{"id":28820,"date":"2021-12-27T23:22:06","date_gmt":"2021-12-27T22:22:06","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=28820"},"modified":"2024-01-25T18:46:22","modified_gmt":"2024-01-25T17:46:22","slug":"a-dialektika-dialektikaja-gerhard-richter-valos-latszat","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/a-dialektika-dialektikaja-gerhard-richter-valos-latszat\/","title":{"rendered":"A dialektika dialektik\u00e1ja"},"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″ id=”1″ advanced_gradient_angle=”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

Gerhard Richter: Val\u00f3s l\u00e1tszat<\/em><\/h2>\n[\/vc_column_text][vc_column_text el_class=”p-2-0″]\n

Sz\u00e9pm\u0171v\u00e9szeti M\u00fazeum \u2013 Magyar Nemzeti Gal\u00e9ria, Budapest
\n2021. augusztus 27 \u2013 november 28.<\/h4>\n[\/vc_column_text][vc_column_text el_class=”p-1-0″]\n

Kur\u00e1tor: B\u00f3di Kinga<\/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” class=”p-1-0″ 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]A Sz\u00e9pm\u0171v\u00e9szeti M\u00fazeum \u2013 Magyar Nemzeti Gal\u00e9ria k\u00f6zel t\u00edz \u00e9ve ind\u00edtotta el a kort\u00e1rs n\u00e9met k\u00e9pz\u0151m\u0171v\u00e9szetet bemutat\u00f3 ki\u00e1ll\u00edt\u00e1s-sorozt\u00e1t. A k\u00fclf\u00f6ldi m\u0171v\u00e9szeket Magyarorsz\u00e1gon bemutat\u00f3 t\u00e1rlatok sz\u00e1m\u00e1t is gyarap\u00edt\u00f3 projekt c\u00e9lja, hogy sz\u00e9lesebb k\u00e9pet kapjunk azokr\u00f3l a nagy (els\u0151sorban fest\u00e9szeti) \u00e9letm\u0171vekr\u0151l, amelyek \u2013 v\u00e1lt\u00f3pontokat is kijel\u00f6lve \u2013 meghat\u00e1rozz\u00e1k a II. vil\u00e1gh\u00e1bor\u00fa ut\u00e1ni n\u00e9met m\u0171v\u00e9szet halad\u00e1sir\u00e1nyait, s ugyanakkor \u00f6sszehasonl\u00edthat\u00f3 p\u00e9ldak\u00e9nt is szolg\u00e1lhatnak a magyar m\u0171v\u00e9szetet meghat\u00e1roz\u00f3 t\u00f6r\u00e9spontok elm\u00e9leti vizsg\u00e1lat\u00e1n\u00e1l.<\/p>\n

Mindezt figyelembe v\u00e9ve, kifejezetten szimbolikus jelent\u0151s\u00e9g\u0171, hogy 2021-ben megval\u00f3sulhatott egy Gerhard Richter<\/span> ki\u00e1ll\u00edt\u00e1s, hiszen ez a komplex \u00e9s szerte\u00e1gaz\u00f3 \u00e9letm\u0171 a kort\u00e1rs m\u0171v\u00e9szet szempontj\u00e1b\u00f3l szinte megker\u00fclhetetlennek sz\u00e1m\u00edt: a vil\u00e1g majdnem minden pontj\u00e1n azonos \u00e9rdekl\u0151d\u00e9s mutatkozik ir\u00e1nta, \u00edgy el\u00e9rhet\u0151s\u00e9ge \u00e9s megval\u00f3s\u00edthat\u00f3s\u00e1ga igencsak k\u00f6r\u00fclm\u00e9nyes \u00e9s k\u00f6lts\u00e9ges. Richter munk\u00e1ss\u00e1ga kifejezetten nagy s\u00fallyal b\u00edr a m\u0171v\u00e9szett\u00f6rt\u00e9net \u00e9s -elm\u00e9let sz\u00e1m\u00e1ra, hisz olyan v\u00e1lt\u00f3pontok, dialektikus viszonyrendszerek \u00e9s stilisztikai pluralizmus keresztmetszet\u00e9ben helyezkedik el, amelyekr\u0151l besz\u00e9lni egyet jelent a hatvanas \u00e9vekben kialakult fordul\u00f3pontok, a posztmodern hegem\u00f3nn\u00e1 v\u00e1l\u00e1s\u00e1nak, a kett\u0151s vil\u00e1grend politikai, gazdas\u00e1gi \u00e9s t\u00e1rsadalmi \u00f6sszef\u00fcgg\u00e9seinek, vagy \u00e9pp a modern m\u0171v\u00e9szet auton\u00f3mia-fogalm\u00e1nak v\u00e9g\u00e9vel kapcsolatos k\u00e9rd\u00e9sek vizsg\u00e1lat\u00e1val is. Ha egy ilyen ki\u00e1ll\u00edt\u00e1s megval\u00f3s\u00edt\u00e1s\u00e1ra \u00e9s kritikai vizsg\u00e1lat\u00e1ra tesz\u00fcnk k\u00eds\u00e9rletet, akkor \u2013 hogy ne ess\u00fcnk a puszt\u00e1n m\u00e9dium \u00e9s \u00e9letm\u0171 k\u00f6zpont\u00fa vizsg\u00e1lat csapd\u00e1j\u00e1ba \u2013 szinte elengedhetetlen besz\u00e9lni l\u00e9trej\u00f6tt\u00e9nek k\u00f6r\u00fclm\u00e9nyeir\u0151l, t\u00e1rsadalmi kontextus\u00e1r\u00f3l. Melyek azok az ellentmond\u00e1sok, amelyek egyik oldalon a ki\u00e1ll\u00edt\u00e1s int\u00e9zm\u00e9nyi referenci\u00e1ira utalnak, \u00e9s melyek azok, amelyek az \u00e9letm\u0171 bels\u0151 koherenci\u00e1j\u00e1ra, annak egys\u00e9g\u00e9re, k\u00f6vetkezetess\u00e9gre s ugyanakkor heterogenit\u00e1s\u00e1ra reflekt\u00e1lnak: mit k\u00f6zvet\u00edt \u00e9s mit nem ebb\u0151l a dialektikus viszonyrendszerb\u0151l az aktu\u00e1lis ki\u00e1ll\u00edt\u00e1s?<\/p>\n

Az \u00e9letm\u0171 dialektik\u00e1ja<\/h3>\n

Max Horkheimer<\/span> \u00e9s Theodor W. Adorno<\/span> h\u00edres k\u00f6nyv\u00fckben, A felvil\u00e1gosod\u00e1s dialektik\u00e1j\u00e1<\/em>nak els\u0151 fejezet\u00e9ben a felvil\u00e1gosod\u00e1s alapvet\u0151 paradoxonjaival szembes\u00edtenek. A tud\u00e1s \u00e9s nem-tud\u00e1s, a racionalit\u00e1s \u00e9s t\u00e1rsadalmi val\u00f3s\u00e1g keresztmetszet\u00e9ben arr\u00f3l \u00edrnak, hogy \u201eA felvil\u00e1gosod\u00e1s programja az volt, hogy f\u00f6loldja a vil\u00e1got a var\u00e1zslat al\u00f3l. Sz\u00e9t akarta oszlatni a m\u00edtoszokat, \u00e9s a tud\u00e1s erej\u00e9vel akarta megd\u00f6nteni a k\u00e9pzel\u0151d\u00e9s hatalm\u00e1t. [\u2026] B\u00e1rmilyen m\u00edtoszra hivatkozz\u00e9k is az ellen\u00e1ll\u00e1s, m\u00e1r puszt\u00e1n azzal, hogy ebben az ellent\u00e9tben a m\u00edtoszok \u00e9rvekk\u00e9 v\u00e1lnak, elismeri a bomlaszt\u00f3 racionalit\u00e1snak azt az elv\u00e9t, melyet a felvil\u00e1gosod\u00e1snak a szem\u00e9re vet. A felvil\u00e1gosod\u00e1s totalit\u00e1rius.\u201d3<\/span><\/p>\n

A k\u00f6nyvben szerepl\u0151 egyik legfontosabb \u2013 a richteri \u00e9letm\u0171 szempontj\u00e1b\u00f3l sem megker\u00fclhet\u0151 \u2013 t\u00e9tel a felvil\u00e1gosod\u00e1s m\u00edtosszal szembeni alap\u00e1ll\u00e1sa, lerombol\u00e1s\u00e1ra tett k\u00eds\u00e9rlete: mik\u00f6zben maga is<\/em> m\u00edtossz\u00e1 v\u00e1lik, \u00f6nmaga racionalit\u00e1s\u00e1t kezdi mitologiz\u00e1lni. Ebben a form\u00e1ban tud\u00e1s<\/em> \u00e9s m\u00edtosz<\/em> olyan kifejezetten differenci\u00e1lt kapcsol\u00f3d\u00e1sban \u00edrhat\u00f3 le, melyben hatalom \u00e9s technika, passz\u00edvit\u00e1s \u00e9s akt\u00edvit\u00e1s, ural\u00f3 \u00e9s uralt, meg\u00e9rthet\u0151 \u00e9s megtapasztalhat\u00f3, s ugyanakkor stabil \u00e9s instabil dichot\u00f3mi\u00e1ja<\/em> is meghat\u00e1roz\u00f3. Mi fel\u00e9 t\u00f6r a felvil\u00e1gosod\u00e1sban tetten \u00e9rhet\u0151 tud\u00e1s, \u00e9s mi fel\u00e9 t\u00f6r a m\u00edtoszon bel\u00fcl uralkod\u00f3 nem-tud\u00e1s k\u00e9pzete? Mi\u00e9rt v\u00e1lik a tud\u00e1s maga is m\u00edtossz\u00e1 akkor, amikor annak lerombol\u00e1s\u00e1t t\u0171zte ki c\u00e9lul? S mindezt tov\u00e1bb gondolva: ami egyszer az uralkod\u00f3 narrat\u00edva ellen t\u00f6r, hogyan v\u00e1lik k\u00e9s\u0151bb maga is uralkod\u00f3 narrat\u00edv\u00e1v\u00e1?<\/p>\n

A modernizmus ut\u00f3pista c\u00e9ljai a t\u00e1rsadalom \u00e1tform\u00e1l\u00e1s\u00e1t t\u0171zt\u00e9k ki c\u00e9lul, \u00e9s e k\u00fczdelem sor\u00e1n \u00e9pp az \u00f6nmaga \u00e1ltal fel\u00e1ll\u00edtott szab\u00e1lyok k\u00f6z\u00f6tt vesztette hitel\u00e9t. A II. vil\u00e1gh\u00e1bor\u00fa katasztr\u00f3f\u00e1ja nem \u00e9rtelmezhet\u0151 a modernizmus m\u00edtosz\u00e1nak figyelembev\u00e9tele n\u00e9lk\u00fcl: miut\u00e1n kudarcot vallott, az egys\u00e9ges st\u00edlus, az auton\u00f3m m\u0171v\u00e9szet \u00e9s m\u0171v\u00e9sz m\u00edtosza is darabokra hullott. A tiszta m\u0171v\u00e9szet \u2013 a tiszta fest\u00e9szet \u00e9s a tiszta absztrakci\u00f3 m\u00e9diumorient\u00e1lt \u2013 egys\u00e9ge felbomlott, \u00e9s a k\u00fcl\u00f6nb\u00f6z\u0151 referenci\u00e1k keresztt\u00fcz\u00e9ben, a posztmodern elm\u00e9let t\u00e1ptalaj\u00e1n referenci\u00e1lis t\u00e9nyez\u0151v\u00e9, \u00e9s ek\u00f6zben folyamatosan jelenl\u00e9v\u0151 szellemm\u00e9 alakult. \u201eA moderneket az ilyen v\u00e1ltoz\u00e1sok val\u00f3sz\u00edn\u0171 kimenetele \u00e9s \u00e1ltal\u00e1nos tendenci\u00e1i \u00e9rdekelt\u00e9k: \u0151k mag\u00e1r\u00f3l a dologr\u00f3l gondolkodtak, alapvet\u0151en, ut\u00f3pista vagy esszencialista m\u00f3don. A posztmodernizmus ebben az \u00e9rtelemben form\u00e1lisabb \u00e9s \u00bbt\u00e1vols\u00e1gtart\u00f3bb\u00ab, ahogy Walter Benjamin<\/span> mondan\u00e1; csup\u00e1n \u00e9szleli magukat a m\u00f3dosul\u00e1sokat, \u00e9s nagyon j\u00f3l tudja, hogy a tartalom csak m\u00e9g t\u00f6bb k\u00e9p.\u201d4<\/span> Az, ami a modern tekintet r\u00e9v\u00e9n l\u00e9trej\u00f6n, k\u00eds\u00e9rlet valaminek a meg\u00e9rt\u00e9s\u00e9re, j\u00f3llehet mag\u00e1ba foglalta a megismert t\u00e1rgy vagy fogalom elpuszt\u00edt\u00e1s\u00e1t is. Ezzel ellent\u00e9tben a posztmodern elm\u00e9let elfogad\u00f3 narrat\u00edv\u00e1ja a felbont\u00e1s \u00e9s darabokra szed\u00e9s kritikai aspektusai r\u00e9v\u00e9n ugyancsak elsiklik afelett, hogy amit meg\u00e9rteni igyekszik, az egy darabokra esett \u00e9s szedett konstrukci\u00f3 el\u00e9rhetetlen egys\u00e9gbe rendez\u00e9se.[\/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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https:\/\/mng.hu\/kiallitasok\/gerhard-richter-valos-latszat\/<\/a> (utols\u00f3 bel\u00e9p\u00e9s a sz\u00f6vegben hivatkozott webhelyekre: 2021. okt\u00f3ber 30.)<\/p>\n

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Uecker. K\u00e9pp\u00e9 form\u00e1lt anyag,<\/em> Sz\u00e9pm\u0171v\u00e9szeti M\u00fazeum, Budapest, 2012. december 15 \u2013 2013. m\u00e1rcius 17., ld. https:\/\/www.szepmuveszeti.hu\/kiallitasok\/uecker-keppe-formalt-anyag\/<\/a>; Immendorff. \u00c9ljen a fest\u00e9szet!<\/em> Sz\u00e9pm\u0171v\u00e9szeti M\u00fazeum, Budapest, 2014. november 9 \u2013 2015. febru\u00e1r 15., ld. https:\/\/www.szepmuveszeti.hu\/kiallitasok\/immendorff-eljen-a-festeszet\/<\/a>; Baselitz. \u00dajraj\u00e1tszott m\u00falt,<\/em> Magyar Nemzeti Gal\u00e9ria, Budapest, 2017. \u00e1prilis 1. \u2013 j\u00falius 2., ld. https:\/\/mng.hu\/kiallitasok\/baselitz-ujrajatszott-mult\/<\/a><\/p>\n

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Max Horkheimer, Theodor W. Adorno:<\/span> A felvil\u00e1gosod\u00e1s fogalma. In A felvil\u00e1gosod\u00e1s dialektik\u00e1ja.<\/em> Ford. Bayer J\u00f3zsef, Ger\u00e9by Gy\u00f6rgy, Glavina Zsuzsa, Mesterh\u00e1zi Mikl\u00f3s, V\u00f6r\u00f6s T. K\u00e1roly, Atlantisz K\u00f6nyvkiad\u00f3, Budapest, 2020<\/p>\n

4<\/p>\n

Fredric Jameson:<\/span> A posztmodern, avagy a k\u00e9sei kapitalizmus kultur\u00e1lis logik\u00e1ja.<\/em> Szerk. K\u00e1lm\u00e1n C. Gy\u00f6rgy, ford. Dudik Annam\u00e1ria \u00c9va, Noran Libro, Budapest, 2010<\/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=”p-6-0 full-5-25″ advanced_gradient_angle=”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”][image_with_animation image_url=”28875″ 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

Gerhard Richter: L\u00e1nyfej<\/em> (M\u00e4dchenkof, CR: 63), 1965, olaj, v\u00e1szon, 75\u00d7100 cm \u00a9 Fot\u00f3k: Eln Ferenc<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” 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]A sz\u00e9tbont\u00e1s \u00e9s egys\u00e9gbe rendez\u00e9s, a t\u00e1vols\u00e1gtart\u00e1s \u00e9s k\u00f6zel enged\u00e9s, valamint a megmutat\u00e1s \u00e9s elrejt\u00e9s viszonyrendszer\u00e9ben Gerhard Richter<\/span> munk\u00e1ss\u00e1g\u00e1val kapcsolatban is fel\u00e1ll\u00edthat\u00f3 egy alapvet\u0151 paradoxon, ami egyr\u00e9szr\u0151l mag\u00e1ra a m\u0171v\u00e9szetre vonatkoztathat\u00f3, m\u00e1sr\u00e9szr\u0151l pedig a fest\u00e9szet elm\u00e9leti \u00e9s gyakorlati \u00f6sszef\u00fcgg\u00e9seivel is p\u00e1rhuzamba \u00e1ll\u00edthat\u00f3. Ez az ellentmond\u00e1s hozz\u00e1vet\u0151legesen \u00edgy fogalmazhat\u00f3 meg: Gerhard Richter<\/span> tulajdonk\u00e9ppen a fest\u00e9szetet bontja ki, \u00e9s szedi darabokra, ezzel feloldva a st\u00edlus, a forma, a val\u00f3s\u00e1g, a realit\u00e1s, az absztrakci\u00f3 \u00e9s a k\u00e9pis\u00e9g t\u00f6rt\u00e9neti dimenzi\u00f3it. Ugyanakkor pont ezen cselekv\u00e9sform\u00e1k szabad felhaszn\u00e1lhat\u00f3s\u00e1ga r\u00e9v\u00e9n s\u00fcllyeszti m\u00edtoszba a m\u0171v\u00e9szetet, \u00e9s mag\u00e1val a fest\u00e9szettel kapcsolatos fogalmaink stabilit\u00e1s\u00e1t \u00e9s dimenzi\u00f3it. M\u00e1sk\u00e9pp megfogalmazva: fest\u00e9szeti praxisa egyfajta reakci\u00f3ja annak, hogy a fest\u00e9szet megfoghat\u00f3, \u00e1tj\u00e1rhat\u00f3 \u00e9s racionaliz\u00e1lhat\u00f3 m\u00edtoszn\u00e9lk\u00fclis\u00e9g \u00e9s technikai n\u00f3vum? Vagy megval\u00f3sul\u00e1sa annak, hogy a fest\u00e9szetet a mai napig k\u00f6rbe lengi egyfajta mitikus dimenzi\u00f3, amely el\u0151tt csak meghajolni vagyunk k\u00e9pesek, \u00e9s elfogadjuk a m\u0171v\u00e9sz m\u00edtosz\u00e1nak m\u00e1ig nem sz\u0171n\u0151 jelenl\u00e9t\u00e9t \u00e9s aktualit\u00e1s\u00e1t?<\/p>\n

Ez az ellentmond\u00e1sos momentum legink\u00e1bb a Catalog Raisonn\u00e9<\/em> \u00e9s az Atlas<\/em> \u00f6sszehasonl\u00edt\u00e1s\u00e1ban \u00e9rhet\u0151 tetten. A Catalog Raisonn\u00e9<\/em> egy szisztematikus, konzekvens \u00e9s egys\u00e9ges dokument\u00e1ci\u00f3 a kezdeti \u00e9vekt\u0151l az utols\u00f3 megnyilv\u00e1nul\u00e1sokig: a m\u0171t\u00e1rgy m\u00e1r l\u00e9trej\u00f6tt\u00e9nek pillanat\u00e1ban \u2013 kontinuit\u00e1st felt\u00e9telezve a l\u00e1tsz\u00f3lag indifferens munk\u00e1k k\u00f6z\u00f6tt \u2013 beilleszt\u0151dik az \u00e9letm\u0171 valamelyik pontj\u00e1ba, r\u00e9szlet\u00e9be. Mintha egy l\u00e1thatatlan megfigyel\u0151 folyamatosan p\u00e1szt\u00e1z\u00f3 tekintete uraln\u00e1 \u00e9s kapcsoln\u00e1 \u00f6ssze a m\u0171veket: legyen a munka fot\u00f3 alap\u00fa, vagy \u00e9pp absztrakt festm\u00e9ny, esetleg a t\u00f6rt\u00e9nelmi fest\u00e9szet hagyom\u00e1nyait \u00fajra\u00e9rtelmez\u0151 gesztus, r\u00e9sz\u00e9t k\u00e9pezi a racionalit\u00e1s<\/em> ment\u00e9n v\u00e9gigvitt, a dokument\u00e1l\u00e1st maximaliz\u00e1l\u00f3 katalogiz\u00e1l\u00e1snak. Ezzel szemben az Atlas<\/em> sokkal intuit\u00edvabb<\/em> egys\u00e9gnek t\u0171nik, ami l\u00e1tsz\u00f3lag mentes mindenfajta \u00edt\u00e9lett\u0151l, \u00e9s egy kontemplat\u00edv, de m\u00e9gis kifel\u00e9 figyel\u0151, akt\u00edv \u00e1ll\u00e1spontot felt\u00e9telez. Az \u00f6sszegy\u0171jt\u00f6tt fot\u00f3kat, dokumentumokat egy laza szerkezet \u00e9s a spontaneit\u00e1s elve k\u00f6ti \u00f6ssze, melynek alapj\u00e1t amat\u0151r felv\u00e9telek, \u00fajs\u00e1gkiv\u00e1g\u00e1sok, csal\u00e1di arch\u00edvumb\u00f3l meg\u0151rz\u00f6tt k\u00e9pek sora \u00e9s sz\u00e1mos olyan fot\u00f3 adja, amely felfejti \u00e9s kiterjeszti a k\u00e9pek m\u00f6g\u00f6tt \u00e9s a benn\u00fcnk felt\u00e9telezhet\u0151 t\u00f6rt\u00e9netis\u00e9g rekonstru\u00e1lhat\u00f3s\u00e1g\u00e1t. Itt kell felfigyeln\u00fcnk arra az eltol\u00f3d\u00e1sra, amit Vil\u00e9m Flusser<\/span> A fotogr\u00e1fia filoz\u00f3fi\u00e1ja<\/em> c\u00edm\u0171 h\u00edres k\u00f6nyv\u00e9ben megeml\u00edt. \u201eT\u00f6rt\u00e9netileg a hagyom\u00e1nyos k\u00e9pek \u00e9vezredekkel megel\u0151zik a sz\u00f6vegeket, a technikai k\u00e9p viszont a legkorszer\u0171bb sz\u00f6vegeket k\u00f6veti. A hagyom\u00e1nyos k\u00e9pek ontol\u00f3giai szempontb\u00f3l els\u0151 fok\u00fa absztrakci\u00f3k, mert a konkr\u00e9t vil\u00e1gb\u00f3l absztrah\u00e1lt\u00e1k \u0151ket: m\u00edg a technikai k\u00e9pek harmadfok\u00fa absztrakci\u00f3k: olyan sz\u00f6vegekb\u0151l absztrah\u00e1l\u00f3dnak, amelyek a hagyom\u00e1nyos k\u00e9pek absztrakci\u00f3i, amelyek viszont a konkr\u00e9t vil\u00e1gb\u00f3l absztrah\u00e1l\u00f3dtak. T\u00f6rt\u00e9netileg a hagyom\u00e1nyos k\u00e9pek \u00bbt\u00f6rt\u00e9nelemel\u0151ttiek\u00ab, \u00e9s a technikaiak \u00bbt\u00f6rt\u00e9nelemut\u00e1niak\u00ab. A hagyom\u00e1nyos k\u00e9pek ontol\u00f3giai szempontb\u00f3l jelens\u00e9gnek tekinthet\u0151k, a technikai k\u00e9pek viszont fogalomnak. A technikai k\u00e9pet megfejteni teh\u00e1t annyit jelent, mint kiolvasni bel\u0151le ezt a helyzet\u00e9t.\u201d5<\/span> Felmer\u00fclhet a k\u00e9rd\u00e9s, hogy Gerhard Richter fot\u00f3khoz, a technikai k\u00e9phez val\u00f3 viszony\u00e1ban vajon milyen fok\u00fa absztrakci\u00f3n sz\u0171ri \u00e1t festm\u00e9nyeit, s \u00edgy azok \u2013 ebben a kontextusban \u2013 mit bontanak ki, \u00e9s mit elimin\u00e1lnak? K\u00f6zelebb engednek, vagy \u00e9pp t\u00e1vols\u00e1gtart\u00f3an kezelnek minket? A ki\u00e1ll\u00edt\u00e1son bemutatott dokumentumfilm6<\/span> egyik jelenet\u00e9ben Richter arr\u00f3l besz\u00e9l, hogy a \u201efot\u00f3k vil\u00e1g\u00e1t ismerj\u00fck, nem pedig azt, amit lefot\u00f3ztak.\u201d Majd pedig hozz\u00e1 teszi, hogy a szem\u00e9lyes arch\u00edvumb\u00f3l sz\u00e1rmaz\u00f3 felv\u00e9telek \u00f6sszekapcsol\u00e1s\u00e1b\u00f3l, egym\u00e1s mell\u00e9 helyez\u00e9s\u00e9b\u0151l, folyamatos megfigyel\u00e9s\u00e9b\u0151l \u00e9s \u00fajrarendez\u00e9s\u00e9b\u0151l tudja csak felfejteni, hogy melyik jelenet mikor lehetett, ki k\u00e9sz\u00edthette, valamint, hogy mi lehetett a m\u00f6g\u00f6ttes oka a k\u00e9p l\u00e9trej\u00f6tt\u00e9nek. Mindez egybekapcsol\u00f3dik a fest\u00e9szeti met\u00f3dusok, egy festm\u00e9ny ok\u00e1t, c\u00e9lj\u00e1t, technikai megold\u00e1sait \u00e9s jelent\u00e9s\u00e9t meghat\u00e1roz\u00f3 tartalmakkal is. A fot\u00f3b\u00f3l festm\u00e9ny lesz, majd ism\u00e9t fot\u00f3; az anyagb\u00f3l pedig k\u00e9p, s \u00fajfent felhaszn\u00e1lhat\u00f3 anyag; a r\u00e9szletek egys\u00e9gg\u00e9 v\u00e1lnak, hogy azut\u00e1n az egys\u00e9ges k\u00e9pi megold\u00e1sokb\u00f3l egy felszabdalt univerzum j\u00f6jj\u00f6n l\u00e9tre. Mintha Richter az el\u0151bb megeml\u00edtett \u201et\u00f6rt\u00e9nelemel\u0151tti\u201d \u00e9s \u201et\u00f6rt\u00e9nelemut\u00e1ni\u201d egy helyen<\/em> \u00e9s egy id\u0151ben<\/em> t\u00f6rt\u00e9n\u0151 l\u00e9tez\u00e9s\u00e9vel oper\u00e1lna: valahogy a kett\u0151 k\u00f6z\u00f6tti spektrum metsz\u00e9spontj\u00e1b\u00f3l tekintene egyr\u00e9szr\u0151l a szeml\u00e9lt fot\u00f3kra, a fest\u00e9szetre mag\u00e1ra, m\u00e1sr\u00e9szr\u0151l pedig a m\u0171v\u00e9szet m\u0171k\u00f6d\u00e9s\u00e9re is. Ennek r\u00e9v\u00e9n a richteri hozz\u00e1\u00e1ll\u00e1s \u00fagy foghat\u00f3 meg, ha \u00e1tford\u00edtjuk a fot\u00f3kkal kapcsolatos v\u00e9lem\u00e9ny\u00e9t magukra a megfestett k\u00e9pekre is: csakis a festm\u00e9nyei vil\u00e1g\u00e1t \u00e9s spektrum\u00e1t ismerj\u00fck, azt, ami lefest\u00e9sre ker\u00fclt nem. A k\u00fcls\u0151v\u00e9 tett festm\u00e9ny absztrakci\u00f3ja r\u00e9v\u00e9n a k\u00e9pi cirkul\u00e1ci\u00f3 \u00e9s transzform\u00e1ci\u00f3<\/em> egym\u00e1st er\u0151s\u00edt\u0151 jelenval\u00f3s\u00e1g\u00e1ra, valamint a fest\u00e9szet objekt\u00edv, t\u00f6rt\u00e9neti\/formalista megold\u00e1sainak \u00e1lland\u00f3s\u00edtott diverzit\u00e1s\u00e1ra kell helyezn\u00fcnk a hangs\u00falyt, melyben a Catalog Raisonn\u00e9<\/em> fest\u00e9szeti univerzuma befel\u00e9 nyitott, de kifel\u00e9 z\u00e1rt, az Atlas<\/em> technikai k\u00e9pekb\u0151l fel\u00e9p\u00fcl\u0151 panor\u00e1m\u00e1ja pedig befel\u00e9 z\u00e1rt, de kifel\u00e9 nyitott rendszert felt\u00e9telez.[\/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

5<\/p>\n

Vil\u00e9m Flusser:<\/span> A fotogr\u00e1fia filoz\u00f3fi\u00e1ja.<\/em> Szerk. Beke L\u00e1szl\u00f3, Ford. Veress Panka \u00e9s Sebesi Istv\u00e1n, Tart\u00f3shull\u00e1m \u2013 Belvedere \u2013 ELTE BTK, Budapest, 1990, ld. https:\/\/artpool.hu\/Flusser\/Fotografia\/01.html<\/a><\/p>\n

6<\/p>\n

Corinna Belz:<\/span> Gerhard Richter Painting,<\/em> \u201995, Zero One Film, Terz Film, Westdeutscher Rundfunk (WDR), N\u00e9metorsz\u00e1g, 2011<\/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=”p-6-0″ advanced_gradient_angle=”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”][image_with_animation image_url=”28877″ 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

Gerhard Richter: \u00dasz\u00f3k<\/em> (Schwimmerinnen, CR: 90), 1965, olaj, v\u00e1szon, 200\u00d7160 cm | Heidi Kuhn<\/em> (CR: 197-7), 1968, olaj, v\u00e1szon, 68\u00d7100 cm | Dr. Knobloch portr\u00e9ja<\/em> (Portrait Dr. Knobloch, CR: 41), 1964, olaj, v\u00e1szon, 100\u00d790 cm | Titk\u00e1rn\u0151<\/em> (Sektr\u00e4rin, CR: 14), 1963, olaj, v\u00e1szon, 150\u00d7100 cm | Motorcs\u00f3nak<\/em> (Motorboot, CR: 79), 1965, olaj, v\u00e1szon, 170\u00d7170 cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” 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]\n

A fest\u00e9szet dialektik\u00e1ja<\/h3>\n

Feh\u00e9r D\u00e1vid<\/span> a ki\u00e1ll\u00edt\u00e1s katal\u00f3gus\u00e1hoz \u00edrt tanulm\u00e1ny\u00e1ban, A fest\u00e9szet mint absztrakci\u00f3<\/em> c\u00edm\u0171 sz\u00f6veg\u00e9ben arr\u00f3l besz\u00e9l, hogy \u201eGerhard Richter m\u0171v\u00e9szet\u00e9ben az absztrakci\u00f3 m\u00e9g azokban az esetekben is alapelvnek tekinthet\u0151, amikor l\u00e1tsz\u00f3lag realista m\u0171veket alkot. K\u00f6vetkezetesen megk\u00e9rd\u0151jelezi az absztrakci\u00f3 \u00e9s a realizmus dichot\u00f3mi\u00e1j\u00e1t, hiszen a k\u00e9palkot\u00e1s minden form\u00e1ja az elvonatkoztat\u00e1s \u00e9s a fikcionaliz\u00e1l\u00e1s gesztusak\u00e9nt \u00edrhat\u00f3 le.\u201d7<\/span> Az absztrakci\u00f3 \u00e9s realizmus kett\u0151s\u00e9ge mellett, \u00edr\u00e1s\u00e1ban sz\u00e1mos olyan ellent\u00e9tp\u00e1rra reflekt\u00e1l, amelyek a richteri fest\u00e9szet k\u00e9pi univerzum\u00e1nak meghat\u00e1roz\u00e1s\u00e1t jelentik, \u00e9s e dichot\u00f3mi\u00e1k viszonyrendszer\u00e9ben felfejthet\u0151v\u00e9 v\u00e1lik mind a festm\u00e9nyek alapjellege, mind pedig az egyes munk\u00e1k \u00e1ltal k\u00f6zvet\u00edtett k\u00fcl\u00f6nbs\u00e9gek is. Az elvonatkoztat\u00e1s flusseri \u00e9rtelemben vett szintjeinek, tov\u00e1bb\u00e1 az absztrakci\u00f3 mindenhol jelenl\u00e9v\u0151 relevanci\u00e1j\u00e1nak rendszer\u00e9ben j\u00f3llehet kezelhet\u0151v\u00e9 v\u00e1lik az a racionalit\u00e1s is, amelyben ez a gyakorlat megragadhat\u00f3: \u201eAz absztrakci\u00f3, a felvil\u00e1gosod\u00e1s szersz\u00e1ma \u00fagy viszonyul saj\u00e1t t\u00e1rgyaihoz, mik\u00e9nt a sors, amelynek fogalm\u00e1t elt\u00f6rli: likvid\u00e1ci\u00f3k\u00e9nt.\u201d8<\/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

7<\/p>\n

Feh\u00e9r D\u00e1vid:<\/span> A fest\u00e9szet mint absztrakci\u00f3 \/ Painting as abstraction. In Val\u00f3s l\u00e1tszat \/ Truth in semblance.<\/em> Sz\u00e9pm\u0171v\u00e9szeti M\u00fazeum \u2013 Magyar Nemzeti Gal\u00e9ria, Budapest, 2021, 94-125. [95.]\n

8<\/p>\n

Horkheimer \u2013 Adorno:<\/span> i.m., 19-63 [30.]\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=”p-6-0″ advanced_gradient_angle=”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”][image_with_animation image_url=”28439″ 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

Gerhard Richter: A B, csend<\/em> (A, B, Still, CR: 612-4), 1986, olaj, v\u00e1szon, 225\u00d7200 cm | Absztrakt festm\u00e9ny<\/em> (CR: 952-3), 2017, olaj, v\u00e1szon, 200\u00d7200 cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” 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]Ez a likvid\u00e1ci\u00f3 azonban semmik\u00e9pp nem jelent kiolt\u00e1st, megsz\u0171ntet\u00e9st, sokkal ink\u00e1bb \u00e1t\u00edr\u00e1st \u00e9s ford\u00edt\u00e1s<\/em>t. Gerhard Richter szinte minden egyes munk\u00e1j\u00e1ban felfedezhet\u0151 valami olyan gesztus, ami az eredeti k\u00e9phez t\u00e1rs\u00edtott asszoci\u00e1ci\u00f3inkat kibillenti<\/em>. A festm\u00e9nyei eset\u00e9ben meghat\u00e1rozott olyan fogalmak, mint az elfed\u00e9s, eltol\u00e1s, elken\u00e9s, elhom\u00e1lyos\u00edt\u00e1s \u00e9s elcs\u00fasztat\u00e1s, vagy az objektjei eset\u00e9ben hangs\u00falyozott t\u00fckr\u00f6z\u0151d\u00e9s, \u00e1tl\u00e1that\u00f3s\u00e1g \u00e9s reflexi\u00f3, arra a fokozatos t\u00e1volod\u00e1sra \u00e9s elt\u00e1vol\u00edt\u00e1sra utalnak, amely pont az absztrakci\u00f3 ki\u00fcres\u00edt\u0151 \u00e9s totalit\u00e1rius jelleg\u00e9ben ragadhat\u00f3 meg. A L\u00e1nyfej<\/em> (M\u00e4dchenkopf, CR: 63, 1965), a Heidi Kuhn<\/em> (CR: 197, 1967) vagy \u00e9pp a Bomb\u00e1z\u00f3k<\/em> (Bomber, CR: 13, 1963) fot\u00f3realisztikus alapj\u00e1nak \u00e9letlenn\u00e9 [itt a munk\u00e1kon l\u00e9v\u0151 fest\u00e9k elcs\u00fasztat\u00e1sra, a hom\u00e1lyoss\u00e1gra gondolok] t\u00e9tel\u00e9ben, vagy az A B, csend<\/em> (A, B, Still, CR: 612-4, 1986), az Absztrakt festm\u00e9ny<\/em> (Abstraktes Bild, CR: 952-3, 2017) c\u00edm\u0171 munk\u00e1k r\u00e9tegr\u0151l r\u00e9tegre val\u00f3 kibont\u00e1s\u00e1nak eset\u00e9ben, a m\u00e1sik oldalon pedig a T\u00fck\u00f6r<\/em> (Spiegel, CR: 619, 1986) c\u00edm\u0171 munka konkr\u00e9t l\u00e1tv\u00e1ny\u00e1nak visszat\u00fckr\u00f6z\u0151d\u00e9s\u00e9ben \u00e9s annak adotts\u00e1g\u00e1ban is, folyamatosan t\u00e1volodunk a k\u00e9pek m\u0171k\u00f6d\u00e9s\u00e9nek meghat\u00e1rozhat\u00f3s\u00e1g\u00e1t\u00f3l \u00e9s felold\u00f3dunk a heterogenit\u00e1sban. S ugyan\u00edgy t\u00e1volodunk a \u201em\u0171v\u00e9sz\u201d poz\u00edci\u00f3j\u00e1nak kitapinthat\u00f3s\u00e1g\u00e1t\u00f3l, mik\u00f6zben felold\u00f3dunk st\u00edluspluralizmus<\/em>ban. Egy sokszor \u00e1tsz\u0171rt, k\u00f6zvetetten megtapasztalhat\u00f3 helyzet \u00e9rv\u00e9nyes\u00fcl, amely egy prociklikus gyakorlatban \u00e9ri el cs\u00facspontj\u00e1t; akkor m\u0171k\u00f6dik j\u00f3l, ha a teljes g\u00e9pezet m\u0171k\u00f6dik. Ilyen form\u00e1ban olyan \u00e9rz\u00e9se t\u00e1mad az embernek, mintha az eg\u00e9sz egy nagy, az \u00e9letm\u0171re vonatkoztatott konceptu\u00e1lis gesztus<\/em> lenne: a munk\u00e1k csak eszk\u00f6zz\u00e9 reduk\u00e1lva kapnak szerepet \u00e9s az adott k\u00e9pi probl\u00e9m\u00e1k aktualiz\u00e1l\u00e1s\u00e1val szemben csak szeml\u00e9ltetnek bizonyos k\u00e9rd\u00e9seket. Ez az eltol\u00f3d\u00e1s legink\u00e1bb a 180 sz\u00edn<\/em> (180 Farben, CR: 301\/1-20, 1971) c\u00edm\u0171 munk\u00e1n\u00e1l kitapinthat\u00f3. Szemben a hivatkozott m\u0171v\u00e9szekkel \u2013 Josef Albers, Elsworth Kelly, Jim Dine<\/span> \u2013 Richter munk\u00e1ja a sz\u00ednek kontemplat\u00edv meg\u00e9rt\u00e9se, percepcion\u00e1lis fel\u00fclvizsg\u00e1lata helyett azokat intuit\u00edv m\u00f3don felsorakoztatja: prezent\u00e1lja a sz\u00ednek variabilit\u00e1s\u00e1t, soksz\u00edn\u0171s\u00e9g\u00e9t \u00e9s kimer\u00edthetetlen egys\u00e9gess\u00e9g\u00fcket. Ha ebben a t\u0171\u00e9les \u00e9s minimalista szekci\u00f3ban puszt\u00e1n csak a c\u00edmekre hivatkozunk, akkor t\u00f6bbnyire azok sz\u00e1mszer\u0171s\u00e9g\u00e9re \u00e9s az ebb\u0151l l\u00e9trej\u00f6v\u0151 kapcsol\u00f3d\u00e1si pontokra figyelhet\u00fcnk fel \u2013 1024 Sz\u00edn<\/em> (1024 Farben, CR: 351, 1973); 256 Sz\u00edn<\/em> (256 Farben, CR: 352-1; 352-2; 352-3; 352-4, 1974-1984) vagy \u00e9pp 4900 Sz\u00edn<\/em> (4900 Farben, CR: 901, 2007).[\/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″ advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs” gradient_type=”default”][\/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=”p-6-0″ advanced_gradient_angle=”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”][image_with_animation image_url=”28320″ 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

Gerhard Richter: 180 sz\u00edn,<\/em> 1971, lakk, pap\u00edr, farost lemez, 20 t\u00e1bla, egyenk\u00e9nt 61\u00d786 cm<\/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=”p-8-0″ advanced_gradient_angle=”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”][image_with_animation image_url=”28883″ 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

Gerhard Richter: F\u00e1k<\/em> (B\u00e4ume, CR: 628-2), 1987, olaj, v\u00e1szon, 52\u00d772 cm | Ny\u00e1ri nap<\/em> (Sommertag, CR: 859-1), 1999, olaj, v\u00e1szon, 117\u00d782 cm | V\u00e1rosk\u00e9p PL<\/em> (Stadtbild PL, CR: 250), 1970, olaj, v\u00e1szon, 170\u00d7170 cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” 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]Ugyanez a szeml\u00e9ltet\u0151, \u00edt\u00e9lett\u0151l mentes gyakorlat figyelhet\u0151 meg a t\u00e1jk\u00e9pek fest\u00e9szeti hagyom\u00e1ny\u00e1nak felvonultat\u00e1s\u00e1n\u00e1l, vagy \u00e9pp a kisebb l\u00e9pt\u00e9k\u0171 figur\u00e1lis k\u00e9pek eset\u00e9ben is. A c\u00edmek t\u00f6bbs\u00e9g\u00e9ben nincs jelz\u0151, csak jelzett \u2013 V\u00e1rosk\u00e9p PL<\/em> (Stadtbild PL, CR: 250, 1970); F\u00e1k (B\u00e4ume, CR: 628-2, 1987); Koponya<\/em> (Sch\u00e4del, CR: 548-1, 1983). Ahol pedig van, ott is csak a k\u00e9p pontos\u00edt\u00e1sa v\u00e9gett \u2013 Kis f\u00fcrd\u0151z\u0151<\/em> (Kleine Badende, CR:815-1, 1994); Ny\u00e1ri nap<\/em> (Sommertag, CR: 859-1, 1999).[\/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″ advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs” gradient_type=”default”][\/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=”p-6-0″ advanced_gradient_angle=”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”][image_with_animation image_url=”28640″ 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

Gerhard Richter: Koponya<\/em> (Sch\u00e4del, CR: 548-1), 1983, olaj, v\u00e1szon, 55\u00d750 cm | Betty <\/em>(CR: 425-4), 1977, olaj, v\u00e1szon, 30\u00d740 cm | Moritz<\/em> (CR: 863-3), 2000, olaj, v\u00e1szon, 62\u00d752 cm | Kis f\u00fcrd\u0151z\u0151 <\/em>(Kleine Badende, CR: 815-1), 1994, olaj, v\u00e1szon, 51\u00d736 cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” 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]A t\u00e1jk\u00e9pek friedrichi hagyom\u00e1ny\u00e1t tekintve, a n\u00e9met romantikus t\u00e1j eset\u00e9ben mindig van egy szerepl\u0151, aki vagy belemer\u00fclve bolyong a t\u00e1j felfoghatatlans\u00e1g\u00e1ban, vagy elmereng annak fens\u00e9gess\u00e9g\u00e9ben. Emellett pedig ne felejts\u00fck el, hogy e k\u00e9pek sokszor vall\u00e1sos tartalmakkal is oper\u00e1ltak. A richteri t\u00e1j enn\u00e9l sokkal hidegebb: a romantikus t\u00e1jjal szemben puszt\u00e1n a t\u00e1jat, annak adotts\u00e1g\u00e1t, k\u00e9pi lehet\u0151s\u00e9geit, finom elmos\u00f3dotts\u00e1g\u00e1t \u00e1br\u00e1zolja. M\u00e9g a leggrandi\u00f3zusabb tengerk\u00e9pei eset\u00e9ben sem jutunk t\u00fal a tengerk\u00e9p fogalm\u00e1n, annak csakis jelenl\u00e9t\u00e9t \u00e9rz\u00e9kelj\u00fck, immanens romantikuss\u00e1g\u00e1t nem \u2013 Tengeri l\u00e1tk\u00e9p (Reggeli hangulat)<\/em> (Seest\u00fcck [Morgenstimmung], CR: 237-1, 1969); Seest\u00fcck (Gegenlicht), CR: 233, 1969; Seest\u00fcck (gr\u00fcngrau, bew\u00f6lkt), CR: 241-1, 1969.<\/p>\n

Term\u00e9szetesen meg kell eml\u00edten\u00fcnk azt a konkr\u00e9t momentumot is, hogy mit tekint\u00fcnk tulajdonk\u00e9ppen \u2013 a ki\u00e1ll\u00edt\u00e1s kapcs\u00e1n \u2013 a fest\u00e9szet dialektik\u00e1ja<\/em> alatt. \u00c1ll\u00e1spontom szerint a Val\u00f3s l\u00e1tszat,<\/em> amely a c\u00edm\u00e9ben is jelzi, hogy egy ellentmond\u00e1sos helyzetet k\u00edv\u00e1n teremteni, sok ponton tov\u00e1bbgondolhat\u00f3. Jelzi \u00e9s keretbe z\u00e1rja azokat a dimenzi\u00f3kat, amelyekkel a richteri univerzum keretbe foglalhat\u00f3: szubjektivizmus \u00e9s objektivizmus, formalizmus \u00e9s konceptualizmus, esszencializmus \u00e9s materializmus, valamint rendezetlens\u00e9g \u00e9s rendszer egybekapcsolhat\u00f3v\u00e1 v\u00e1lik, \u00e9s ironikus m\u00f3don egym\u00e1s ellent\u00e9tes jelleg\u00e9n kereszt\u00fcl kap \u00e9rtelmet. A fest\u00e9szet jelent\u00e9startom\u00e1nya ebben az esetben mind elm\u00e9leti \u00e9s gyakorlati szinten, mind k\u00e9pi \u00e9s sz\u00f6veges szinten, vagy \u00e9pp m\u00edtosz \u00e9s tud\u00e1s szintj\u00e9n az \u00e1tj\u00e1rhat\u00f3s\u00e1g alap\u00e9lm\u00e9ny\u00e9b\u0151l, a fix poz\u00edci\u00f3k kij\u00e1tsz\u00e1s\u00e1b\u00f3l t\u00e1pl\u00e1lkozik. A tel\u00edt\u00e9s \u00e9s ki\u00fcres\u00edt\u00e9s egym\u00e1sra utalts\u00e1g\u00e1ban tal\u00e1n nem is kell d\u00f6nten\u00fcnk a felvonultatott ir\u00e1nyok k\u00f6z\u00fcl, hisz \u00e9pp a k\u00f6zt\u00fck val\u00f3 mozg\u00e1s, a v\u00e9gpontokat \u00f6sszek\u00f6t\u0151 amplit\u00fad\u00f3 az, ami az eg\u00e9sz \u00e9letm\u0171vet, tov\u00e1bb\u00e1 a fest\u00e9szet m\u00e9dium\u00e1t is \u00f6sszekapcsolhat\u00f3v\u00e1 teszi.[\/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″ advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs” gradient_type=”default”][\/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=”p-6-0″ advanced_gradient_angle=”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”][image_with_animation image_url=”28880″ 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

Gerhard Richter: Tengeri l\u00e1tk\u00e9p (Reggeli hangulat)<\/em> (Seest\u00fcck [Morgenstimmung], CR: 237-1), 1969, olaj, v\u00e1szon, 80\u00d7100 cm | H\u00edd (A tengerparton)<\/em> (Br\u00fccke [am Meer], CR: 202), 1969, olaj, v\u00e1szon, 93\u00d798 cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” 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]\n

Az int\u00e9zm\u00e9nyess\u00e9g dialektik\u00e1ja<\/h3>\n

Ezzel p\u00e1rhuzamosan, azokra az eltol\u00f3d\u00e1sokra is figyeln\u00fcnk kell, amelyeket m\u00e1r kev\u00e9sb\u00e9 (vagy r\u00e9szben) Gerhard Richter<\/span> befoly\u00e1sol, hanem ink\u00e1bb a m\u0171v\u00e9szetet k\u00f6r\u00fcl\u00f6lel\u0151 int\u00e9zm\u00e9nyes keret<\/em> hat\u00e1roz meg. A m\u00fazeumi diskurzusban szinte elhanyagolhatatlannak sz\u00e1m\u00edt az adott int\u00e9zm\u00e9nynek az ebbe a h\u00e1l\u00f3zatba val\u00f3 becsatlakoztat\u00e1sa, a birtokolt vagy \u00e9pp birtokba vehet\u0151 m\u0171t\u00e1rgyak jellege \u00e9s l\u00e9pt\u00e9ke. A m\u00fazeum egyr\u00e9szt kultur\u00e1lis t\u00e9r, amely a tud\u00e1s k\u00f6zvet\u00edt\u00e9s\u00e9ben \u00e9rdekelt, m\u00e1sr\u00e9szt pedig tud\u00e1stermel\u0151 int\u00e9zm\u00e9ny, amely a kultur\u00e1lis g\u00e9pezet min\u00e9l sz\u00e9lesebb k\u00f6r\u0171 kihaszn\u00e1l\u00e1s\u00e1ban, m\u0171k\u00f6dtet\u00e9s\u00e9ben form\u00e1l\u00f3dik meg. Ilyen szinten m\u00e1s referenci\u00e1kkal oper\u00e1l egy iparm\u0171v\u00e9szeti m\u00fazeum, egy nemzeti kult\u00far\u00e1t \u00e1pol\u00f3 \u00e9s gondoz\u00f3 nemzeti gal\u00e9ria, vagy \u00e9pp egy a kort\u00e1rs m\u0171v\u00e9szetet bemutatni k\u00edv\u00e1n\u00f3 m\u0171csarnok. A nagyobb m\u00fazeumok nemzetk\u00f6zi kapcsolath\u00e1l\u00f3ja term\u00e9szetesen er\u0151sebb, s \u00e9rz\u00e9kelhet\u0151, hogy a centrumorsz\u00e1gok int\u00e9zm\u00e9nyei \u2013 mivel kiterjedtebb infrastrukt\u00far\u00e1val \u00e9s k\u00f6lts\u00e9gekkel tudnak sz\u00e1molni \u2013 jelent\u0151seb befoly\u00e1ssal is b\u00edrnak a f\u00e9lperif\u00e9ri\u00e1n m\u0171k\u00f6d\u0151 \u00e9s m\u0171k\u00f6dtetett t\u00e1rsaikhoz k\u00e9pest. M\u00e1sok a k\u00f6zszf\u00e9ra dimenzi\u00f3i, de m\u00e1sok a mag\u00e1nszektor lehet\u0151s\u00e9gei \u00e9s kiterjed\u00e9se is. Egy ilyen l\u00e9pt\u00e9k\u0171 ki\u00e1ll\u00edt\u00e1s megval\u00f3s\u00edt\u00e1s\u00e1n\u00e1l szinte felbecs\u00fclhetetlen, hogy h\u00e1ny m\u00fazeummal, gy\u0171jt\u0151vel, gal\u00e9ri\u00e1val \u00e9s \u00f6sszek\u00f6t\u0151vel kell kapcsolatot tartani \u2013 egyezkedni az egyes m\u0171t\u00e1rgyak t\u00e9nyleges ki\u00e1ll\u00edthat\u00f3s\u00e1g\u00e1r\u00f3l, sz\u00e1ll\u00edt\u00e1s\u00e1r\u00f3l, jogd\u00edjakr\u00f3l \u00e9s egy\u00e9b int\u00e9zm\u00e9nyk\u00f6zi meg\u00e1llapod\u00e1sokr\u00f3l \u2013, nem is besz\u00e9lve az adott m\u0171v\u00e9szek ig\u00e9nyeir\u0151l \u00e9s el\u00e9rhet\u0151s\u00e9g\u00fckr\u0151l. S\u0151t, valamilyen form\u00e1ban pont ezek az int\u00e9zm\u00e9nyk\u00f6zi meg\u00e1llapod\u00e1sok \u00e9s kapcsolatok tesznek egy ilyen l\u00e9pt\u00e9k\u0171 ki\u00e1ll\u00edt\u00e1st igaz\u00e1n izgalmass\u00e1. Min\u00e9l nagyobb \u00e9s min\u00e9l sz\u00e9lesebb spektrumban k\u00e9pes egy m\u00fazeum a kult\u00fariparon bel\u00fcl teljes\u00edteni, ann\u00e1l nagyobb legitim\u00e1ci\u00f3s er\u0151vel b\u00edr maga az int\u00e9zm\u00e9ny \u00e9s az \u00e1ltala megrendezett ki\u00e1ll\u00edt\u00e1s is. M\u00e1sfel\u0151l: \u00e9pp ennek a sz\u00e9les spektrumnak a hi\u00e1nya, illetve az \u00e9rintett m\u0171v\u00e9sz jelent\u0151s\u00e9ge a kult\u00faripar dimenzi\u00f3in bel\u00fcl, egyben korl\u00e1tozza is a hozz\u00e1f\u00e9r\u00e9st: min\u00e9l kevesebb a rendelkez\u00e9sre \u00e1ll\u00f3 eszk\u00f6z, forr\u00e1s, kisebb a h\u00e1tt\u00e9r, ann\u00e1l sz\u0171kebb a mozg\u00e1st\u00e9r, s v\u00e1lik t\u00e1voli lehet\u0151s\u00e9gg\u00e9 egy \u00e9letm\u0171 bemutathat\u00f3s\u00e1ga.<\/p>\n

A magyar megjelen\u00e9s eset\u00e9ben \u2013 a hatalmas szakmai teljes\u00edtm\u00e9nyen, \u00e9s az int\u00e9zm\u00e9nyi profizmuson t\u00fal \u2013 egyfajta kett\u0151ss\u00e9g \u00e9rz\u00e9kelhet\u0151: mik\u00f6zben sz\u00e1mos kulcsmomentum a neki megfelel\u0151 teret \u00e9s l\u00e9pt\u00e9ket kapta, t\u00f6bb esetben, amikor azt a munka valamilyen form\u00e1ban megk\u00f6vetelte volna, mintha elhalv\u00e1nyult volna annak a jelent\u0151s\u00e9ge, hogy milyen bemutatni \u00e9s megn\u00e9zni egy eredeti munk\u00e1t, \u00e9s ink\u00e1bb behelyettes\u00edt\u00e9sekkel, reprodukci\u00f3kkal tal\u00e1lkozik a befogad\u00f3. A katal\u00f3guson bel\u00fcl, B\u00f3di Kinga<\/span> tanulm\u00e1ny\u00e1nak v\u00e9g\u00e9n jelzi, hogy \u201eRichter mindig is k\u00f6nnyed\u00e9n tudott (\u00e9s tud) v\u00e1ltani m\u0171fajok, technik\u00e1k, eszk\u00f6z\u00f6k \u00e9s m\u00e9diumok, valamint figurat\u00edv \u00e9s absztrakt megfogalmaz\u00e1sok, tipikus \u00e9s atipikus k\u00f6z\u00f6tt. Sz\u00e1mtalan olaj-v\u00e1szon festm\u00e9ny\u00e9t elk\u00e9sz\u00edtette azonos m\u00e9retben fot\u00f3- vagy digit\u00e1lisprint-v\u00e1ltozatban is. \u00cdgy tett a 48 portr\u00e9<\/em>val is, amelynek t\u00f6bb fot\u00f3verzi\u00f3ja is ismert, ez\u00e1ltal visszavezetve az alakokat az eredeti m\u00e9diumokba.\u201d9<\/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

9<\/p>\n

B\u00f3di Kinga:<\/span> A l\u00e1tszat m\u0171v\u00e9szete, a m\u0171v\u00e9szet l\u00e1tszata \/ The art of semblance andthe semblance of art. In: Val\u00f3s l\u00e1tszat \/ Truth in semblance.<\/em> Sz\u00e9pm\u0171v\u00e9szeti M\u00fazeum – Magyar Nemzeti Gal\u00e9ria, Budapest, 2021, 14-49. [43.]\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=”p-6-0″ advanced_gradient_angle=”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”][image_with_animation image_url=”28888″ 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

Gerhard Richter: 48 portr\u00e9<\/em> (Editions CR: 94) 1998\/2017, 48 fekete-feh\u00e9r fot\u00f3, karton, 69\u00d754 cm egyenk\u00e9nt<\/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]M\u00e1s azonban \u00fagy tekinteni a reprodukci\u00f3ra \u2013 ahogyan ez az \u00e9letm\u0171 t\u00f6bb pontj\u00e1n is \u00e9rthet\u0151 reflexi\u00f3k\u00e9nt megmutatkozik \u2013 mint m\u0171v\u00e9szeti gesztusra, nem besz\u00e9lve a technikai lehet\u0151s\u00e9gek sz\u00e9les spektrum\u00e1nak felhaszn\u00e1l\u00e1s\u00e1r\u00f3l is. \u00c9s megint csak m\u00e1s \u00fagy tekinteni r\u00e1 mint a m\u0171alkot\u00e1s el\u00e9rhet\u0151v\u00e9 t\u00e9tel\u00e9re egy int\u00e9zm\u00e9nyi k\u00f6zegben, ahogyan azt Walter Benjamin<\/span> A m\u0171alkot\u00e1s a technikai sokszoros\u00edthat\u00f3s\u00e1g korszak\u00e1ban<\/em> c\u00edm\u0171 sz\u00f6veg\u00e9ben megfogalmazta. Az aura fogalm\u00e1nak kontextus\u00e1ban \u00e9s a m\u0171alkot\u00e1s Itt \u00e9s Most-j\u00e1nak territ\u00f3rium\u00e1ban Benjamin megjegyzi, hogy \u201e\u00c1ltal\u00e1nosan \u00fagy fogalmazhatunk, hogy a reprodukci\u00f3s technika kivonja a reproduk\u00e1ltat a hagyom\u00e1ny birodalm\u00e1b\u00f3l. Amennyiben a reprodukci\u00f3t sokszoros\u00edtja, egyszeri el\u0151fordul\u00e1s\u00e1t t\u00f6megessel helyettes\u00edti. S mivel lehet\u0151v\u00e9 teszi, hogy a reprodukci\u00f3 a befogad\u00f3 mindenkori szitu\u00e1ci\u00f3j\u00e1nak megfelel\u0151en jelenj\u00e9k meg, a reproduk\u00e1ltat aktualiz\u00e1lja.\u201d10<\/span> A reprodukci\u00f3k aktualiz\u00e1l\u00e1sa a 48 Portr\u00e9<\/em> (Editions CR: 94, 1998\/2017) eset\u00e9ben tal\u00e1n a leger\u0151teljesebb, hisz nem csak arr\u00f3l van sz\u00f3, hogy az egyes munk\u00e1k egyfajta technikai k\u00e9pk\u00e9nt \u00faj dimenzi\u00f3t kapnak, hanem teljes val\u00f3j\u00e1ban a Velencei Bienn\u00e1l\u00e9<\/em>n bemutatott anyag reprodukci\u00f3j\u00e1t kapjuk, mint eredeti, \u00e9s mint azonos, Gerhard Richter<\/span> sz\u00e1m\u00e1ra \u00fajra\u00e9rtelmezett gesztust. Emellett pedig, ha a richteri gesztus az, hogy az enciklop\u00e9di\u00e1kban tal\u00e1lt fot\u00f3kat megfesti \u00e9s bemutatja mint jel\u00f6letlen arcokat, akiknek a neve m\u00e1ra a feled\u00e9sbe mer\u00fclt, de valaha nagyok \u00e9s jelent\u0151s\u00e9gteljesek voltak, \u00fagy ugyanezen festm\u00e9nyekr\u0151l k\u00e9sz\u00fclt reprodukci\u00f3k m\u00e1r ink\u00e1bb az adott ki\u00e1ll\u00edt\u00e1s m\u00edtosz\u00e1nak fenntart\u00e1s\u00e1t hivatottak bet\u00f6lteni, semmint az enciklop\u00e9di\u00e1t\u00f3l az enciklop\u00e9di\u00e1ig val\u00f3 visszat\u00e9r\u00e9st vagy halad\u00e1sir\u00e1nyt. Ez a momentum az\u00e9rt \u00e9rdekes, mert a prezent\u00e1l\u00e1s szempontj\u00e1b\u00f3l a m\u0171alkot\u00e1sok Itt \u00e9s Most-ja az egyik oldalon l\u00e1that\u00f3an \u00e9rv\u00e9nyre jut, a m\u00e1sik oldalon pedig hi\u00e1nyuk is realiz\u00e1l\u00f3dik. Egyar\u00e1nt \u00e9rezni az eredeti m\u0171alkot\u00e1sok t\u00e1voll\u00e9t\u00e9t \u00e9s a prezent\u00e1lt egys\u00e9g \u00faj min\u0151s\u00e9g\u00e9t is.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

10<\/p>\n

Walter Benjamin:<\/span> A m\u0171alkot\u00e1s a technikai sokszoros\u00edthat\u00f3s\u00e1g korszak\u00e1ban,<\/em> ford. Kurucz Andrea \u2013 http:\/\/aura.c3.hu\/walter_benjamin.html#j3<\/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=”p-6-0″ advanced_gradient_angle=”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”][image_with_animation image_url=”28680″ 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

Gerhard Richter: Birkenau (937F),<\/em> 2014\/2021, fot\u00f3, Alucobond, 260\u00d7200 cm egyenk\u00e9nt<\/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]A f\u00f3kusz azonban ink\u00e1bb az \u00faj min\u0151s\u00e9gre helyezhet\u0151, ahogyan a Birkenau teremben l\u00e1that\u00f3 reprodukci\u00f3 eset\u00e9ben is. Mindk\u00e9t teremben a bemutatott printek az el\u0151bb megeml\u00edtett Itt \u00e9s Most fogalmi dial\u00f3gusa helyett a \u201eValahol \u00e9s Valamikor\u201d p\u00e1rhuzam\u00e1t er\u0151s\u00edtik fel, amelyben a l\u00e1that\u00f3 munk\u00e1knak valahogy csak a hely\u00e9t \u00e9rz\u00e9kelj\u00fck, jelenl\u00e9t\u00fcket azonban nem. Pont azt a hat\u00e1st \u00e9rik el, amit kik\u00fcsz\u00f6b\u00f6lni igyekeznek, \u00e9s csak jelz\u00e9s-szer\u0171en tudnak \u00e9rv\u00e9nyre jutni. Sug\u00e1roznak, de valahogy tomp\u00e1n. A Birkenau teremben bemutatott h\u00e1rmas egys\u00e9g \u00edgy megt\u00f6rik \u00e9s az eg\u00e9sz jelent\u00e9smez\u0151 valahogy \u00e1talakul. A terembe bel\u00e9pve \u00e9rezhet\u0151, hogy a ki\u00e1ll\u00edt\u00e1s legdr\u00e1maibb helysz\u00edn\u00e9n vagyunk, ahol a kialak\u00edtott egys\u00e9gnek c\u00e9lja \u00e9s egym\u00e1sra vonatkoztatott reflexi\u00f3ja van. El\u0151sz\u0151r szembes\u00fcl\u00fcnk a n\u00e9gy arch\u00edv fotogr\u00e1fi\u00e1val (A Sonderkommando egy ismeretlen tagj\u00e1nak f\u00e9nyk\u00e9pei, az Auschwitz II-Birkenau koncentr\u00e1ci\u00f3s t\u00e1borban,<\/em> 1944 nyar\u00e1n, 2015), amely meg\u00f6r\u00f6k\u00edtett\u00e9 tette a meg\u00f6r\u00f6k\u00edthetetlent. T\u0151le balra l\u00e1that\u00f3 a fot\u00f3k absztrakt t\u00e1rgy\u00e1t k\u00e9pez\u0151 festm\u00e9nyek sorozata (Birkenau (937F),<\/em> 2014\/2021), amelyek a folyamatos absztrah\u00e1l\u00e1s r\u00e9v\u00e9n elk\u00e9pzelhet\u0151v\u00e9 tett\u00e9k az elk\u00e9pzelhetetlent. Majd utols\u00f3k\u00e9nt n\u00e9gy sz\u00fcrke s\u00edk\u00fcveggel (Grauber Spiegel,<\/em> CR: 955, 2019\/2021) tal\u00e1lkozunk, amelyek \u00fagymond a n\u00e9gy fot\u00f3 \u00e9s a n\u00e9gy festm\u00e9ny p\u00e1rhuzama r\u00e9v\u00e9n annak t\u00fck\u00f6rk\u00e9pek\u00e9nt funkcion\u00e1lnak, \u00e9s az \u00fcvegen t\u00falmutat\u00f3 l\u00e1tv\u00e1ny megfoghatatlans\u00e1g\u00e1t, vagy az \u00fcvegen val\u00f3 \u00e1ttekint\u00e9s k\u00e9ptelens\u00e9g\u00e9t hivatottak bet\u00f6lteni: a l\u00e1tv\u00e1ny \u00e1tsz\u0171r\u00e9se \u00e9s -enged\u00e9se helyett az \u00e1br\u00e1zolhatatlan visszat\u00fckr\u00f6z\u00e9s\u00e9re reflekt\u00e1lnak. A csavar ott fedezhet\u0151 fel, amikor a t\u00fckr\u00f6k\u00f6n kereszt\u00fcl a n\u00e9gy festm\u00e9ny reprodukt\u00edv \u00e9rt\u00e9k\u00e9t \u00e9s min\u0151s\u00e9g\u00e9t l\u00e1tjuk viszont. Mintha a kialakult k\u00e9p ter\u00e9ben nem a val\u00f3s aktus, a val\u00f3s fest\u00e9szeti absztrakci\u00f3 mutatkozna meg, hanem annak csak egy szimbolikus megval\u00f3sul\u00e1sa, egy t\u00e1voli \u00e9lm\u00e9ny reprodukci\u00f3n val\u00f3 ki\u00fcres\u00edt\u00e9se. M\u00e1r nem a konkr\u00e9t tapasztalat mutatkozik meg a h\u00e1rmas egys\u00e9gen bel\u00fcl, ahol a felrajzolt vonalon v\u00e9gighaladva szembes\u00fcl\u00fcnk a holokauszt mindig jelenl\u00e9v\u0151 tragikus t\u00e9ny\u00e9vel, hanem annak egy \u00e1tp\u00e1rologtatott verzi\u00f3j\u00e1t tudjuk csak szeml\u00e9lni, amelyben az \u00e1br\u00e1zolt t\u00e1rgy m\u00e9diumr\u00f3l m\u00e9diumra folyamatosan t\u00e1volodik<\/em> t\u0151l\u00fcnk.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

10<\/p>\n

Pierre Bourdieu:<\/span> La Distinction: Critique sociale du jugement.<\/em> Les Editions de Minuit,
\nParis, 1979. Angolul (Distinction: A Social Critique of the Judgement of Taste,<\/em> transl. by Richard Nice, Harvard University Press Cambridge, Massachusetts, 1984) ld. https:\/\/monoskop.org\/images\/e\/ e0\/Pierre_Bourdieu_Distinction_A_ Social_Critique_of_the_Judgement _of_Taste_1984.pdf<\/a>[\/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=”p-6-0 full-20r-1000″ advanced_gradient_angle=”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”][image_with_animation image_url=”28687″ 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

A Sonderkommando egy ismeretlen tagj\u00e1nak f\u00e9nyk\u00e9pei, az Auschwitz II-Birkenau koncentr\u00e1ci\u00f3s t\u00e1borban, 1944 nyar\u00e1n,<\/em> 2015, digit\u00e1lis arch\u00edv pigmentnyomat, 48,5\u00d739,3 cm egyenk\u00e9nt<\/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=”p-8-0″ advanced_gradient_angle=”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”][image_with_animation image_url=”28688″ 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

Gerhard Richter: Sz\u00fcrke t\u00fck\u00f6r<\/em> (Grauer Spiegel, CR: 955), 2019\/2021, s\u00edk\u00fcveg zom\u00e1ncbevonattal, 4 r\u00e9sz, egy\u00fctt 228\u00d7915\u00d73 cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” 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]Ez a t\u00e1volod\u00e1s viszont egy\u00e1ltal\u00e1n nem vonatkoztathat\u00f3 a Cs\u00edk<\/em> (Strip, CR: 927-9, 2012) c\u00edm\u0171 munk\u00e1ra, ahol a m\u0171 l\u00e9trej\u00f6tt\u00e9nek egyik bels\u0151 momentuma egy forr\u00e1snak tekintett festm\u00e9ny folyamatos felbont\u00e1sa, \u00e9s e felbont\u00e1s r\u00e9v\u00e9n val\u00f3 \u00faj egys\u00e9gbe rendez\u00e9se. A horizont\u00e1lisan fel\u00e9p\u00edtett vonalstrukt\u00fara az absztrakt festm\u00e9nyek lef\u00e9nyk\u00e9pez\u00e9s\u00e9b\u0151l, \u00e9s annak folyamatos digit\u00e1lis \u00e1tszerkeszt\u00e9s\u00e9b\u0151l, a t\u00fckr\u00f6z\u00e9sek t\u00fckr\u00f6z\u00e9s\u00e9b\u0151l \u00e9p\u00fcl fel. Felvonultatva ezzel a gesztussal a v\u00e9gtelen mozgathat\u00f3s\u00e1g \u00e9s \u00fajrarendezhet\u0151s\u00e9g k\u00e9pi reflexi\u00f3it: Richter<\/span> reprodukt\u00edv aktusa a k\u00e9pen bel\u00fcl l\u00e9v\u0151, a k\u00e9peket \u00e1that\u00f3 \u00e9s ural\u00f3 folyamatos v\u00e1ltoz\u00e9konys\u00e1gra reag\u00e1l. Szemben a reprodukci\u00f3 aktualiz\u00e1l\u00e1s\u00e1val, itt ink\u00e1bb a reprodukci\u00f3 aktivit\u00e1s\u00e1r\u00f3l lehet besz\u00e9lni.[\/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″ advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs” gradient_type=”default”][\/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=”p-6-0″ advanced_gradient_angle=”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”][image_with_animation image_url=”28892″ 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

Gerhard Richter: Cs\u00edk<\/em> (Strip, CR: 927-9), 2012, digit\u00e1lis nyomat, pap\u00edr, Dibond t\u00e1bla \u00e9s Perspex (Diasec) k\u00f6z\u00f6tt, 210\u00d7230 cm (r\u00e9szlet)<\/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=”p-8-0″ advanced_gradient_angle=”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”][image_with_animation image_url=”28421″ 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

Gerhard Richter: Cs\u00edk<\/em> (Strip, CR: 927-9), 2012, digit\u00e1lis nyomat, pap\u00edr, Dibond t\u00e1bla \u00e9s Perspex (Diasec) k\u00f6z\u00f6tt, 210\u00d7230 cm | Absztrakt festm\u00e9ny<\/em> (Abstraktes Bild, CR: 875-10), 2001, olaj, v\u00e1szon, 122\u00d782 cm | Absztrakt festm\u00e9ny<\/em> (Abstraktes Bild, CR: 611-1), 1986, olaj, v\u00e1szon, 200\u00d7140 cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” 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]Aktualit\u00e1s \u00e9s aktualiz\u00e1l\u00e1s kett\u0151s\u00e9ge ugyancsak felfedezhet\u0151 az Angyali \u00fcdv\u00f6zlet Tiziano ut\u00e1n<\/em><\/span> c\u00edm\u0171 m\u0171egy\u00fcttesn\u00e9l is (Verkl\u00fcndigung nach Tizian, No. P12, 2015; CR: 343-2, 1973; CR: 344-1-3, 1973). Az \u00f6t festm\u00e9ny egym\u00e1sut\u00e1nis\u00e1g\u00e1ban az aktualiz\u00e1l\u00e1s fogalma pont az eredetileg \u00e1tdolgozott Tiziano k\u00e9p eset\u00e9ben t\u00f6rt\u00e9nik meg, \u00edgy maga az eredeti festm\u00e9nyhez viszony\u00edtott els\u0151 l\u00e9p\u00e9s reprodukci\u00f3n kereszt\u00fcl t\u00e1rul el\u00e9nk. Az aktivit\u00e1st jelent\u0151 hangs\u00faly pont arra a gesztusra helyezhet\u0151, ahogyan Richter az els\u0151 festm\u00e9nyt tulajdonk\u00e9ppen l\u00e9trehozta, \u00e9s a tekintet r\u00e9v\u00e9n lem\u00e1solta. A tov\u00e1bbi l\u00e9p\u00e9seket ett\u0151l a konkr\u00e9tan \u00e1br\u00e1zolt t\u00e1rgyt\u00f3l val\u00f3 folyamatos, \u00f6rv\u00e9nyl\u0151 elt\u0171n\u00e9sben ragadhatjuk meg, melynek r\u00e9v\u00e9n az Angyali \u00fcdv\u00f6zlet<\/em> reprezentat\u00edv, k\u00e9pi dimenzi\u00f3ja egy aktualiz\u00e1lt, fogalmi dimenzi\u00f3ba cs\u00faszik \u00e1t. Az eredeti m\u00e1solat hi\u00e1nya a reprodukci\u00f3 eredetis\u00e9g\u00e9vel van helyettes\u00edtve, ezzel megbontva azt a finom kontinuit\u00e1st, amelyben Richter<\/span> a hagyom\u00e1ny fogalm\u00e1t tulajdonk\u00e9ppen \u00fajra\u00e9rtelmezte.[\/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″ advanced_gradient_angle=”0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs” gradient_type=”default”][\/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=”p-6-0 full-20r-1000″ advanced_gradient_angle=”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”][image_with_animation image_url=”28123″ 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

Gerhard Richter: Angyali \u00fcdv\u00f6zlet Tiziano ut\u00e1n<\/em> (Verk\u00fcndigung nach Tizian), 2015, No. P12, Gicl\u00e9e nyomat diasecen, alum\u00ednium kompozit lemez, 125\u00d7200 cm<\/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=”p-8-0″ advanced_gradient_angle=”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”][image_with_animation image_url=”28096″ 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

Gerhard Richter: Angyali \u00fcdv\u00f6zlet Tiziano ut\u00e1n<\/em> (Verk\u00fcndigung nach Tizian, CR: 343-2), 1973, olaj, v\u00e1szon, 125\u00d7200 cm | Angyali \u00fcdv\u00f6zlet Tiziano ut\u00e1n<\/em> (Verk\u00fcndigung nach Tizian), 2015, No. P12, Gicl\u00e9e nyomat diasecen, alum\u00ednium kompozit lemez, 125\u00d7200 cm<\/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=”p-8-0″ advanced_gradient_angle=”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”][image_with_animation image_url=”28908″ 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

Gerhard Richter: Angyali \u00fcdv\u00f6zlet Tiziano ut\u00e1n<\/em> (Verk\u00fcndigung nach Tizian, CR: 344-1), 1973, olaj, v\u00e1szon, 150\u00d7250 cm | Angyali \u00fcdv\u00f6zlet Tiziano ut\u00e1n<\/em> (Verk\u00fcndigung nach Tizian, CR: 344-2), 1973, olaj, v\u00e1szon, 150\u00d7250 cm | Angyali \u00fcdv\u00f6zlet Tiziano ut\u00e1n<\/em> (Verk\u00fcndigung nach Tizian, CR: 344-3), 1973, olaj, v\u00e1szon, 150\u00d7250 cm | Angyali \u00fcdv\u00f6zlet Tiziano ut\u00e1n<\/em> (Verk\u00fcndigung nach Tizian, CR: 343-2), 1973, olaj, v\u00e1szon, 125\u00d7200 cm | Angyali \u00fcdv\u00f6zlet Tiziano ut\u00e1n<\/em> (Verk\u00fcndigung nach Tizian), 2015, No. P12, Gicl\u00e9e nyomat diasecen, alum\u00ednium kompozit lemez, 125\u00d7200 cm<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” 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]J\u00f3llehet pontosan ezek azok az int\u00e9zm\u00e9nyi keretek, amelyek egyik oldalon teret engednek nagyobb, retrospekt\u00edv t\u00e1rlatok l\u00e9trehoz\u00e1s\u00e1hoz, vagy \u00e9pp g\u00e1tat szabnak bizonyos emblematikus m\u0171vek, korszakok \u00e9s \u00e9letm\u0171vek bemutat\u00e1s\u00e1n\u00e1l. Ett\u0151l f\u00fcggetlen\u00fcl pont ezek miatt a dichot\u00f3mi\u00e1k miatt lesz maga a ki\u00e1ll\u00edt\u00e1s kifejezetten aktu\u00e1lis, hisz tartalmazza azokat az er\u0151viszonyokat, amelyekkel maga az \u00e9letm\u0171 rendelkezik, a \u201elez\u00e1rts\u00e1g\u00e1nak\u201d \u00e9s \u201enyitotts\u00e1g\u00e1nak\u201d a problematikus volt\u00e1t \u00e9s a viszonyrendek meghat\u00e1roz\u00e1s\u00e1hoz sz\u00fcks\u00e9ges alap\u00e1llapot id\u0151szer\u0171s\u00e9g\u00e9t is.<\/p>\n

Ez a fejlem\u00e9ny kifejezetten fontosnak mondhat\u00f3, hisz az \u00e9letm\u0171 \u201elez\u00e1rts\u00e1g\u00e1nak\u201d \u00f6sszef\u00fcgg\u00e9s\u00e9ben egyre \u00e9get\u0151bb k\u00e9rd\u00e9s, hogy tulajdonk\u00e9ppen hogyan \u00e9s milyen form\u00e1ban \u00e9rdemes besz\u00e9lni Richter munk\u00e1ss\u00e1g\u00e1r\u00f3l, annak pluralisztikus<\/em> min\u0151s\u00e9g\u00e9r\u0151l. Milyen helysz\u00ednen, vagy milyen kontextusban lehet \u00e9s kell bemutatni egy ilyen terjedelm\u0171 \u00e9letm\u0171vet? Melyek azok az int\u00e9zm\u00e9nyek, amelyek hitelesen \u00e9s ellentmond\u00e1sokt\u00f3l mentesen reprezent\u00e1lj\u00e1k az adott m\u0171veket \u00e9s tematikus blokkokat? Emellett pedig, kit is kell tulajdonk\u00e9ppen megkeresni egy Gerhard Richter munka megszerz\u00e9s\u00e9hez? Em\u0151d P\u00e9ter<\/span> az Artportal<\/em> oldal\u00e1n a richteri hagyat\u00e9k politikai dimenzi\u00f3r\u00f3l \u00edr,11<\/span> ahol a Gerhard Richter Museum koncepci\u00f3j\u00e1t\u00f3l a k\u00fcl\u00f6nb\u00f6z\u0151 int\u00e9zm\u00e9nyi befogad\u00e1sokig egy kifejezetten sz\u00e9les spektrum sejlik fel, melyben szinte minden int\u00e9zm\u00e9ny jelent\u0151s\u00e9gteljes alkot\u00e1sokkal rendelkezik, \u00e9s emiatt gondolja mag\u00e1t m\u00e9lt\u00f3nak az \u00e9letm\u0171 gondoz\u00e1sra. Kezdve a drezdai Albertinumt\u00f3l a k\u00f6lni Ludwig M\u00fazeumon \u00e1t az \u00e9ppen \u00e9p\u00fcl\u0151 Museum der Moderne-ig, mindegyik int\u00e9zm\u00e9ny ki akar metszeni egy darabot a kifejezetten j\u00f3l tagolt munk\u00e1ss\u00e1gb\u00f3l, \u00e9s szeretne legitim poz\u00edci\u00f3t mag\u00e1nak a reprezent\u00e1ci\u00f3 diskurzus\u00e1ban. Mindez az\u00e9rt tekinthet\u0151 \u00e9rdekes fejlem\u00e9nynek, mert az \u00e9letm\u0171 \u2013 t\u00f6rt\u00e9netileg megvizsg\u00e1lva \u2013 sz\u00e1mos ponton tov\u00e1bb\u00e1ll \u00f6nmaga stabilit\u00e1s\u00e1n. A szocialista blokk NDK-j\u00e1ban k\u00e9sz\u00fclt munk\u00e1k id\u0151szaka ambivalens viszonyban \u00e1ll az NSZK-s \u00e9vek \u00fan. reboot-olt szakasz\u00e1val. Az absztrakt k\u00e9pek soksz\u00edn\u0171s\u00e9ge a figur\u00e1lis k\u00e9pek monokr\u00f3mi\u00e1j\u00e1val. A st\u00edlus soksz\u00edn\u0171s\u00e9g\u00e9t felvonultat\u00f3 hozz\u00e1\u00e1ll\u00e1s a st\u00edlusn\u00e9lk\u00fclis\u00e9g alapvet\u00e9s\u00e9vel. Vagy \u00e9pp a t\u00f6rt\u00e9nelmi s\u00fallyal rendelkez\u0151 t\u00e9m\u00e1k fest\u00e9szeti feldolgoz\u00e1sa, ami a n\u00e9met identit\u00e1s alapvet\u0151 meghat\u00e1roz\u00e1s\u00e1val j\u00e1r egy\u00fctt, szembe helyezhet\u0151 a richteri gyakorlat j\u00e1t\u00e9kos, esszenci\u00e1lis \u00e9s formalista jelleg\u00e9vel. Tal\u00e1n elmondhat\u00f3, hogy mind a felvonultatott m\u0171vek eset\u00e9ben, mind pedig az \u00e9letm\u0171 eg\u00e9sz\u00e9t \u00e1tfogva, Richter k\u00e9pl\u00e9keny m\u0171v\u00e9szi identit\u00e1s\u00e1nak alapja az egyik oldalon az, hogy szinte sz\u00e9tv\u00e1laszthatatlanul finoman, r\u00e9tegzett m\u00f3don \u00e1ll kapcsolatban a r\u00f3la val\u00f3 gondolkod\u00e1s milyens\u00e9g\u00e9vel, a fest\u00e9szeti kontextusok rugalmass\u00e1g\u00e1val \u00e9s a r\u00f3la val\u00f3 diskurzus t\u00e1gass\u00e1g\u00e1val. M\u00e1sik oldalon pedig, hogy ezen a besz\u00e9dm\u00f3don bel\u00fcl pont a felvonultatott kett\u0151ss\u00e9gek \u00e1thajl\u00e1saira \u00e9s kiolthatatlan dialektik\u00e1j\u00e1ra helyezhet\u0151 a hangs\u00faly. A dialektika dialektik\u00e1j\u00e1ra,<\/em> ahol a fest\u00e9szetben rejl\u0151 m\u00edtosz \u00e9s tud\u00e1s mitikus \u00e9s racionaliz\u00e1lt egys\u00e9ge mutatkozik meg, \u00e9s amelyben mind a m\u00edtosz lerombol\u00e1s\u00e1ra tett k\u00eds\u00e9rlet m\u00edtossz\u00e1 v\u00e1l\u00e1sa, mind pedig a tud\u00e1sban l\u00e9v\u0151 m\u00edtosz racionaliz\u00e1l\u00e1s\u00e1ra is sor ker\u00fcl.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”extra-color-2″ custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

11<\/p>\n

Em\u0151d P\u00e9ter:<\/span> Mi lesz Gerhard Richter hagyat\u00e9k\u00e1val? artportal.hu,<\/em> 2019. szeptember 2., ld. https:\/\/artportal.hu\/magazin\/mi-lesz-gerhard-richter-hagyatekaval\/<\/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=”p-8-0 full-5-40″ advanced_gradient_angle=”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” centered_text=”true” 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” advanced_gradient_angle=”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” gradient_type=”default”][vc_column_text]\n

\"Gerhard<\/a>
Gerhard Richter: Val\u00f3s l\u00e1tszat<\/em> | 11.3.2021\u20135.4.2021<\/em><\/a><\/h6><\/div><\/div><\/div><\/div>\n
\"Gerhard<\/a>
Gerhard Richter: Val\u00f3s l\u00e1tszat<\/em> | 1961 el\u0151tt; Hom\u00e1lyos\u00edt\u00e1s: a kezdetek<\/a><\/h6><\/div><\/div><\/div><\/div>\n
\"Gerhard<\/a>
Gerhard Richter: Val\u00f3s l\u00e1tszat<\/em> | 48 portr\u00e9<\/em><\/a><\/h6><\/div><\/div><\/div><\/div>\n
\"Gerhard<\/a>
Gerhard Richter: Val\u00f3s l\u00e1tszat<\/em> | 180 sz\u00edn; Ablakr\u00e1cs; Kereszt<\/em><\/a><\/h6><\/div><\/div><\/div><\/div>\n
\"Gerhard<\/a>
Gerhard Richter: Val\u00f3s l\u00e1tszat<\/em> | Angyali \u00fcdv\u00f6zlet Tiziano ut\u00e1n<\/em><\/a><\/h6><\/div><\/div><\/div><\/div>\n
\"Gerhard<\/a>
Gerhard Richter: Val\u00f3s l\u00e1tszat<\/em> | M\u0171v\u00e9szett\u00f6rt\u00e9neti reflexi\u00f3k<\/a><\/h6><\/div><\/div><\/div><\/div>\n
\"Gerhard<\/a>
Gerhard Richter: Val\u00f3s l\u00e1tszat<\/em> | Absztrakt k\u00e9pek<\/a><\/h6><\/div><\/div><\/div><\/div>\n
\"Gerhard<\/a>
Gerhard Richter: Val\u00f3s l\u00e1tszat<\/em> | Birkenau, Sz\u00fcrke t\u00fck\u00f6r<\/em><\/a><\/h6><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t