u201d utcazen\u00e9szk\u00e9nt keresi meg a fennmarad\u00e1shoz sz\u00fcks\u00e9ges p\u00e9nz.<\/p>\n

A t\u00f6bbek k\u00f6z\u00f6tt a hat\u00e1rokkal \u00e9s a tulajdonl\u00e1ssal is foglalkoz\u00f3 rom\u00e1n m\u0171v\u00e9szp\u00e1ros, Anca Benera<\/span> \u00e9s Arnold Estefan<\/span> kutat\u00e1s\u00e1nak helysz\u00edne a Fekete-tengerben tal\u00e1lhat\u00f3, mind\u00f6ssze 17 hekt\u00e1ros K\u00edgy\u00f3-sziget, amely\u00e9rt a Szovjetuni\u00f3 felboml\u00e1s\u00e1t k\u00f6vet\u0151en hossz\u00fa \u00e9vekig peresked\u00e9s folyt Rom\u00e1nia \u00e9s Ukrajna k\u00f6z\u00f6tt. 2009-ben a H\u00e1gai Nemzetk\u00f6zi B\u00edr\u00f3s\u00e1g d\u00f6nt\u00e9se \u00e9rtelm\u00e9ben a rom\u00e1n partokt\u00f3l 45 kilom\u00e9terre l\u00e9v\u0151 f\u00f6lddarab nagy r\u00e9sze Ukrajn\u00e1hoz ker\u00fclt, viszont Rom\u00e1ni\u00e1\u00e9 lett az olajban gazdag kontinent\u00e1lis talapzati r\u00e9sz. A ter\u00fclet gazdas\u00e1gi potenci\u00e1lj\u00e1t jelzi, hogy m\u00e1r a b\u00edr\u00f3s\u00e1gi d\u00f6nt\u00e9s el\u0151tt mindk\u00e9t f\u00e9l nagy olajv\u00e1llalatokkal (term\u00e9szetesen m\u00e1s-m\u00e1s c\u00e9gekkel) \u00e1llapodott meg a kitermel\u00e9sr\u0151l.<\/p>\n

A m\u0171v\u00e9szek egy restit\u00faci\u00f3s elj\u00e1r\u00e1st kezdem\u00e9nyezve (The Equitable Principle \/ Az egyenl\u0151s\u00e9g elve 2012\u2013<\/em>) felosztott\u00e1k a f\u00f6ldter\u00fcletet, valamint a szigethez tartoz\u00f3 kontinent\u00e1lis talapzati r\u00e9szt Rom\u00e1nia lakosai k\u00f6z\u00f6tt. A filmen dokument\u00e1lt\u00e1k, amint \u201ekiemelik\u201d az egy f\u0151re es\u0151 r\u00e9szeket: a tengerparti szakaszb\u00f3l egy 0,509 m\u00b2 nagys\u00e1g\u00fa j\u00e9gdarabot, a szigetb\u0151l pedig egy 0,982 m\u00b2-nyi f\u00f6lddarabot. \u201eF\u00f6ldfoglal\u00f3\u201d gesztusukkal a gazdas\u00e1gi \u00e9rdekek vez\u00e9relte \u00e1llami tulajdonjogok \u00e9s az orsz\u00e1g lakoss\u00e1g\u00e1nak \u00e9rdekei k\u00f6z\u00f6tt h\u00faz\u00f3d\u00f3, ellentmond\u00e1sokkal teli \u00e1thidalhatatlan szakad\u00e9kra h\u00edvj\u00e1k fel a figyelmet.[\/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

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Ezt a nyelv\u00e9ben is soksz\u00edn\u0171 k\u00f6z\u00f6ss\u00e9get sz\u00f3l\u00edtj\u00e1k meg a honlap t\u00f6bbnyelv\u0171 (rom\u00e1n, szerb-horv\u00e1t, n\u00e9met, angol, magyar \u00e9s romanesz) felvezet\u0151 oldalai, b\u00e1r p\u00e9ld\u00e1ul a magyar ford\u00edt\u00e1s sz\u00e1mos pontatlan megold\u00e1st eredm\u00e9nyezett. Ett\u0151l eltekintve a bienn\u00e1l\u00e9 honlapja \u00e1ttekinthet\u0151, az egyes m\u0171vek le\u00edr\u00e1sai informat\u00edvak.<\/p>\n

7<\/p>\n

A M\u00e1ria Ter\u00e9zia-b\u00e1stya a XVIII. sz\u00e1zadban az osztr\u00e1kok \u00e1ltal ki\u00e9p\u00edtett temesv\u00e1ri er\u0151d\u00edtm\u00e9ny egyetlen \u00e9ps\u00e9gben megmaradt, 1730\u20131735 k\u00f6z\u00f6tt \u00e9p\u00edtett r\u00e9sze. Ld. http:\/\/muemlekem.hu\/hatareset\/Maria-Terezia-bastya-Temesvar-1006<\/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-5-20″ 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-cont-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=”24330″ 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

Aslan Gaisumov: People of No Consequence (L\u00e9nyegtelen emberek),<\/em> 2016, HD vide\u00f3 HD, filmr\u00e9szlet, Art Encounters Biennial\u00e9 2019, Maria Theresia Bastion, a m\u0171v\u00e9sz tulajdona \u00a9 Fot\u00f3: Adrian C\u00e2tu<\/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” class=”p-4-0″ 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]Aslan Gaisumov<\/span> People of No Consequence<\/em> (L\u00e9nyegtelen emberek,<\/em> 2016) c\u00edm\u0171 vide\u00f3ja egy t\u00f6bb \u00e9vtizeddel kor\u00e1bbi ter\u00fcleti \u00e9s etnikai konfliktushoz kapcsol\u00f3dik: a m\u00e1sodik vil\u00e1gh\u00e1bor\u00fa alatt t\u00f6bb ezer csecsent hurcoltak el Szt\u00e1lin parancs\u00e1ra K\u00f6z\u00e9p-\u00c1zsi\u00e1ba.8<\/span> A filmben a traum\u00e1t \u00e1t\u00e9lt, egykor kitelep\u00edtett tradicion\u00e1lis n\u00e9pviseletbe \u00f6lt\u00f6z\u00f6tt id\u0151s csecsenek n\u00e9ma csendben gy\u00fclekeznek a grozniji \u00f6nkorm\u00e1nyzat d\u00edszterm\u00e9ben. Idegenk\u00e9nt \u00fclnek a terem f\u0151d\u00edsze, egy hatalmas felh\u0151karcol\u00f3kkal zs\u00fafolt v\u00e1rosk\u00e9p el\u0151tt a sorokba rendezett sz\u00e9keken.9<\/span><\/p>\n

A mindm\u00e1ig rendezetlen ter\u00fcleti k\u00e9rd\u00e9sek t\u00e9m\u00e1j\u00e1hoz kapcsol\u00f3dik Tanja Muravskaja<\/span> nemr\u00e9g a budapesti Ludwig M\u00fazeumban is bemutatott munk\u00e1ja (Three Sisters \/ H\u00e1rom n\u0151v\u00e9r,<\/em> 2015). A \u201eharmadik n\u0151v\u00e9r\u201d vide\u00f3install\u00e1ci\u00f3j\u00e1ban szerepl\u0151 k\u00e9t, egym\u00e1ssal rokoni kapcsolatban \u00e1ll\u00f3 ukr\u00e1n h\u00f6lgy homlokegyenest ellenkez\u0151en \u00edt\u00e9li meg az ukr\u00e1n-orosz politik\u00e1t, a Kr\u00edm-f\u00e9lsziget orosz annekt\u00e1l\u00e1s\u00e1t.10<\/span><\/p>\n

A v\u00e1ndor\u00e9letet \u00e9l\u0151, kiss\u00e9 k\u00fcl\u00f6nc, autodidakta performansz-m\u0171v\u00e9sz, Ghenadie Popescu<\/span> egyik kor\u00e1bbi munk\u00e1ja (Childhood Memories \/ Gyermekkori eml\u00e9kek<\/em>),11<\/span> k\u00e9t moldovai csal\u00e1dr\u00f3l sz\u00f3l\u00f3 b\u00e1banim\u00e1ci\u00f3, akiket 1941 \u00e9s 1951 k\u00f6z\u00f6tt telep\u00edtett ki Szt\u00e1lin Szib\u00e9ri\u00e1ba. Egy sz\u0151nyeg\u00e9rt cser\u00e9be a csal\u00e1df\u0151 tehenet szerez \u00e9s \u00edgy megmenti a csal\u00e1dj\u00e1t az \u00e9hez\u00e9st\u0151l. A temesv\u00e1ri K\u00f6zleked\u00e9si M\u00fazeumban bemutatott anim\u00e1ci\u00f3ban (The River Rakov\u0103t \/ A Rakov\u0103t foly\u00f3,<\/em> 2013) is k\u00f6zponti szerep jut a sz\u0151nyegnek, nem is ak\u00e1rmilyennek, egy rep\u00fcl\u0151sz\u0151nyegnek: a foly\u00f3 vonulat\u00e1t k\u00f6vetve azon utazik egy n\u00e9pviseletbe, valamint egy modern ruh\u00e1ba fel\u00f6lt\u00f6z\u00f6tt n\u0151, mik\u00f6zben a m\u00fazeum csarnok\u00e1t is \u00e1tj\u00e1r\u00f3, Mold\u00e1via mindennapjair\u00f3l sz\u00f3l\u00f3 \u00e9nek k\u00eds\u00e9ri \u00fatjukat: \u201eHallottam, ahogyan el\u00e1llt a sz\u00e9l a dalban. Ha mindenki alszik, elcsitul a sz\u00e9l is a f\u00e1k k\u00f6z\u00f6tt. El\u00e1llni nem tudott a sz\u00e9l. Mindig csak elcsitult.\u201d12<\/span><\/p>\n

Rom\u00e1nia k\u00f6zel 620.000 f\u0151t sz\u00e1ml\u00e1l\u00f3 roma lakoss\u00e1ga13<\/span> hat\u00e1rokon \u00e1t\u00edvel\u0151 roma k\u00f6z\u00f6ss\u00e9g tagja. K\u00f6z\u00fcl\u00fck \u00f6r\u00f6k\u00edtett meg l\u00e1nyokat \u00e9s asszonyokat \u2013 a mindennapok \u201ehivat\u00e1sos\u201d boszork\u00e1nyait \u2013 a fiatal fot\u00f3s Virgina Lupu<\/span> (Tin Tin Tin,<\/em> 2018), aki t\u00f6bb projektj\u00e9ben foglalkozott m\u00e1r a boszork\u00e1ny\u00fcld\u00f6z\u00e9s helyi hagyom\u00e1nyaival. A Lengyelorsz\u00e1gban \u00e9l\u0151 roma Malgorzata Mirga-Tas<\/span> sz\u00ednes ruh\u00e1kb\u00f3l kiv\u00e1gott textil-patchworkjein \u00e9letk\u00e9pek mot\u00edvumai l\u00e1that\u00f3ak. A k\u00f6z\u00f6ss\u00e9g n\u0151tagjainak csoportban v\u00e9gzett szabadid\u0151t\u00f6lt\u00e9se \u00e9s a n\u0151i munka tapasztalata \u00f6sszekapcsol\u00f3dik a m\u0171v\u00e9szn\u0151 fiatalok sz\u00e1m\u00e1ra tartott workshopjainak t\u00e9m\u00e1j\u00e1val \u00e9s a k\u00f6z\u00f6s k\u00e9pk\u00e9sz\u00edt\u00e9s m\u00f3dszertan\u00e1val.[\/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

8<\/p>\n

Az Ingusf\u00f6lddel 1934-ben egyes\u00edtett, majd 1936-ban l\u00e9trehozott Csecsen-Ingus Auton\u00f3m Szovjet Szocialista K\u00f6zt\u00e1rsas\u00e1g auton\u00f3mi\u00e1j\u00e1t 1944-ben megsz\u00fcntette Szt\u00e1lin, \u00e9s az itt \u00e9l\u0151ket Szib\u00e9ri\u00e1ba \u00e9s K\u00f6z\u00e9p-\u00c1zsi\u00e1ba telep\u00edtette ki, azzal az \u00fcr\u00fcggyel, hogy kollabor\u00e1ltak a n\u00e9met megsz\u00e1ll\u00f3kkal. A deport\u00e1ltak csak j\u00f3val Szt\u00e1lin hal\u00e1la (1953) ut\u00e1n, az 1950-es \u00e9vek m\u00e1sodik fel\u00e9ben t\u00e9rhettek vissza, amikor Hruscsov alatt (1957) vissza\u00e1ll\u00edtott\u00e1k a k\u00f6zt\u00e1rsas\u00e1got \u00e9s rehabilit\u00e1lt\u00e1k a kitelep\u00edtetteket.<\/p>\n

9<\/p>\n

Ld. m\u00e9g Anna Smola: People of No Consequence by Aslan Gaisumov,<\/em> mezosfera.org (2016. okt\u00f3ber),
\nhttp:\/\/mezosfera.org\/people-of-no-consequences-by-aslan-gaisumov\/<\/a><\/p>\n

10<\/p>\n

Nyelvrokonok \u2013 \u00c9szt – magyar kort\u00e1rs m\u0171v\u00e9szeti ki\u00e1ll\u00edt\u00e1s.<\/em> Ludwig M\u00fazeum \u2013 Kort\u00e1rs M\u0171v\u00e9szeti M\u00fazeum, Budapest, 2018. szeptember 28 \u2013 2019. janu\u00e1r 6., ld. https:\/\/www.ludwigmuseum.hu\/kiallitas\/nyelvrokonok-eszt-magyar-kortars-muveszeti-kiallitas<\/a><\/p>\n

11<\/p>\n

https:\/\/vimeo.com\/363286614<\/a><\/p>\n

12<\/p>\n

Herta M\u00fcller: Sz\u00edvj\u00f3sz\u00e1g,<\/em> Carthaphilus Kiad\u00f3, Budapest, 35.<\/p>\n

13<\/p>\n

https:\/\/hu.wikipedia.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” class=”full-5-20″ 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-cont-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=”24332″ 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

Malgorzata Mirga-Tas: \u00daton \u2013 Andro Drom,<\/em> 2016, patchwork<\/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” class=”p-4-0″ 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

\u00c1thatolva a falakon<\/h4>\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” 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 ki\u00e1ll\u00edt\u00f3terekkel is rendelkez\u0151 Art Encounters Alap\u00edtv\u00e1ny f\u0151hadisz\u00e1ll\u00e1s\u00e1n bemutatott munk\u00e1kat k\u00fcl\u00f6nb\u00f6z\u0151 m\u0171v\u00e9szi-nyomozati tev\u00e9kenys\u00e9gek<\/em> k\u00f6tik \u00f6ssze. A 2011-ben alap\u00edtott Forensic Architecture,<\/span> a londoni Goldsmith University of London Center for Architecture and Research \u00e9gisze alatt m\u0171k\u00f6d\u0151 csapat vezet\u0151je Eyal Weizman<\/span> \u00e9p\u00edt\u00e9sz, a csoport tev\u00e9kenys\u00e9g\u00e9t az akci\u00f3 (aktivizmus), a m\u0171v\u00e9szet \u00e9s az \u00e9p\u00edt\u00e9szet k\u00f6z\u00f6s halmaz\u00e1ban helyezi el.14<\/span> Munk\u00e1ik a mozg\u00f3k\u00e9pek politikai konfliktusokban bet\u00f6lt\u00f6tt szerep\u00e9re p\u00e9ld\u00e1k: nemcsak mint manipul\u00e1ci\u00f3s eszk\u00f6z\u00f6k, hanem mint ezen mechanizmusok leleplez\u00e9s\u00e9hez sz\u00fcks\u00e9ges alapvet\u0151 forr\u00e1sok is. Az internetes k\u00f6z\u00f6ss\u00e9gi m\u00e9diafel\u00fcletekr\u0151l vagy aktivist\u00e1kt\u00f3l \u00f6sszegy\u0171jt\u00f6tt anyagokat, dokumentumokat bizony\u00edt\u00e9kk\u00e9nt haszn\u00e1lj\u00e1k fel olyan politikai b\u0171n\u00fcgyek felder\u00edt\u00e9s\u00e9hez, amelyeket a korm\u00e1nyzati m\u00e9dia saj\u00e1t c\u00e9ljainak megfelel\u0151 olvasatban t\u00e1r a nagyk\u00f6z\u00f6ns\u00e9g el\u00e9. \u00c1llami megrendel\u00e9st soha nem v\u00e1llalnak, kiz\u00e1r\u00f3lag civil szervezetek felk\u00e9r\u00e9s\u00e9re, vagy FA saj\u00e1t kezdem\u00e9nyez\u00e9s\u00e9re dolgoznak. A bienn\u00e1l\u00e9n bemutatott eset (The Long Duration of a Split Second \/ Egy m\u00e1sodperc t\u00f6red\u00e9k\u00e9nek hossz\u00fa pillanatai,<\/em> 2018) egy beduin faluban t\u00f6rt\u00e9nt meg 2017. janu\u00e1rj\u00e1ban, ahol rajta\u00fct\u00e9sszer\u0171 t\u00e1mad\u00e1st hajtottak v\u00e9gre az izraeli rend\u0151r\u00f6k. A falu egyik lak\u00f3ja, egy Yaqub Musa Abu alQi\u2019an nev\u0171 tan\u00e1r \u00e9s egy Erez Levi nev\u0171 izraeli rend\u0151r meghalt. A hivatalos jelent\u00e9s szerint a rend\u0151r terrorcselekm\u00e9ny \u00e1ldozata lett, a tan\u00e1rt pedig kapcsolatba hozt\u00e1k az ISIS csoportj\u00e1val. A helyiek \u00e9s az aktivist\u00e1k azonban m\u00e1sk\u00e9pp ismerik a t\u00f6rt\u00e9netet. A FA fot\u00f3sokkal \u00e9s aktivist\u00e1kkal dolgozott egy\u00fctt az \u00fcgy felder\u00edt\u00e9s\u00e9n: sz\u00e1m\u00edt\u00f3g\u00e9pes anim\u00e1ci\u00f3t, h\u0151t\u00e9rk\u00e9peket haszn\u00e1ltak a helyi tan\u00e1r vezette aut\u00f3 mozg\u00e1s\u00e1nak, \u00e9s a katon\u00e1k helyzet\u00e9nek felt\u00e9rk\u00e9pez\u00e9s\u00e9re. Nyomoz\u00e1suknak k\u00f6sz\u00f6nhet\u0151en bebizonyosodott, hogy a polg\u00e1ri szem\u00e9ly az\u00e9rt hajtott a rend\u0151r\u00f6k k\u00f6z\u00e9, mert r\u00e1l\u0151ttek, ez\u00e9rt elvesztette uralm\u00e1t a korm\u00e1ny felett. A helysz\u00ednen tart\u00f3zkod\u00f3 orvosoknak \u00e9s az aktivist\u00e1knak a rend\u0151r\u00f6k nem engedt\u00e9k meg, hogy bel\u00e9pjenek a ter\u00fcletre, \u00edgy nem tudtak seg\u00edteni a s\u00e9r\u00fclteken.15<\/span><\/p>\n

\u201eAmit csin\u00e1lunk, az alapvet\u0151en kutat\u00e1s. A gyakorlatunk pedig a nyomoz\u00e1s, oknyomoz\u00e1s… Sz\u00e1munkra a m\u0171v\u00e9sz azt is jelenti, aki megk\u00e9rd\u0151jelezi a fenn\u00e1ll\u00f3 viszonyokat, r\u00e1k\u00e9rdez a politikai status qu\u00f3ra, \u00e9s akiben dolgozik a k\u00edv\u00e1ncsis\u00e1g, hogy a dolgok v\u00e9g\u00e9re j\u00e1rjon.\u201d16<\/span> A ki\u00e1ll\u00edt\u00f3teret f\u00f3rumnak, a ki\u00e1ll\u00edt\u00e1st pedig egy olyan bemutat\u00f3teremnek tekintik, ahol k\u00fcl\u00f6nb\u00f6z\u0151 id\u0151metszeteket, l\u00e1t\u00f3sz\u00f6geket haszn\u00e1lva tudj\u00e1k az \u00f6sszef\u00fcgg\u00e9seket bemutatni.17<\/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

14<\/p>\n

A Forensic Architecture egyik tagj\u00e1t, Christiana Varvia-t, Szalai Borb\u00e1la nemr\u00e9g megh\u00edvta a Traf\u00f3ba. Az oknyomoz\u00f3i munk\u00e1jukr\u00f3l tartott el\u0151ad\u00e1sa kapcs\u00e1n, tev\u00e9kenys\u00e9g\u00fck m\u0171v\u00e9szeti kontextusair\u00f3l az artportal.hu k\u00e9sz\u00edtett vele interj\u00fat: Nagy Gergely: Visszaj\u00f6nnek a t\u00e9nyek, \u00e9s megharapnak<\/em> (2018. j\u00fanius 5.), https:\/\/artportal.hu\/magazin\/visszajonnek-a-tenyek-es-megharapnak\/<\/a>. A t\u00e9m\u00e1hoz ld. m\u00e9g: J\u00faliusz Huth: Pre-modern Violence. A Forensic Oceanography a palerm\u00f3i Manifeszt\u00e1n, Balkon,<\/em> 2018\/8., 10-14., https:\/\/issuu.com\/elnfree\/docs\/balkon-2018-8-issuu<\/a><\/p>\n

15<\/p>\n

Az esettanulm\u00e1nyokat \u00e9s az adatokb\u00f3l \u00f6sszerakott digit\u00e1lis anim\u00e1ci\u00f3s technik\u00e1val k\u00e9sz\u00edtett filmeket a Forensic Architecture honlapj\u00e1n is meg lehet tekinteni: https:\/\/forensic-architecture.org\/<\/a><\/p>\n

16<\/p>\n

Nagy Gergely: Visszaj\u00f6nnek a t\u00e9nyek \u00e9s megharapnak (2018. j\u00fanius 5.), https:\/\/artportal.hu\/magazin\/visszajonnek-a-tenyek-es-megharapnak\/<\/a><\/p>\n

17<\/p>\n

u.o.<\/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-5-20″ 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-cont-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=”24349″ 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: NSA-Tapped Fiber Optic Cable Landing Site, Keawaula, Hawaii, United States, 2016 \u00a9 Trevor Paglen. Courtesy of the Artist, Metro Pictures New York, Altman Siegel San Francisco.<\/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” class=”p-4-0″ 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]Szint\u00e9n az Art Encounters \u00e9p\u00fclet\u00e9ben l\u00e1that\u00f3ak Trevor Paglen<\/span> titkos katonai objektumokr\u00f3l k\u00e9sz\u00edtett felv\u00e9telei, amelyek \u2013 a Forensic m\u00e1s munk\u00e1ihoz hasonl\u00f3an \u2013 a leleplez\u00e9s sz\u00e1nd\u00e9k\u00e1val k\u00e9sz\u00fcltek. A bienn\u00e1l\u00e9n \u2013 az \u201e\u00e1rtatlan\u201d term\u00e9szetfot\u00f3s \u00e1lc\u00e1j\u00e1t fel\u00f6ltve \u2013 az \u00f3ce\u00e1npartot vagy a f\u00fcrd\u0151z\u0151kkel teli idilli tengerparti strandot \u00f6r\u00f6k\u00edti meg \u2013 l\u00e1tsz\u00f3lag. Azonban a f\u00f6ldi haland\u00f3 sz\u00e1m\u00e1ra beazonos\u00edthatatlan katonai b\u00e1zisokhoz hasonl\u00f3an, ezek a munk\u00e1k is egy szabad szemmel nem l\u00e1that\u00f3 vil\u00e1gra h\u00edvj\u00e1k fel a figyelmet: az amerikai \u00e9s a francia partok alatt t\u00f6bb kilom\u00e9ter k\u00e1bel h\u00faz\u00f3dik, az azokban sz\u00e1ll\u00edtott adatok tartalma \u00e9s felhaszn\u00e1l\u00e1suk c\u00e9lja azonban ismeretlen.<\/p>\n

Lawrence Abu Hamdan<\/span> neve nem oly r\u00e9gen a hazai sajt\u00f3ban is felbukkant: a figyelmet az idei Turner-d\u00edj t\u00f6bbi jel\u00f6ltj\u00e9vel egy\u00fctt azzal a javaslattal \u00e9rdemelte ki, hogy a t\u00f6bb ezer fontot \u00e9r\u0151 versenyeztet\u00e9s helyett, megosztott d\u00edjat adjanak \u00e1t (ami egy\u00fattal a d\u00edjazottnak j\u00e1r\u00f3 \u00f6sszeg feloszt\u00e1s\u00e1val is j\u00e1r). Ezzel a gesztussal minden bizonnyal valamennyien be is ker\u00fcltek a Turner d\u00edj t\u00f6rt\u00e9net\u00e9nek eml\u00e9kezetes nomin\u00e1ltjai k\u00f6z\u00e9.18<\/span> A Forensic Architecture kor\u00e1bbi munk\u00e1iban is r\u00e9sztvev\u0151, akusztikus hat\u00e1sok vizsg\u00e1lat\u00e1ra specializ\u00e1l\u00f3dott Abu Hamdan is oknyomoz\u00e1st v\u00e9gez. Tan\u00favallom\u00e1sok seg\u00edts\u00e9g\u00e9vel hangokat vizsg\u00e1l p\u00e9ld\u00e1ul egy szupertitkos b\u00f6rt\u00f6n t\u00e9rszerkezet\u00e9nek \u00e9s az ott foly\u00f3 (k\u00ednvallat\u00f3) tev\u00e9kenys\u00e9geknek a felt\u00e9rk\u00e9pez\u00e9s\u00e9re.<\/p>\n

Temesv\u00e1ron bemutatott vide\u00f3install\u00e1ci\u00f3j\u00e1ban (Walled\/Unwalled \/ Falakkal\/Falak n\u00e9lk\u00fcl,<\/em> 2018) a m\u0171v\u00e9sz olyan eseteket id\u00e9z fel, amikor p\u00e9ld\u00e1ul h\u0151kamer\u00e1kkal \u201e\u00e1tl\u00e1tva a falakon\u201d lelepleznek egy marihu\u00e1natermeszt\u0151t, vagy amikor m\u00fcont, egy elemi r\u00e9szecsk\u00e9t \u201ehaszn\u00e1ltak\u201d \u2013 \u201efal-\u00e1thatol\u00f3\u201d k\u00e9pess\u00e9geinek k\u00f6sz\u00f6nhet\u0151en \u2013 a piramisok bels\u0151 szerkezet\u00e9nek felt\u00e1r\u00e1s\u00e1hoz, amelynek ez a tulajdons\u00e1ga ugyanakkor, z\u00e1rt kont\u00e9nerek tartalm\u00e1nak felder\u00edt\u00e9s\u00e9re is kiv\u00e1l\u00f3an alkalmazhat\u00f3. Abu Hamdan a M\u00e1ria Ter\u00e9zia-b\u00e1sty\u00e1ban bemutatott filmje a leveg\u0151 \u00e1ltal sz\u00e1ll\u00edtott hang politikai term\u00e9szet\u00e9vel foglalkozik: a (titkos) ter\u00fcleteket a k\u00fclvil\u00e1gt\u00f3l elhat\u00e1rol\u00f3 t\u00f6m\u00f6r falak nem \u00e1thatolhatatlan szerkezetek. A hidegh\u00e1bor\u00fa idej\u00e9n p\u00e9ld\u00e1ul egy Kelet-N\u00e9metorsz\u00e1gban fejlesztett \u2012 egy\u00e9bk\u00e9nt a K\u00f6zel-Keleten n\u00e9pszer\u0171 \u2012 exportterm\u00e9k volt a \u201ehanggal felfegyverzett\u201d b\u00f6rt\u00f6nfal.
\nA vil\u00e1gt\u00f3l elz\u00e1rt keleti-blokk \u00e1thatolhatatlans\u00e1g\u00e1n m\u00e1sk\u00e9ppen pr\u00f3b\u00e1lt laz\u00edtani a Szabad Eur\u00f3pa R\u00e1di\u00f3. Dora Garc\u00eda<\/span> az \u00e1llami rom\u00e1n r\u00e1di\u00f3 1985 \u00e9s 1989 k\u00f6z\u00f6tt r\u00f6gz\u00edtett kultur\u00e1lis m\u0171sorait tanulm\u00e1nyozta, pontosabban a m\u0171sorokban sug\u00e1rzott csendeket. A v\u00e1ros k\u00f6zpontj\u00e1ban tal\u00e1lhat\u00f3 k\u00f6nyvesboltban ezeket a csendeket, az elhallgat\u00e1s, a visszafojtott indulatok, a k\u00e9ts\u00e9gbees\u00e9s csendjeit, a visszatartott gondolatok vagy a szavakba nem \u00f6nthet\u0151 \u00e9rzelmek csendjeit \u00e9s az ezek, illetve a mondatok k\u00f6z\u00f6tti szaggatott, visszafojtott l\u00e9legzetv\u00e9teleket f\u0171zte \u00f6ssze egy \u201ehelyspecifikus\u201d hangj\u00e1t\u00e9kban (Dr. Murke Collected Silences: Culture 1985\u20131989 \/ Dr Murke \u00d6sszegy\u0171jt\u00f6tt csendjei: Kult\u00fara 1985\u20131989<\/em>).[\/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

18<\/p>\n

Em\u0151d P\u00e9ter: Ilyen sem volt m\u00e9g a Turner Prize 35 \u00e9ves t\u00f6rt\u00e9net\u00e9ben<\/em> (2019. december 8.) ld. https:\/\/artportal.hu\/magazin\/ilyen-sem-volt-meg-a-turner-prize-35-eves-torteneteben\/<\/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-20l-1000″ 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-cont-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=”24351″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” 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

Peles Empire: Ki\u00e1ll\u00edt\u00e1si n\u00e9zet a GAK (Gesellschaft f\u00fcr Aktuelle Kunst, Br\u00e9ma) ter\u00e9ben, 2007\/2014 \u00a9 Fot\u00f3: Tobias H\u00fcbel. A m\u0171v\u00e9sz j\u00f3volt\u00e1b\u00f3l.<\/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” class=”p-4-0″ 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

Temesv\u00e1r l\u00e1that\u00f3 \u00e9s l\u00e1thatatlan tartom\u00e1nyai<\/h4>\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” 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 bemutatott munk\u00e1k k\u00f6zel harmada a bienn\u00e1l\u00e9 felk\u00e9r\u00e9s\u00e9re k\u00e9sz\u00fclt, ami tal\u00e1n \u00e9rz\u00e9kelteti a k\u00f6lts\u00e9gvet\u00e9si keret nagyvonal\u00fas\u00e1g\u00e1t \u00e9s a bienn\u00e1l\u00e9k \u2012 Maria Lind \u00e1ltal k\u00fcl\u00f6n\u00f6sen hangs\u00falyozott \u2012 produkci\u00f3s szerep\u00e9t.<\/p>\n

Dan Acostioaiei<\/span> a bienn\u00e1l\u00e9 felk\u00e9r\u00e9s\u00e9re k\u00e9sz\u00edtett mur\u00e1li\u00e1ja (Seas under Deserts \/ Tengerek a sivatagok alatt<\/em>) a csal\u00e1di arch\u00edvum\u00e1t feldolgoz\u00f3 sorozat\u00e1nak \u00fajabb darabja. Az 1970-es \u00e9vekben m\u00e9rn\u00f6kk\u00e9nt Sz\u00edri\u00e1ban dolgoz\u00f3 apja egyik k\u00e9peslapj\u00e1nak (Souvenir de Syrie) felnagy\u00edtott r\u00e9szlet\u00e9b\u0151l egy nagym\u00e9ret\u0171 sz\u00ednes mozaikfalat k\u00e9sz\u00edtett a forgalmas temesv\u00e1ri vas\u00fat\u00e1llom\u00e1s egyik \u00e1tj\u00e1r\u00f3j\u00e1nak fal\u00e1ra. A Sz\u00edria traum\u00e1kkal terhelt, h\u00e1bor\u00fas mindennapjaival kontrasztban \u00e1ll\u00f3 zs\u00e1nerjelenet a rendszerv\u00e1lt\u00e1s el\u0151tti idealiz\u00e1lt K\u00f6zel-Kelet k\u00e9pi vil\u00e1g\u00e1t is feleleven\u00edti, s ugyanakkor a helysz\u00ednv\u00e1laszt\u00e1s \u2012 Rom\u00e1nia menek\u00fcltv\u00e1ls\u00e1ggal kapcsolatos retorik\u00e1j\u00e1nak f\u00fcggv\u00e9ny\u00e9ben \u2012 aktualiz\u00e1lja is a mur\u00e1li\u00e1t.<\/p>\n

Az ottom\u00e1n m\u00faltj\u00e1t (1551 \u00e9s 1716 k\u00f6z\u00f6tt a t\u00f6r\u00f6k\u00f6k uralkodtak itt) \u00fagy t\u0171nik, ink\u00e1bb elfelejten\u00e9 a v\u00e1ros, legal\u00e1bbis erre lehet k\u00f6vetkeztetni Ahmet \u00d6gut<\/span> a History Otherwise: Ottoman Socialist Hilmi and Ottoman Women\u2019s Rights Defender Nuriye \/ A t\u00f6rt\u00e9nelem m\u00e1sk\u00e9nt: A t\u00f6r\u00f6k szocialista Hilmi \u00e9s a t\u00f6r\u00f6k n\u0151i jogv\u00e9d\u0151 Nuriye<\/em> c\u00edm\u0171 k\u00f6zt\u00e9ri munk\u00e1j\u00e1ra adott (fizikai) reakci\u00f3kb\u00f3l, ugyanis nem sok\u00e1ig maradt s\u00e9rtetlen a munka.<\/p>\n

T\u00f6r\u00f6korsz\u00e1gban az 1910-es \u00e9vekben alakult meg a t\u00f6r\u00f6k szocialista p\u00e1rt \u00e9s a n\u0151k v\u00e9delm\u00e9\u00e9rt fell\u00e9p\u0151 t\u00e1rsas\u00e1g is. K\u00e9pvisel\u0151i egym\u00e1s mellett \u00e1llnak a v\u00e1ros k\u00f6zpontj\u00e1ban \u00d6gut digit\u00e1lis, anamorfikus k\u00e9p\u00e9n. A m\u0171v\u00e9sz a sz\u00f3rv\u00e1nyosan fellelhet\u0151 eml\u00e9kekb\u0151l \u00e9s a helyi t\u00f6rt\u00e9n\u00e9szekkel folytatott besz\u00e9lget\u00e9sb\u0151l kiindul\u00f3an a szocialista \u00f6r\u00f6ks\u00e9get \u00e9s a n\u0151i felszabad\u00edt\u00f3 mozgalmak l\u00e1that\u00f3s\u00e1g\u00e1nak fontoss\u00e1g\u00e1t egyar\u00e1nt hirdeti.19<\/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

19<\/p>\n

Maria Lind le\u00edr\u00e1sa a munk\u00e1r\u00f3l: http:\/\/w.ahmetogut.com\/ahmetwebottoman.html<\/a><\/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-cont-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=”24352″ image_size=”full” animation_type=”entrance” animation=”Fade In” animation_easing=”default” animation_movement_type=”transform_y” hover_animation=”none” alignment=”” 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

Agnieszka Polska: The Wayward Pigeon,<\/em> 2019, tintanyomat, nyilv\u00e1nos t\u00e9r \u00e9s online kamp\u00e1ny, 2019 (r\u00e9szlet) \u00a9 Courtesy of the artist.<\/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” class=”p-4-0″ 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]Agnieszka Polska<\/span> galambja a bienn\u00e1l\u00e9 kabala\u00e1llata: a v\u00e1ros t\u00f6bb pontj\u00e1n, ki\u00e1ll\u00edt\u00f3t\u00e9rben, plak\u00e1tokon tal\u00e1lkozhattunk vele.20<\/span> A postagalamb nemcsak, hogy meg\u00e1ll\u00e1s n\u00e9lk\u00fcl k\u00e9pes t\u00f6bb sz\u00e1z kilom\u00e9tert rep\u00fclni, hanem a nap, a l\u00e9gmozg\u00e1s \u00e9s a f\u00f6ld magnetikus t\u00e9nyez\u0151it haszn\u00e1lja a t\u00e1j\u00e9koz\u00f3d\u00e1shoz. Polska \u00f6nfej\u0171 (wayward) madara abban k\u00fcl\u00f6nb\u00f6zik a hagyom\u00e1nyos postagalambt\u00f3l, hogy \u0151 nem megrendel\u00e9st teljes\u00edt, hanem a saj\u00e1t feje ut\u00e1n megy.<\/p>\n

Lind\u00e9k kur\u00e1tori koncepci\u00f3j\u00e1nak kritikusai Polska madar\u00e1nak \u00f6nt\u00f6rv\u00e9ny\u0171s\u00e9g\u00e9vel<\/em> \u00e1ll\u00edtanak fel anal\u00f3g\u00e1t: a t\u00fals\u00e1gosan t\u00e1g tematikus keretbe helyezett m\u0171vekkel a kur\u00e1torok mintha maguk pr\u00f3b\u00e1ln\u00e1k megadni a v\u00e1laszt az \u00e1ltaluk feltett k\u00e9rd\u00e9sekre.21<\/span> A m\u00e1sik oldal \u2012 k\u00f6zt\u00fck ennek a cikknek a szerz\u0151je is \u2012 \u00e9ppen ebben a t\u00e1g metaforikus keretben<\/em> l\u00e1tja a koncepci\u00f3 er\u0151ss\u00e9g\u00e9t, valamint a m\u0171vek heterogenit\u00e1s\u00e1nak<\/em> lehet\u0151s\u00e9g\u00e9t.<\/p>\n

Egy bienn\u00e1l\u00e9 sikere t\u00f6bb t\u00e9nyez\u0151 f\u00fcggv\u00e9nye, hossz\u00fat\u00e1v\u00fa hat\u00e1sa a ki\u00e1ll\u00edt\u00e1sok bez\u00e1r\u00e1sakor m\u00e9g nem m\u00e9rhet\u0151. A nemzetk\u00f6zi figyelem \u2012 amelynek biztos\u00edt\u00e9ka egyr\u00e9szt a szt\u00e1rkur\u00e1tor, m\u00e1sr\u00e9szt az impoz\u00e1ns m\u0171v\u00e9szlista volt \u2012 a ki\u00e1ll\u00edt\u00e1sok z\u00e1r\u00e1s\u00e1t k\u00f6vet\u0151en t\u00f6rv\u00e9nyszer\u0171en al\u00e1bbhagy, \u00edgy a helyiek kez\u00e9ben marad az aktivit\u00e1s \u00e9s a figyelem fenntarthat\u00f3s\u00e1g\u00e1nak kulcsa. Hogy val\u00f3ban siker\u00fclt-e a kur\u00e1toroknak \u00e9s a szervez\u0151knek l\u00e1that\u00f3v\u00e1 tenni \u00e9s mozg\u00f3s\u00edtani a m\u00e1r eleve jelen l\u00e9v\u0151 v\u00e1rosi (kultur\u00e1lis) infrastrukt\u00far\u00e1t, arra egy\u00e9rtelm\u0171 igen a v\u00e1lasz, \u00e9s ez legink\u00e1bb a rom\u00e1n t\u00e1rskur\u00e1tor, Anca Ruojiu helyismeret\u00e9nek volt k\u00f6sz\u00f6nhet\u0151. A bienn\u00e1l\u00e9 v\u00e9g\u00e9re megjelent on-line is hozz\u00e1f\u00e9rhet\u0151 kiadv\u00e1ny is nagy hangs\u00falyt fektet a helyi viszonyokra: Temesv\u00e1r m\u0171v\u00e9szeti \u00e9let\u00e9r\u0151l \u00edrt hosszabb, elemz\u0151 tanulm\u00e1ny mellett (Daria Ghiu<\/span>), j\u00f3 n\u00e9h\u00e1ny helyi m\u0171v\u00e9sz \u00e9s t\u00e1rsadalomtud\u00f3s (p\u00e9ld\u00e1ul Viktor Neumann, Radu Pavel, Smaranda Vultur,<\/span> teh\u00e1t egy t\u00f6rt\u00e9n\u00e9sz, egy \u00edr\u00f3 \u00e9s egy t\u00e1rsadalomkutat\u00f3) is megfogalmazta nemcsak a v\u00e1ros gazdas\u00e1gi, szociokultur\u00e1lis helyzet\u00e9b\u0151l ad\u00f3d\u00f3 aktualit\u00e1sokat, hanem az azokban rejl\u0151 potenci\u00e1lokat is.<\/p>\n

K\u00e9rd\u00e9s azonban, hogy a brutt\u00f3 egy\u00e9ves id\u0151tartamra kiterjesztett bienn\u00e1l\u00e9 lok\u00e1lis szinten \u00e9s hossz\u00fa t\u00e1von milyen eredm\u00e9nyeket tud el\u00e9rni: milyen energi\u00e1kat mozgat(ott) meg, elind\u00edt-e tov\u00e1bbi \u00f6nszervez\u0151d\u0151 kezdem\u00e9nyez\u00e9seket? Mint ahogy az is csak k\u00e9s\u0151bb fog kider\u00fclni, hogy vajon nyitottak lesznek-e majd a v\u00e1rosi int\u00e9zm\u00e9nyek a tov\u00e1bbi egy\u00fcttm\u0171k\u00f6d\u00e9sekre is? \u00c9s v\u00e9g\u00fcl: be tudnak-e ezek a folyamatok \u00e9p\u00fclni a v\u00e1ros mindennapi \u00e9let\u00e9be \u00fagy, hogy k\u00f6zben esetleg k\u00fcl\u00f6nb\u00f6z\u0151 nemzetk\u00f6zi h\u00e1l\u00f3zatok r\u00e9szeiv\u00e9 is v\u00e1lnak, vagy az \u0151szi bienn\u00e1l\u00e9 m\u00e9g \u00e9rz\u00e9kelhet\u0151 nyomai, ink\u00e1bb egy sikeres projekt laza hordal\u00e9k-kupacai, amelyeket lassan sz\u00e9thord majd a temesv\u00e1ri sz\u00e9l?[\/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

20<\/p>\n

http:\/\/www.waywardpigeon.net\/<\/a><\/p>\n

21<\/p>\n

T\u00f6r\u00f6k Kriszti\u00e1n: Where Do These Winds Blow?<\/em> (2019. okt\u00f3ber 22.), https:\/\/revistaarta.ro\/en\/where-do-these-winds-blow\/<\/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-20r-1000″ 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-cont-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=”24350″ 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

Ciprian Mure\u0219an: Plague Column,<\/em> 2016, Eric Hussenot Gallery, Paris, 2016 \u00a9 Fot\u00f3: Eric Hussenot Gallery. Courtesy of the artist.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” vertically_center_columns=”true” 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-2-0″ 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”]

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