{"id":33445,"date":"2024-01-06T18:50:28","date_gmt":"2024-01-06T17:50:28","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=33445"},"modified":"2024-10-30T20:42:18","modified_gmt":"2024-10-30T19:42:18","slug":"hornyik-sandor-kozmikus-testek","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/hornyik-sandor-kozmikus-testek\/","title":{"rendered":"Kozmikus testek"},"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-4-0″ 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 text_direction=”default”]\n

Reigl Judit fest\u00e9szete n\u00e9gy t\u00e9telben<\/h2>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” 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 text_direction=”default”]A huszonegyedik sz\u00e1zadban h\u00edress\u00e9 \u00e9s aktu\u00e1liss\u00e1 v\u00e1lt Reigl Judit<\/span> (1923\u20132020)1<\/span> fest\u00e9szete nem absztrakt \u00e9s nem is figurat\u00edv, nem univerzalista \u00e9s nem is feminista, mik\u00f6zben absztrakt \u00e9s figurat\u00edv eszk\u00f6z\u00f6kkel m\u00e9giscsak az univerzumot reprezent\u00e1lja a n\u0151i \u00edr\u00e1s (\u00e9criture feminine<\/em>) egy saj\u00e1tos verzi\u00f3jak\u00e9nt. A m\u00e9lt\u00e1n sikeres, illet\u0151leg sikeress\u00e9 tett \u00e9letm\u0171 legnagyobb er\u00e9nye intellektu\u00e1lis \u00e9s materi\u00e1lis komplexit\u00e1sa, amit kiv\u00e1l\u00f3an t\u00fckr\u00f6z vissza a centen\u00e1rium k\u00e9t nagy ki\u00e1ll\u00edt\u00e1sa Berlinben \u00e9s Budapesten. A berlini Neue Nationalgalerie anyaga (Kraftfelder<\/em>)2<\/span> az \u00f6tvenes-hatvanas \u00e9vekre f\u00f3kusz\u00e1l, a budapesti M\u0171csarnok (Reigl Judit \u00e9s a m\u00e1sodik p\u00e1rizsi iskola<\/em>)3<\/span> pedig \u2013 n\u00e9h\u00e1ny k\u00e9s\u0151bbi munk\u00e1t is felvonultatva, de \u2013 alapvet\u0151en a kezdetekt\u0151l a nyolcvanas \u00e9vek k\u00f6zep\u00e9ig ad egy nagyon tetszet\u0151s \u00e1ttekint\u00e9st az \u00e9letm\u0171r\u0151l.4<\/span> Ezekhez k\u00e9pest a Hal\u00e1lt\u00e1nc<\/em> (Sz\u00e9pm\u0171v\u00e9szeti M\u00fazeum)5<\/span> \u00e9s a Sz\u00e1rnyal\u00e1s<\/em> (Kiscelli M\u00fazeum)6<\/span> tal\u00e1n kev\u00e9sb\u00e9 reprezentat\u00edv, \u00e1m sokkal m\u00e9lyebbre hatol, a l\u00e1tv\u00e1nyos felsz\u00edn \u00e9s a fens\u00e9ges perspekt\u00edva m\u00f6g\u00e9, hiszen Reigl saj\u00e1tos szellem\u00e9t \u00e9s energi\u00e1j\u00e1t szeretn\u00e9 megmutatni a szem\u00e9lyes \u00e9s a kozmikus val\u00f3s\u00e1g dimenzi\u00f3inak \u00f6sszefon\u00e1s\u00e1val. A sz\u00e1z \u00e9ve sz\u00fcletett Reigl Judit centen\u00e1riumi reprezent\u00e1ci\u00f3inak \u00e1ttekint\u00e9s\u00e9t \u00e9rdemes a t\u00e1gabb perspekt\u00edv\u00e1kkal ind\u00edtani, vagyis a berlini \u00e9s a m\u0171csarnoki ki\u00e1ll\u00edt\u00e1ssal (Maike Steinkamp<\/span>, illetve Makl\u00e1ry K\u00e1lm\u00e1n<\/span> kur\u00e1tori munk\u00e1ja), majd ut\u00e1na bemutatni a m\u00e9lyebb anal\u00edzist G\u00e1t J\u00e1nos<\/span> (a Hal\u00e1lt\u00e1nc<\/em> kur\u00e1tora), illetve Cserba J\u00falia<\/span>, G\u00e1t J\u00e1nos<\/span> \u00e9s R\u00f3ka Enik\u0151<\/span> n\u00e9z\u0151pontj\u00e1b\u00f3l, akik a Sz\u00e1rnyal\u00e1s<\/em> kur\u00e1torai a Kiscelli M\u00fazeum templom\u00e1ban, ahol elk\u00e9peszt\u0151en j\u00f3l m\u0171k\u00f6dnek\u00a0a Lepel\/Dek\u00f3dol\u00e1s<\/em> titokzatos \u00e9s leheletfinom v\u00e1sznai.7<\/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 text_direction=”default”]\n

1<\/p>\n

URL: https:\/\/www.judit-reigl.com\/en\/<\/a>; https:\/\/www.youtube.com\/@KalmanMaklaryFine Arts\/search?query=reigl<\/a> (A hivatkozott webhelyek utols\u00f3 let\u00f6lt\u00e9se: 2023. november 6.)<\/p>\n

2<\/p>\n

Judit Reigl: Kraftfelder \/ Centers of Dominance.<\/em> Neue Nationalgelerie, Berlin, 2023. j\u00fanius 30 \u2013 november 26., URL: https:\/\/www.smb.museum\/en\/exhibitions\/detail\/judit-reigl\/<\/a><\/p>\n

3<\/p>\n

Reigl Judit 100 \/ Reigl Judit \u00e9s a m\u00e1sodik p\u00e1rizsi iskola.<\/em> M\u0171csarnok, Budapest, 2023. okt\u00f3ber 4 \u2013 2024. janu\u00e1r 28., URL: https:\/\/mucsarnok.hu\/kiallitasok\/kiallitasok.php?mid=3oXHyLMel5h1YMFHTQ1GLz<\/a><\/p>\n

4<\/p>\n

Berlinben a kur\u00e1tor, Maike Steinkamp, Budapesten pedig Berecz \u00c1gnes ad sz\u00e9p \u00e9s korrekt \u00e1ttekint\u00e9st az eg\u00e9sz \u00e9letm\u0171r\u0151l. Maike Steinkamp: Judit Reigl \u2013 Kraftfelder.<\/em> Neue Nationalgalerie, Berlin. 2023, 11-33. Berecz \u00c1gnes: Jeu de Reigl. In: Makl\u00e1ry K\u00e1lm\u00e1n (szerk.): Reigl Judit 100. Reigl Judit \u00e9s a m\u00e1sodik p\u00e1rizsi iskola.<\/em> M\u0171csarnok, Budapest, 2023, 20-42. Ld. m\u00e9g: https:\/\/www.youtube.com\/watch?v=aFXvZ3Xt4ok<\/a><\/p>\n

5<\/p>\n

Reigl Judit: Hal\u00e1lt\u00e1nc.<\/em> Sz\u00e9pm\u0171v\u00e9szeti M\u00fazeum, Budapest, m\u00e1jus 26 \u2013 szeptember 24., URL: https:\/\/www.szepmuveszeti.hu\/kiallitasok\/reigl-judit-halaltanc\/<\/a><\/p>\n

6<\/p>\n

Sz\u00e1rnyal\u00e1s\u2013Vol\u2013Flight. Reigl Judit figur\u00e1lis fest\u00e9szete<\/em>, BTM \u2013 Kiscelli M\u00fazeum \/ F\u0151v\u00e1rosi K\u00e9pt\u00e1r, Budapest, 2023. augusztus 23 \u2013 2023. okt\u00f3ber 27., URL: https:\/\/fovarosikeptar.hu\/kiallitasok-2023-ban-templomter\/szarnyalas-vol-flight\/<\/a><\/p>\n

7<\/p>\n

A centen\u00e1riumi int\u00e9zm\u00e9nyi reprezent\u00e1ci\u00f3khoz illeszkedett a Longtermhandstand (Budapest) v\u00e1logat\u00e1sa is: Reigl Judit \u2013 Appendix,<\/em> 2023. szeptember 15 \u2013 okt\u00f3ber 20., URL: https:\/\/www.judit-reigl.com\/en\/exhibitions\/140\/overview\/<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ 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” el_class=”allo-kep” 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” column_padding_type=”default” gradient_type=”default” offset=”vc_col-xs-12″][image_with_animation image_url=”34400″ 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 css=”” text_direction=”default”]\n

Reigl Judit: Hasonl\u00edthatatlan gy\u00f6ny\u00f6r,<\/em> 1953, olaj, koll\u00e1zs, v\u00e1szon, 134,6\u00d788,3 cm | Makl\u00e1ry K\u00e1lm\u00e1n gy\u0171jtem\u00e9nye, Magyarorsz\u00e1g \u00a9 Fot\u00f3: Darabos Gy\u00f6rgy<\/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 text_direction=”default”]\n

Kozmikus fest\u00e9szet<\/h3>\n

Reigl nonfigurat\u00edv m\u0171v\u00e9szk\u00e9nt tulajdonk\u00e9ppen testeket fest: az elemi r\u00e9szecsk\u00e9kt\u0151l az emberi testeken \u00e9s az \u00e9gitesteken \u00e1t a kozmikus strukt\u00far\u00e1kig \u00edvel\u0151en. Az \u00edv, illetve a testek saj\u00e1tos spektruma m\u00f6g\u00f6tt rejl\u0151 filoz\u00f3fi\u00e1t gy\u00f6ny\u00f6r\u0171en megvil\u00e1g\u00edtja 1985-\u00f6s ars poetic\u00e1ja: \u201eA f\u00e9ny olyan test, amely foton r\u00e9szecsk\u00e9kb\u0151l \u00e1ll. A r\u00e9szecske, az atom, a molekula, a sejt szint\u00e9n test. \u00c9gitest: nap bolyg\u00f3, szupernova, galaxis, csillagk\u00f6zi por. Nemileg meghat\u00e1rozott test, \u00e1llati, emberi, f\u00e9rfitest, asszonytest. Test: a legt\u00f6k\u00e9letesebb eszk\u00f6z \u00e9s a legtragikusabb akad\u00e1ly. 15 milli\u00e1rd \u00e9ve.\u201d8<\/span> E program t\u00f6bb szempontb\u00f3l is k\u00fcl\u00f6nleges nyit\u00e1nya a Csillap\u00edthatatlanul szomjazz\u00e1k a v\u00e9gtelent<\/em> (1950), Reigl sz\u00fcrrealista ind\u00edttat\u00e1s\u00e1nak \u00e9s saj\u00e1tos l\u00e1t\u00e1sm\u00f3dj\u00e1nak legfontosabb korai vizu\u00e1lis dokumentuma, amely most,9<\/span> Berlinben \u00e9s Budapesten sem l\u00e1that\u00f3.10<\/span> A nyit\u00e1ny vizualit\u00e1sa l\u00e1tsz\u00f3lag Salvador Dal\u00ed<\/span>ra \u00e9s a korai, dadaista-metafizikus Max Ernst<\/span>re eml\u00e9keztet, \u00e1m Reigl k\u00e9s\u0151bbi eml\u00e9kei szerint \u0151 m\u00e1r akkor is els\u0151sorban a figur\u00e1kat k\u00f6r\u00fcl \u00f6lel\u0151 v\u00e9gtelent szerette volna megragadni.11<\/span> Azt a v\u00e9gtelent, amelyet egyk\u00e9nt szomjaznak Lautr\u00e9amont<\/span> kuty\u00e1i \u00e9s a Reiglh\u00f6z hasonl\u00f3 m\u0171v\u00e9szek. Az apokalipszis n\u00e9gy magyar lovas\u00e1nak (Reigl, Zugor S\u00e1ndor [1923\u20132002], B\u00f6hm Lip\u00f3t [1916\u20131995] \u00e9s B\u00edr\u00f3 Antal [1907\u20131990]) ide\u00e1ja m\u00e1r It\u00e1li\u00e1ban megfogant, \u00e9s csak k\u00e9s\u0151bb kapcsol\u00f3dott hozz\u00e1 a t\u00e9m\u00e1hoz egy p\u00e1rizsi \u00e9lm\u00e9ny, Lautr\u00e9amont Maldoror<\/em>ja (1874), a sz\u00fcrrealist\u00e1k s\u00f6t\u00e9t Bibli\u00e1ja, ami kiv\u00e1l\u00f3an passzolt a D\u00fcrer ihlette Reigl-kompoz\u00edci\u00f3 m\u00e9lyebb szellemis\u00e9g\u00e9hez, a vil\u00e1g\u00e9g\u00e9s ut\u00e1ni \u0151r\u00fclt k\u00edv\u00e1ncsis\u00e1ghoz. A berlini ki\u00e1ll\u00edt\u00e1st nagyj\u00e1b\u00f3l ebben a szellemben a Csillap\u00edthatatlanul szomjazz\u00e1k a v\u00e9gtelent<\/em> p\u00e1rdarabja, a szint\u00e9n lautr\u00e9amont-i c\u00edmmel ell\u00e1tott Hasonl\u00edthatatlan gy\u00f6ny\u00f6r<\/em> (1953) ind\u00edtja, amely okkult elemekkel d\u00fas\u00edtja a v\u00e9rz\u0151 M\u00f6bius-szalagk\u00e9nt reprezent\u00e1lt fura Univerzumot, amelynek v\u00e9re egy denev\u00e9rek \u00f6vezte kehelybe cs\u00f6p\u00f6g. A m\u0171csarnoki ki\u00e1ll\u00edt\u00e1s kezd\u0151pontja viszont a quattrocento \u00e9s az art deco vizualit\u00e1s\u00e1t \u00f6tv\u00f6z\u0151 Aut\u00f3stoppal Ferrara \u00e9s Ravenna k\u00f6z\u00f6tt<\/em> (1950) Reigl, Betty Anderson<\/span> (1911\u20132007) \u00e9s B\u00f6hm Lip\u00f3t fej\u00e9vel, ahonnan n\u00e9zve nem egy k\u00f6nnyen \u00e9rthet\u0151k meg a sz\u00e9pen reprezent\u00e1lt kozmikus k\u00e9pek (k\u00f6zt\u00fck a Vil\u00e1gegyetem \u00e9vgy\u0171r\u0171i, 1954) \u00e9s a szupernova Robban\u00e1s<\/em>ok.<\/p>\n

Reigl Juditot 1954-ben Andr\u00e9 Breton<\/span> (1896\u20131966) fedezi fel (Hanta\u00ef Simon<\/span> [1922\u20132008] k\u00f6zvet\u00edt\u00e9s\u00e9vel), aki kifejezetten rajong a Lautr\u00e9amont szellemis\u00e9g\u00e9t \u00e9s s\u00f6t\u00e9t kozmol\u00f3gi\u00e1j\u00e1t megragad\u00f3 m\u0171vek\u00e9rt, mik\u00f6zben Reigl m\u00e1r az \u00fajabb vizu\u00e1lis impulzusokat, Roberto Matta<\/span> (1911\u20132002) \u00e9s Georges Mathieu<\/span> (1921\u20132012) expresszivit\u00e1s\u00e1t akarja feldolgozni. Matta az Univerzum komplexit\u00e1s\u00e1t, az \u00edvel\u0151 \u00e9s csavarod\u00f3 t\u00e9rid\u0151t szeretn\u00e9 megragadni kifejezetten a nem-euklideszi geometria \u00e9s Einstein relativit\u00e1selm\u00e9let\u00e9nek szellem\u00e9ben.12<\/span> Mathieu pedig m\u00e1r mag\u00e1t az emberi pszich\u00e9t szeretn\u00e9 \u00e1br\u00e1zolni, ahogy \u00e9rz\u00e9keli \u00e9s \u00e1t\u00e9rzi az \u00faj, minden kor\u00e1bbin\u00e1l dinamikusabb Univerzumot. Az intellektu\u00e1lis \u00e9s vizu\u00e1lis impulzusok ered\u0151ik\u00e9nt Reigl \u2013 Hanta\u00efval p\u00e1rhuzamosan \u2013 1954-ben m\u00e1r kozmikus strukt\u00far\u00e1kat fest, \u00e9s ezeket \u00e1ll\u00edtja ki a Lautr\u00e9amont-k\u00e9pek t\u00e1rsas\u00e1g\u00e1ban Breton p\u00e1rizsi gal\u00e9ri\u00e1j\u00e1ban is.13<\/span> Dal\u00ed \u00e9s Matta fel\u0151l n\u00e9zve a kozmikus k\u00e9pek t\u00e9m\u00e1ja a gomolyg\u00f3 t\u00e9rid\u0151, amelyet meghajl\u00edtanak a kozmikus t\u00f6megek. Hanta\u00ef, illetve Hans Arp<\/span> \u00e9s Henry Moore<\/span> fel\u0151l viszont az organikus, biomorf val\u00f3s\u00e1g rengetege bomlik ki benn\u00fck. Hanta\u00ef borotvapeng\u00e9vel, fogasker\u00e9kkel modell\u00e1l, Reigln\u00e9l speci\u00e1lis eszk\u00f6zt\u00e1r, hajl\u00e9kony f\u00e9mlemez, kard, f\u0171r\u00e9sz form\u00e1lja a fest\u00e9ket. Ezek seg\u00edts\u00e9g\u00e9vel sz\u00e9les, hull\u00e1mz\u00f3 mozdulatokkal modell\u00e1lja a form\u00e1kat, amelyek k\u00fcl\u00f6nleges M\u00f6bius-szalagra eml\u00e9kezetet\u0151 hurkokat vetnek a v\u00e1sznon. A kiindul\u00f3pont Hanta\u00efn\u00e1l \u00e9s Reigln\u00e9l is a sz\u00fcrrealista fel\u00fcletkezel\u00e9s, a realizmus \u00faj \u00fatjaira vezet\u0151 frottage, grattage \u00e9s d\u00e9calcomanie. Reigl azonban nagyon gyorsan sz\u00fcrrealist\u00e1bb lesz a sz\u00fcrrealist\u00e1kn\u00e1l: korrig\u00e1lja \u00e9s tov\u00e1bb is fejleszti m\u00f3dszer\u00fcket. Ez lesz az \u00e9letm\u0171 eg\u00e9sz\u00e9t meghat\u00e1roz\u00f3 tot\u00e1lis automatikus \u00edr\u00e1s, a sz\u00fcrrealista \u00e9criture automatique<\/em> szomatikus, \u201etesti\u201d, \u201eemberi\u201d korrig\u00e1l\u00e1sa.14<\/span> Ahogy Reigl mondja, \u0151 a sz\u00fcrrealist\u00e1kat jellemz\u0151 jungi, intellektu\u00e1lis-kultur\u00e1lis n\u00e9z\u0151pont helyett r\u00e1tal\u00e1lt az igazi freudi perspekt\u00edv\u00e1ra,15<\/span> ami tulajdonk\u00e9ppen lacani, hiszen Reigl a val\u00f3s\u00e1got, a szimboliz\u00e1lhatatlan \u00e9s lek\u00e9pezhetetlen anyagi val\u00f3s\u00e1got szeretn\u00e9 felt\u00e1rni, amit Lacan val\u00f3snak (le r\u00e9el<\/em>) nevezett.16<\/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 text_direction=”default”]\n

8<\/p>\n

Reigl Judit: Testek, m\u00e9rt\u00e9k k\u00e9rd\u00e9se. (1985) In: Cserba J\u00falia \u2013 G\u00e1t J\u00e1nos \u2013 R\u00f3ka Enik\u0151: Sz\u00e1rnyal\u00e1s \u2013 Vol \u2013 Flight.<\/em> BTM Kiscelli M\u00fazeum \u2013 F\u0151v\u00e1rosi K\u00e9pt\u00e1r, Budapest, 2023, 59.<\/p>\n

9<\/p>\n

A m\u0171 kor\u00e1bban m\u00e1r szerepelt a M\u0171csarnokban (URL: https:\/\/www.youtube.com\/watch?v=gjMlRp6hS4I<\/a>), Reigl ugyanitt megrendezett, 2005-\u00f6s t\u00e1rlat\u00e1n, URL: https:\/\/mucsarnok.hu\/kiallitasok\/kiallitasok.php?mid=561c3525455a2<\/a><\/p>\n

10<\/p>\n

Az egy\u00e9bk\u00e9nt a Centre Pompidou tulajdon\u00e1ban l\u00e9v\u0151 k\u00e9p (URL: https:\/\/www.centrepompidou.fr\/en\/ressources\/ oeuvre\/cejrx95<\/a>) P\u00e1rizsban, nemzetk\u00f6zi kontextusban volt l\u00e1that\u00f3: Surr\u00e9alisme au f\u00e9minin?<\/em> Mus\u00e9e de Montmartre, P\u00e1rizs, 2023. m\u00e1rcius 31 \u2013 szeptember 10., URL: https:\/\/museedemontmartre.fr\/exposition\/expo-surrealisme-au-feminin\/<\/a>. A festm\u00e9ny 2003-ban, Andr\u00e9 Breton hagyat\u00e9k\u00e1val egy\u00fctt ker\u00fclt a Centre Pompidou tulajdon\u00e1ba. Bretont Hanta\u00ef vitte el 1954-ben Reigl m\u0171term\u00e9be, ahol a sz\u00fcrrealizmus p\u00e1p\u00e1j\u00e1t r\u00f6gt\u00f6n elb\u0171v\u00f6lte a k\u00e9p, Reigl pedig azon nyomban neki is aj\u00e1nd\u00e9kozta. Breton m\u00e9g ugyanebben az \u00e9vben, egy\u00e9ni ki\u00e1ll\u00edt\u00e1st is rendezett Reigl munk\u00e1ib\u00f3l. Breton a k\u00e9p kapcs\u00e1n \u00edrt level\u00e9t ld. Makl\u00e1ry K\u00e1lm\u00e1n: Reigl Judit \u00e9s m\u00e1s magyar m\u0171v\u00e9szek a \u201eDeuxi\u00e9me \u00c9cole de Paris\u201d-ban, 1945\u20131965. In: Reigl Judit 100,<\/em> 150-151.<\/p>\n

11<\/p>\n

Ld. G\u00e1t J\u00e1nos: Csillap\u00edthatatlanul szomjazz\u00e1k a v\u00e9gtelent. Besz\u00e9lget\u00e9sek Reigl Judittal. Egy fest\u0151 (\u00f6n)\u00e9letrajza.<\/em> Corvina, Budapest, 2020, 70-71.<\/p>\n

12<\/p>\n

Gavin Parkinson: Surrealism, Art, and Modern Science. Relativity, Quantum Mechanics, Epistemology.<\/em> Yale University Press, New Haven, 2008<\/p>\n

13<\/p>\n

Judit Reigl. \u00c0 l\u2019\u00e9toile scell\u00e9e,<\/em> P\u00e1rizs, 1954. november 19 \u2013 december 6., URL: https:\/\/www.andrebreton.fr\/en\/ work\/56600101000020<\/a><\/p>\n

14<\/p>\n

Cserba J\u00falia: Kiadatlan interj\u00fa Reigl Judittal. (1996) In: Sz\u00e1rnyal\u00e1s \u2013 Vol \u2013 Flight.<\/em> 2023, 14-16.<\/p>\n

15<\/p>\n

I.m. 14.<\/p>\n

16<\/p>\n

V.\u00f6.: Jacques Lacan: Les quatre concepts fondamentaux de la psychanalyse.<\/em> Seuil, Paris, 1964<\/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-4-0″ 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” column_padding_type=”default” gradient_type=”default”][image_with_animation image_url=”34441″ 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 css=”” text_direction=”default”]\n

Reigl Judit: A vil\u00e1gegyetem \u00e9vgy\u0171r\u0171i,<\/em> 1954, olaj, v\u00e1szon, 90\u00d7121 cm | mag\u00e1ngy\u0171jtem\u00e9ny, Magyarorsz\u00e1g; A semmi sz\u00e9tz\u00faz\u00e1sa,<\/em> 1954, olaj, v\u00e1szon, 77,5\u00d7100 cm; A Vir\u00e1g Judit Gal\u00e9ria k\u00f6zrem\u0171k\u00f6d\u00e9s\u00e9vel | M\u0171csarnok, Budapest \u00a9 Fot\u00f3: 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-6-0″ 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=”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 text_direction=”default”]A sz\u00fcrrealizmus szomatiz\u00e1l\u00e1sa az absztrakt expresszionist\u00e1khoz k\u00f6zel\u00edti Reiglt, ami szak\u00edt\u00e1st jelent Bretonnal \u00e9s a sz\u00fcrrealist\u00e1kkal: ennek dokumentuma a Robban\u00e1s<\/em> (\u00c9clatement<\/em>) sorozat 1955-t\u0151l. A perspekt\u00edva tov\u00e1bbra is kozmikus, de m\u00e1r nem a t\u00e9rid\u0151 s\u00edkjai hajladoznak Einstein, Hermann Minkowski, Pjotr Uszpenszkij<\/span> \u00e9s Matta<\/span> nyom\u00e1n, hanem szupern\u00f3v\u00e1k robbannak \u00e9s univerzumok sz\u00fcletnek az \u0151srobban\u00e1s megszem\u00e9lyes\u00edt\u00e9se \u00e1ltal. A technika tot\u00e1lisan automatikus: ritmikusan a v\u00e1szonra dobott fest\u00e9k \u00e9s annak alak\u00edt\u00e1sa teljes testtel, kezdetben kit\u00f6r\u0151, \u00e9les mozdulatokkal, majd hajladozva, szinte t\u00e1ncolva. A m\u00e1sodik f\u00e1zis lesz Reigl elnevez\u00e9s\u00e9vel a T\u00f6mb\u00edr\u00e1s<\/em> \u00e9s Dominanciak\u00f6zpont<\/em> (1956\u20131965), amelynek sz\u00e9p darabjai ott vannak Berlinben \u00e9s Budapesten is. Ut\u00f3bbiak, olyanok, mintha a galaxisokat szervez\u0151 szupermassz\u00edv fekete lyukak k\u00f6r\u00fcl \u00f6rv\u00e9nylene a Kozmosz, \u00e1m ekkoriban m\u00e9g nem ismerik a mai \u00e9rtelemben vett fekete lyukat, csak \u00f6sszeomlott csillagok \u00e9s t\u00e9rid\u0151 szingularit\u00e1sok vannak, ahol a hihetetlen t\u00f6meg miatt l\u00e9nyeg\u00e9ben megsz\u0171nik a t\u00e9r \u00e9s az id\u0151 is. A hat\u00e1svad\u00e1sz m\u00e9dia \u00e9s a zseni\u00e1lis fizikus, John Wheeler<\/span> csak a hatvanas \u00e9vek v\u00e9g\u00e9n terjeszti el a black hole<\/em> kifejez\u00e9st, a csillag\u00e1szati k\u00f6r\u00f6k\u00f6n k\u00edv\u00fcl pedig csak a hetvenes \u00e9vekben v\u00e1lik n\u00e9pszer\u0171v\u00e9, amikor a Cygnus X-1-r\u0151l \u201ebebizony\u00edtj\u00e1k\u201d, hogy val\u00f3ban fekete lyuk.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs” column_padding_type=”default” gradient_type=”default”][\/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″ 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” el_class=”allo-kep” 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” column_padding_type=”default” gradient_type=”default”][image_with_animation image_url=”34401″ 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 css=”” text_direction=”default”]\n

Reigl Judit: Robban\u00e1s,<\/em> 1956, olaj, v\u00e1szon, 112,6\u00d7137,2 cm | Makl\u00e1ry K\u00e1lm\u00e1n gy\u0171jtem\u00e9nye, Magyarorsz\u00e1g \u00a9 Fot\u00f3: 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″ 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” el_class=”allo-kep” 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” column_padding_type=”default” gradient_type=”default”][image_with_animation image_url=”34402″ 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 css=”” text_direction=”default”]\n

Reigl Judit: Dominancia-k\u00f6zpont,<\/em> 1958, olaj, v\u00e1szon, 177\u00d7217 cm | Makl\u00e1ry K\u00e1lm\u00e1n gy\u0171jtem\u00e9nye, Magyarorsz\u00e1g \u00a9 Fot\u00f3: 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″ 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” el_class=”allo-kep” 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” column_padding_type=”default” gradient_type=”default”][image_with_animation image_url=”34403″ 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 css=”” text_direction=”default”]\n

Reigl Judit: Guano,<\/em> 1958\u20131963, vegyes technika, v\u00e1szon, 172,5\u00d7175 cm | mag\u00e1ngy\u0171jtem\u00e9ny, Magyarorsz\u00e1g \u00a9 Fot\u00f3: 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 css=”” text_direction=”default”]\u00c1m Reiglt ekkor m\u00e1r valami m\u00e1s foglalkoztatja, tizenh\u00e1rom \u00e9v absztrakci\u00f3 ut\u00e1n ugyanis \u00fajra felbukkan festm\u00e9nyein az Ember<\/em> (1966), a kozmikus ember \u00e9s az \u00e1ltal\u00e1nos emberi (1966\u20131972). A t\u00f6mb\u00edr\u00e1sban (\u00e9criture en masse<\/em>), vagy ink\u00e1bb a massz\u00edv, t\u00f6meggel b\u00edr\u00f3, a t\u00f6megre is reflekt\u00e1l\u00f3, az anyagi dimenzi\u00f3kat kidombor\u00edt\u00f3 fest\u0151i \u00edr\u00e1sban egyszer csak megjelenik az emberi alak. Ide tartoznak a M\u0171csarnok gy\u00f6ny\u00f6r\u0171 k\u00e9k, s\u00e1rga \u00e9s v\u00f6r\u00f6s alakjai, akik csod\u00e1latosan t\u00f6ltik ki a hatalmas ki\u00e1ll\u00edt\u00f3teret.[\/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” column_padding_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-4-0″ 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=”34455″ 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 css=”” text_direction=”default”]\n

Reigl Judit: Ember,<\/em> 1967, olaj, v\u00e1szon, 221,5\u00d7199,4 cm; 241,3\u00d7184 cm | mag\u00e1ngy\u0171jtem\u00e9ny, Magyarorsz\u00e1g; \u00c9va,<\/em> 1967, olaj, v\u00e1szon, 229\u00d7206 cm | Makl\u00e1ry K\u00e1lm\u00e1n gy\u0171jtem\u00e9nye, Magyarorsz\u00e1g | M\u0171csarnok, Budapest \u00a9 Fot\u00f3: 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 css=”” text_direction=”default”]De a legszebb darabok, az \u0171r s\u00f6t\u00e9tk\u00e9kj\u00e9ben pomp\u00e1z\u00f3 triptichon (Ember,<\/em> 1967\u20131969) t\u00e1bl\u00e1i Berlinben l\u00e1that\u00f3k.17<\/span> Az elvont strukt\u00far\u00e1kb\u00f3l, a fest\u0151i spont\u00e1n mozdulatokb\u00f3l, a Kozmosz \u201eautomatikus\u201d reprezent\u00e1ci\u00f3j\u00e1b\u00f3l 1966-ban emelkedik ki teh\u00e1t az ember, akire azt\u00e1n Reigl m\u00e1r tudatosan f\u00f3kusz\u00e1l. Gesztusokb\u00f3l \u00e9p\u00edt tov\u00e1bbi embereket, akik lebegnek \u00e9s sz\u00e1llnak a t\u00e9rben, vagy ink\u00e1bb az \u0171rben. Az Ember<\/em> sorozattal p\u00e1rhuzamosan alakul a Guan\u00f3<\/em> (1958\u20131964) is, melynek szint\u00e9n gy\u00f6ny\u00f6r\u0171 darabjai l\u00e1that\u00f3k a M\u0171csarnokban. A munk\u00e1k c\u00edm\u00e9t J\u00f3zsef Attila emberi guan\u00f3ja (A v\u00e1ros perem\u00e9n<\/em>) inspir\u00e1lta,18<\/span> avagy a v\u00e1ros mocskos r\u00e9tegei \u00e9s m\u00e9lyen anyagi, tulajdonk\u00e9ppen bataille-i \u00e9rtelemben (le bas mat\u00e9rialisme<\/em>) vett t\u00f6rt\u00e9nete. Georges Bataille<\/span> (1897\u20131962) anyagis\u00e1ga, alantas materializmusa am\u00fagy Reigl sz\u00e1m\u00e1ra is fontos referencia ebben az id\u0151szakban.19<\/span> A Guan\u00f3<\/em> k\u00e9pei technikai \u00e9s filoz\u00f3fiai \u00e9rtelemben is a kozmikus t\u00f6mb\u00edr\u00e1s, illetve t\u00f6meg\u00edr\u00e1s (\u00e9criture en masse<\/em>) hullad\u00e9kainak r\u00e9tegeib\u0151l \u00e1llnak \u00f6ssze. A munka, az alkot\u00e1s, a teremt\u00e9s maradv\u00e1nyai, amelyek k\u00eds\u00e9rtetiesen eml\u00e9keztetnek az emberi \u00e9s a geol\u00f3giai l\u00e9pt\u00e9k\u0171 t\u00f6rt\u00e9nelem term\u00e9szetes lenyomataira, a mocskos falakra \u00e9s az erod\u00e1l\u00f3d\u00f3 k\u0151zetekre.[\/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″ gradient_type=”default” column_padding_type=”default”][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 text_direction=”default”]\n

17<\/p>\n

Az Ember<\/em> triptichon azok k\u00f6z\u00e9 a m\u0171vek k\u00f6z\u00e9 tartozik, amelyet a Fonds de dotation Judit Reigl a Neu Nationalgalerie-nek aj\u00e1nd\u00e9kozott. URL: https:\/\/www.judit-reigl.com\/en\/exhibitions\/65-judit-reigl-centers-de-dominance-neue-nationalgalerie-staatliche-museen-berlin\/overview\/<\/a><\/p>\n

18<\/p>\n

\u201eA v\u00e1ros perem\u00e9n, ahol \u00e9lek, \/ beoml\u00f3 alkonyokon \/ mint pici denev\u00e9rek, puha \/ sz\u00e1rnyakon sz\u00e1ll a korom, \/ s lerak\u00f3dik, mint a guan\u00f3, \/ kem\u00e9nyen, vastagon.\u201d URL: https:\/\/mek.oszk.hu\/05500\/05570\/html\/jozsef_attila0014.html<\/a><\/p>\n

19<\/p>\n

Reigl Judit: Ember, lepel \u2013 k\u00f3dfejt\u00e9s-sorozat, guano. (1973) In: Sz\u00e1rnyal\u00e1s \u2013 Vol \u2013 Flight.<\/em> 2023. 54. Ld. tov\u00e1bb\u00e1 Georges Bataille: Alantas materializmus \u00e9s gn\u00f3zis. (1930), ford. Simon Lilla, URL: https:\/\/aszem.info\/2017\/11\/georges-bataille-alantas-materializmus-es-gnozis\/<\/a>; Georges Bataille: La part maudite. Minuit, Paris,<\/em> 1949<\/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” left_padding_desktop=”5%” right_padding_desktop=”5%” left_padding_tablet=”3%” right_padding_tablet=”3%” left_padding_phone=”2%” right_padding_phone=”2%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ 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=”34404″ 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 css=”” text_direction=”default”]\n

Reigl Judit: Ember,<\/em> 1966, triptichon, olaj, v\u00e1szon, 232,4\u00d7199,4 cm; 241,3\u00d7198,1 cm; 232,4\u00d7208,3 cm; Fonds de dotation Judit Reigl, promised gift Neue Nationalgalerie, Berlin \u00a9 Fonds de Dotation Judit Reigl<\/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-6-0″ 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=”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 text_direction=”default”]A Budapesten sz\u00e9pen \u00e9s organikusan reprezent\u00e1lt Folyamat<\/em> (D\u00e9roulement,<\/em> 1973\u20131978) ism\u00e9t egy fordul\u00f3pont, v\u00e1lt\u00e1s az automatikus \u00edr\u00e1s \u00e9s az Ember<\/em> sorozat \u201ekudarca\u201d ut\u00e1n. A D\u00e9roulement<\/em> \u00e9s angol verzi\u00f3ja az Unfolding<\/em> sz\u00f3 szerint kibontakoz\u00e1sk\u00e9nt ford\u00edthat\u00f3, ami tal\u00e1n jobban visszaadja azt, ahogy Reigl kibontja mag\u00e1b\u00f3l, a fest\u00e9kb\u0151l \u00e9s a v\u00e1szonb\u00f3l a t\u00f6rt\u00e9n\u00e9st, ami els\u0151 pillant\u00e1sra szinte semmi \u2013 hiszen a t\u00f6rt\u00e9n\u00e9s, a folyamat, a folyamatoss\u00e1g maga bontakozik ki a festm\u00e9nyeken. A fest\u00e9s ekkor m\u00e1r tulajdonk\u00e9ppen nyomhagy\u00e1s, a test mozg\u00e1s\u00e1nak nyomon k\u00f6vet\u00e9se \u00e9s univerzaliz\u00e1l\u00e1sa.<\/em> A teret teljesen bebor\u00edt\u00f3 v\u00e1sznak bej\u00e1r\u00e1sa \u00e9s meg\u00e9rint\u00e9se a zene \u00e1ltal inspir\u00e1lt ritmusban. Reigl m\u0171v\u00e9szi mott\u00f3ja a panta rhei,<\/em> vagyis H\u00e9rakleitosz<\/span> \u00e9s a minden mozg\u00e1sban van toposza. Ennek modern, egyszere filoz\u00f3fiai \u00e9s term\u00e9szettudom\u00e1nyos ihlet\u00e9s\u0171 verzi\u00f3ja Gilles Deleuze<\/span> d\u00e9v\u00e9nir<\/em>-je, az Univerzumot, a szerves \u00e9s a szervetlen, az intelligens \u00e9s a tudatlan vil\u00e1gmindens\u00e9get jellemz\u0151 \u00e1lland\u00f3 alakul\u00e1s, valamiv\u00e9 v\u00e1l\u00e1s, fura (\u00e9rz\u00e9sem szerint t\u00fals\u00e1gosan r\u00e9gies) magyar ford\u00edt\u00e1sban a leend\u00e9s<\/em> filoz\u00f3fi\u00e1ja.20<\/span> A vitalizmus \u00e9s a p\u00e1npszichizmus perspekt\u00edv\u00e1i messzire ny\u00falnak vissza az id\u0151ben Spinoz\u00e1<\/span>t\u00f3l Goeth\u00e9<\/span>n \u00e1t Bergson<\/span>ig \u00e9s a sz\u00e1zadel\u0151 \u00faj vitalizmus\u00e1ig (Ludwig Klages, Hans Driesch<\/span>) \u00edvel\u0151en, ami K\u00e1llai Ern\u0151<\/span>t (1890\u20131954) \u00e9s a magyar elvont m\u0171v\u00e9szeket is megihlette, akiknek ki\u00e1ll\u00edt\u00e1sait Hanta\u00ef \u00e9s Reigl is l\u00e1thatta Budapesten, hab\u00e1r Reigl egy\u00e1ltal\u00e1n nem eml\u00edti \u0151ket visszaeml\u00e9kez\u00e9seiben.21<\/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″ 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″ gradient_type=”default” column_padding_type=”default”][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 text_direction=”default”]\n

20<\/p>\n

Gilles Deleuze \u2013 F\u00e9lix Guattari: Mille plateux. Capitalisme et schizophrenie II.<\/em> Minuit, Paris, 1980<\/p>\n

21<\/p>\n

K\u00e1llai elvont m\u0171v\u00e9szet elm\u00e9lete is a p\u00e1npszichizmus szellem\u00e9ben fogant. L\u00e1sd ehhez K\u00e1llai Ern\u0151: Bioromantika.<\/em> (1932) In: Forg\u00e1cs \u00c9va (szerk.): M\u0171v\u00e9szet vesz\u00e9lyes csillagzat alatt.<\/em> Corvina, Budapest, 1981 147-152. Tov\u00e1bb\u00e1 K\u00e1llai Ern\u0151: A term\u00e9szet rejtett arca.<\/em> Miszt\u00f3tfalusi, Budapest, 1947. Valamint Hornyik S\u00e1ndor: Avantg\u00e1rd tudom\u00e1ny?<\/em> Akad\u00e9miai Kiad\u00f3, Budapest, 2008<\/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″ 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” column_padding_type=”default” gradient_type=”default”][image_with_animation image_url=”34443″ 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 css=”” text_direction=”default”]\n

Reigl Judit: A f\u00faga m\u0171v\u00e9szete (Folyamat),<\/em> 1976, vegyes technika, v\u00e1szon, 220\u00d7315 cm, Az MNB Arts and Culture j\u00f3volt\u00e1b\u00f3l \u00a9 Fot\u00f3: 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=”” 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=”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 text_direction=”default”]A p\u00e1npszichizmus, vagy ink\u00e1bb a p\u00e1nszomatizmus<\/em> k\u00fcl\u00f6nleges fest\u0151i lek\u00e9pez\u00e9se a Folyamat<\/em> egy k\u00e9s\u0151bbi verzi\u00f3ja, illetve szakasza a nyolcvanas \u00e9vekben a Hidrog\u00e9n, foton, neutrin\u00f3k<\/em> sorozat (1984\u20131985), ami az Univerzum anyagis\u00e1g\u00e1nak kvantumfizikai l\u00e9pt\u00e9k\u0171 megragad\u00e1sa: egy f\u00fcgg\u0151legesbe \u00e1tford\u00edtott folyamat, amelynek kisebb darabjai a Folyamat<\/em> \u00e9s a F\u00faga<\/em> k\u00e9pei k\u00f6z\u00f6tt b\u00fajnak meg a M\u0171csarnokban, jelezve, hogy l\u00e9nyeg\u00e9ben azokb\u00f3l n\u0151ttek ki. Monument\u00e1lis verzi\u00f3ikat el\u0151z\u0151 f\u00e1zisuk (Gomolyg\u00e1s, csavar\u00e1s, oszlop, f\u00e9m,<\/em> 1982\u20131983) p\u00f3tolja, ahol a fens\u00e9ges, kozmikus l\u00e9pt\u00e9k is sz\u00e9pen \u00e9rv\u00e9nyes\u00fcl. A hidrog\u00e9n l\u00e9nyeg\u00e9ben az eg\u00e9sz Univerzum alapanyaga, abb\u00f3l sz\u00fcletik minden a csillagokt\u00f3l az emberekig. A foton \u00e9s a neutrin\u00f3 k\u00fcl\u00f6nlegess\u00e9g\u00e9t egy fest\u0151i, materi\u00e1lis kontextusban viszont az adja, hogy az egyik nem rendelkezik a hagyom\u00e1nyos \u00e9rtelemben vett t\u00f6meggel, a m\u00e1sik pedig gyakorlatilag nem l\u00e9p reakci\u00f3ba az anyagi val\u00f3s\u00e1ggal. A k\u00fcl\u00f6nleges anyagis\u00e1g \u00e9rz\u00e9keltet\u00e9s\u00e9hez Reigl speci\u00e1lis emulzi\u00f3kat k\u00e9sz\u00edt, f\u00e9mszemcs\u00e9ket kever a fest\u00e9kbe, k\u00fcl\u00f6nleges old\u00f3szerekkel k\u00eds\u00e9rletezik \u00e9s hull\u00e1mokban \u00f6nti a fest\u00e9ket a v\u00e1szonra. Egy ponton azt\u00e1n valamif\u00e9le \u00e1tj\u00e1r\u00f3 is megjelenik a folyamatok sor\u00e1n \u00e9s elkezd\u0151dik a Bej\u00e1rat-Kij\u00e1rat<\/em> sorozat (1986\u20131988), amelynek v\u00e9ge fel\u00e9 az egyik \u00e1tj\u00e1r\u00f3ban rejt\u00e9lyes m\u00f3don \u00fajra felbukkan az ember, az univerz\u00e1lis alak. Ez az \u00fajabb fordulat Berlinben m\u00e1r nem igaz\u00e1n \u00e9rz\u00e9kelhet\u0151, Budapesten pedig h\u00e1tt\u00e9rbe szorul.<\/p>\n

Az univerz\u00e1lis k\u00e9pek \u201ehelyett\u201d a budapesti ki\u00e1ll\u00edt\u00e1s v\u00e9g\u00e9n a M\u0171csarnok apszis\u00e1ban egy m\u00e1sfajta tabl\u00f3t kapunk. A f\u0151olt\u00e1r hely\u00e9re Jean Dubuffet<\/span> (1901\u20131985) munk\u00e1ja (Az \u00edj\u00e1sz,<\/em> 1953) ker\u00fcl, egyik oldal\u00e1n Reigl egyik Robban\u00e1s<\/em>a (1956), a m\u00e1sikon pedig Fiedler Ferenc<\/span> (1921\u20132001) tektonikus l\u00e9pt\u00e9k\u0171 drip painting-je (C\u00edm n\u00e9lk\u00fcl,<\/em> 1958). A ki\u00e1ll\u00edt\u00e1s teh\u00e1t nem Reigl kozmikus humanizmus\u00e1val z\u00e1rul, \u00e9rett m\u0171vei, a k\u00fcl\u00f6nf\u00e9le kozmikus l\u00e9pt\u00e9k\u0171 emberek egy kisebb, az apszis fel\u00e9 nyitott terembe, azaz a mell\u00e9khaj\u00f3ba ker\u00fclnek. A sz\u00e1rnyal\u00e1s \u00e9s a zuhan\u00e1s kozmikus, reigli apote\u00f3zisa helyett egy \u201emagyaros\u201d, magyar m\u0171v\u00e9szekkel d\u00fas\u00edtott nemzetk\u00f6zi l\u00edrai absztrakt apote\u00f3zist kapunk. A p\u00e1rizsi, l\u00edrai absztrakt \u00e9s informel kontextus persze sz\u00e1mos \u00e9rdekes momentumot tartalmaz, mindazon\u00e1ltal h\u00e1tt\u00e9rbe szorul a reigli Kozmosz, a fizikai \u00e9s a szem\u00e9lyes is, \u00e9s el\u0151t\u00e9rbe ker\u00fcl a p\u00e1rizsi Pszich\u00e9, illetve az absztrakt expresszionizmus francia recepci\u00f3ja Makl\u00e1ry K\u00e1lm\u00e1n tolm\u00e1csol\u00e1s\u00e1ban, aki a m\u00e1sodik p\u00e1rizsi iskol\u00e1t Hans Hartung<\/span> (1904\u20131989), Dubuffet, Jean-Paul Riopelle<\/span> (1923\u20132002) \u00e9s Jean Degottex<\/span> (1918\u20131988) m\u0171veivel reprezent\u00e1lja.22<\/span> \u00c9s persze beilleszti k\u00f6z\u00e9j\u00fck \u2013 l\u00e9nyeg\u00e9ben vizu\u00e1lis alapokon \u2013 a magyarokat: B\u00edr\u00f3 Antal, Braun(-Lengyel) Vera<\/span> (1902\u20131997), Fiedler Ferenc, Hanta\u00ef Simon, Kall\u00f3s P\u00e1l<\/span> (1928\u20132001), Kolozsv\u00e1ry Zsigmond,<\/span> (1899\u20131983), Prinner Antal<\/span> (1902\u20131983), Rozsda Endre<\/span> (1913\u20131999), Sz\u00f3bel G\u00e9za<\/span> (1905\u20131963), Vajt\u00f3 \u00c1gota<\/span> (1928\u20131974) m\u0171veit, vagyis az organikus absztrakci\u00f3 \u00e9s a l\u00edrai absztrakci\u00f3 k\u00fcl\u00f6nf\u00e9le verzi\u00f3it, amelyek az eszt\u00e9tikai ideol\u00f3gia szempontj\u00e1b\u00f3l valahol az absztrakt expresszionista Mathieu \u00e9s a teljesen m\u00e1s rug\u00f3ra j\u00e1r\u00f3 Jean Bazaine<\/span> (1904\u20132001) szerkezetes naturalizmusa k\u00f6z\u00f6tt helyezhet\u0151k el. K\u00f6z\u00fcl\u00fck Reigl igaz\u00e1b\u00f3l csak Hanta\u00efval \u00e1llt komoly intellektu\u00e1lis kapcsolatban, legink\u00e1bb az \u00f6tvenes \u00e9vekben, b\u00e1r a fest\u00e9szet anyagis\u00e1g\u00e1nak tematiz\u00e1l\u00e1sa kapcs\u00e1n \u00e9rdekes lehetne egy t\u00e1gabb p\u00e1rhuzam is, amikor izgalmas m\u00f3don tal\u00e1lkozhatn\u00e1nak Hanta\u00ef Bend\u0151<\/em>i \u00e9s Reigl Guan\u00f3<\/em>i, illetve a pliage<\/em> hajtogat\u00e1sai \u00e9s a d\u00e9roulement<\/em> folyamatai.[\/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”][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 text_direction=”default”]\n

22<\/p>\n

Makl\u00e1ry K\u00e1lm\u00e1n: Reigl Judit \u00e9s m\u00e1s magyar m\u0171v\u00e9szek a \u201eDeuxi\u00e9me \u00c9cole de Paris\u201d-ban, 1945\u20131965. In: Reigl Judit 100,<\/em> 136-177.<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”custom” column_margin_custom=”15%” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” left_padding_desktop=”8%” right_padding_desktop=”8%” left_padding_tablet=”3%” right_padding_tablet=”3%” left_padding_phone=”2%” right_padding_phone=”2%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” class=”p-4-0″ 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 left_padding_tablet=”12%” constrain_group_103=”yes” right_padding_tablet=”12%” left_padding_phone=”15%” constrain_group_105=”yes” right_padding_phone=”15%” 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\/2″ tablet_width_inherit=”small_desktop” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” column_padding_type=”advanced” gradient_type=”default” offset=”vc_col-xs-12″][image_with_animation image_url=”34407″ 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 css=”” text_direction=”default”]\n

Reigl Judit: Gomolyg\u00e1s, csavar\u00e1s, oszlop, f\u00e9m,<\/em> 1983, vegyes technika, v\u00e1szon, 292\u00d7192 cm, mag\u00e1ngy\u0171jtem\u00e9ny, Magyarorsz\u00e1g \u00a9 Fot\u00f3: Eln Ferenc<\/p>\n[\/vc_column_text][\/vc_column][vc_column top_padding_tablet=”30px” left_padding_tablet=”12%” right_padding_tablet=”12%” top_padding_phone=”25px” left_padding_phone=”15%” right_padding_phone=”15%” 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\/2″ tablet_width_inherit=”small_desktop” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” column_padding_type=”advanced” gradient_type=”default” offset=”vc_col-xs-12″][image_with_animation image_url=”34408″ 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 css=”” text_direction=”default”]\n

Reigl Judit: Gomolyg\u00e1s, csavar\u00e1s, oszlop, f\u00e9m,<\/em> 1984, vegyes technika, v\u00e1szon, 292\u00d7192 cm, mag\u00e1ngy\u0171jtem\u00e9ny, Magyarorsz\u00e1g \u00a9 Fot\u00f3: 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-6-0″ 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=”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 text_direction=”default”]\n

Poszthumanista hal\u00e1lt\u00e1nc<\/h3>\n

A Sz\u00e1rnyal\u00e1s<\/em> \u00e9s a Hal\u00e1lt\u00e1nc<\/em> figurativit\u00e1sa \u2013 paradox m\u00f3don \u2013 azt sugallja, hogy Reigl meglehet\u0151sen elvont, s\u0151t absztrakt m\u0171v\u00e9sz, aki alakjait gondosan desztill\u00e1lja le az ember\u00e1br\u00e1zol\u00e1s t\u00f6rt\u00e9net\u00e9b\u0151l \u00e9s az emberis\u00e9g t\u00f6rt\u00e9nelm\u00e9b\u0151l. A k\u00e9t ki\u00e1ll\u00edt\u00e1s egy\u00fctt az\u00e9rt is izgalmas, mert rendk\u00edv\u00fcli m\u00f3don dinamiz\u00e1lja Reigl fest\u00e9szet\u00e9t, a sz\u00e1rnyal\u00e1s ugyanis nemcsak felemelked\u00e9s, hanem zuhan\u00e1s is. A hal\u00e1lt\u00e1nc pedig nem csak elm\u00fal\u00e1s, hanem sz\u00fclet\u00e9s is, egy vil\u00e1g sz\u00fclet\u00e9se az eml\u00e9kez\u00e9s bugyrain kereszt\u00fcl. R\u00e1ad\u00e1sul a k\u00e9t ki\u00e1ll\u00edt\u00e1s \u00e9s a k\u00e9t n\u00e9z\u0151pont az ember hely\u00e9t is dinamiz\u00e1lja a kozmoszban: elv\u00e1laszthatatlanul \u00f6sszefon\u00f3dik ugyanis a humanizmus<\/em> \u00e9s poszthumanizmus,<\/em> a teremt\u0151 ember \u00e9s az esend\u0151 ember, aki csup\u00e1n a mindens\u00e9g egy pici r\u00e9sze, r\u00e9szecsk\u00e9je.23<\/span> Reigl rendk\u00edv\u00fcl koncentr\u00e1lt m\u0171v\u00e9szi hitvall\u00e1sa mindezt igen prec\u00edzen \u00e9s k\u00f6lt\u0151ien adja vissza: \u201eJ\u00e1t\u00e9kot j\u00e1tsz\u00f3 testem \/ Regul\u00e1ja vagyok \/ Reigl-\u00e9nem hat\u00e1rozott, meghat\u00e1roz\u00f3 J\u00e1t\u00e9kszab\u00e1lyak\u00e9nt \/ Mindens\u00e9gnek r\u00e9szecsk\u00e9je. \/ Mindens\u00e9gnek r\u00e9szecsk\u00e9je \/ Maga a mindens\u00e9g.\u201d24<\/span><\/p>\n

A r\u00f6vid vers egyik kulcsa a francia R\u00e8gle (szab\u00e1ly) \u00e9s a \u201emagyar\u201d Reigl<\/span> \u00f6sszecseng\u00e9se. A po\u00e9tikus sz\u00f6veg tulajdonk\u00e9ppen a humanizmus kritik\u00e1ja, az alkot\u00f3 ugyanis nem a mindenhat\u00f3 teremt\u0151, hanem csak egy j\u00e1t\u00e9kos, aki egy lehets\u00e9ges szab\u00e1ly, illetve szab\u00e1lyrendszer \u00e9gisze alatt k\u00e9pezi le az Univerzumot. Az alkot\u00f3, az ember, Reigl \u00edgy nem is az Univerzum centruma, nem a vil\u00e1g k\u00f6zepe, hanem csup\u00e1nr\u00e9sze, s\u0151t csak egyetlen pici r\u00e9szecsk\u00e9je a Mindens\u00e9gnek. Reigl munk\u00e1ss\u00e1g\u00e1ban a hatvanas \u00e9vek m\u00e1sodik fel\u00e9ben programszer\u0171en is hangs\u00falyoss\u00e1 v\u00e1lik az ember val\u00f3di, anyagi univerzalit\u00e1sa, vagyis az, hogy ugyanabb\u00f3l az anyagb\u00f3l van, mint az Univerzum. Reigl figurativit\u00e1sa ez\u00e9rt lesz absztrakt, illetve elvont: a figura mindig egybeolvad a h\u00e1tt\u00e9rrel, a t\u00e1jjal, az \u0171rrel, a val\u00f3s\u00e1ggal. Ugyanolyan anyagb\u00f3l van, ugyanazok a rezg\u00e9sek, hull\u00e1mok, energi\u00e1k \u00e9s r\u00e9szecsk\u00e9k \u00e9p\u00edtik fel, mint a t\u00f6bbi szerves \u00e9s a szervetlen anyagot.<\/p>\n

De Reigl materialit\u00e1s\u00e1ban nemcsak a figura olvad \u00f6ssze a val\u00f3s\u00e1ggal, hanem a figur\u00e1n kereszt\u00fcl a val\u00f3s\u00e1g is \u00e9letre kel. Mintha Reigl vibr\u00e1l\u00f3 alakjai Jane Bennett<\/span> vibr\u00e1l\u00f3 anyag\u00e1ra \u00e9s vit\u00e1lis materializmus\u00e1ra rezon\u00e1ln\u00e1nak, vagyis egy olyan \u00e9letteli materialit\u00e1st mutatnak fel, amelyet Bennett Deleuze-\u00f6n, Bergsonon \u00e9s Nietzsch\u00e9n kereszt\u00fcl eg\u00e9szen Spinoza panteizmus\u00e1ig vezet vissza.25<\/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 text_direction=”default”]\n

24<\/p>\n

Reigl Judit: Testek, m\u00e9rt\u00e9k k\u00e9rd\u00e9se. (1985) In: Sz\u00e1rnyal\u00e1s \u2013 Vol \u2013 Flight.<\/em> 2023, 60.<\/p>\n

25<\/p>\n

Jane Bennett: Vibrant Matter. A Political Ecology of Things.<\/em> Duke University Press, Durham, 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″ 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=”34445″ 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 css=”” text_direction=”default”]\n

Reigl Judit: Szemben…,<\/em> 1989, vegyes technika, v\u00e1szon, 220,5\u00d7196 cm, mag\u00e1ngy\u0171jtem\u00e9ny, Magyarorsz\u00e1g | Kint,<\/em> 1994, vegyes technika, v\u00e1szon, 160\u00d7130 cm, mag\u00e1ngy\u0171jtem\u00e9ny, Magyarorsz\u00e1g | M\u0171csarnok, Budapest \u00a9 Fot\u00f3: 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-6-0″ 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=”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 css=”” text_direction=”default”]G\u00e1t J\u00e1nos Hal\u00e1lt\u00e1nc<\/em> ki\u00e1ll\u00edt\u00e1sa ennek az \u00e9letteli univerzalit\u00e1snak t\u00e1rja fel a szem\u00e9lyes \u00e9s a m\u0171v\u00e9szett\u00f6rt\u00e9neti dimenzi\u00f3it, amikor a k\u00e9sei Hal\u00e1lt\u00e1nc<\/em> sorozatot vizu\u00e1lis \u00f6n\u00e9letrajzk\u00e9nt mutatja fel. Ebbe a fura \u00e9s k\u00eds\u00e9rteties \u00e9letrajzba konkr\u00e9tan is beilleszti a Sz\u00e9pm\u0171v\u00e9szeti M\u00fazeum anyag\u00e1b\u00f3l a reigli fest\u00e9szeti program m\u0171v\u00e9szi \u201eszellemeit\u201d, akik az oeuvre eszt\u00e9tikai kih\u00edv\u00e1sait \u00e9s m\u0171v\u00e9szett\u00f6rt\u00e9neti perspekt\u00edv\u00e1it is szeml\u00e9ltetik. A meghat\u00e1roz\u00f3 fiatalkori \u00e9lm\u00e9ny It\u00e1lia, a trecento \u00e9s a quattrocento vil\u00e1ga, Giotto, Fra Angelico<\/span> \u00e9s Piero della Francesca<\/span> m\u0171v\u00e9szete, amit egy r\u00f6vid szocialista realista intermezzo ut\u00e1n k\u00f6vet P\u00e1rizs, Picasso, Ernst, Mathieu \u00e9s Dubuffet \u00e9lm\u00e9nye. G\u00e1t revelat\u00edv rendez\u00e9s\u00e9ben a Sz\u00e9pm\u0171v\u00e9szeti Fra Angelico-ja (Jelenetek a sivatagi remet\u00e9k \u00e9let\u00e9b\u0151l,<\/em> 1417\u20131423) mell\u00e9 ker\u00fclnek a Hal\u00e1lt\u00e1nc<\/em> sorozatb\u00f3l a L\u00e1thatatlan v\u00e1rosok k\u00e9sei rajzai. \u00c9s ami m\u00e9g fontosabb, a maga konkr\u00e9t val\u00f3j\u00e1ban is megjelenik a Sz\u00e9pm\u0171v\u00e9szeti hatalmas Courbet-ja, a Birk\u00f3z\u00f3k<\/em> (1853) Reigl-\u00e9lm\u00e9nye, \u00e9s annak hossz\u00fa hat\u00e1sa az \u00e9letm\u0171ben a k\u00fczd\u0151, de egym\u00e1sra figyel\u0151, egym\u00e1s\u00e9rt \u00e9l\u0151, egym\u00e1ssal \u00f6sszeforr\u00f3 testek (\u00e9s szellemek) fens\u00e9ges \u00e1br\u00e1zol\u00e1s\u00e1val. Courbet pendant-jak\u00e9nt Reigl Judit \u00e9s \u00e9letre sz\u00f3l\u00f3 szerelme, Betty Anderson vil\u00e1ga \u00e9s \u201ek\u00fczdelme\u201d is l\u00e1that\u00f3 a maga saj\u00e1tos anyagi val\u00f3s\u00e1g\u00e1ban: itt van ugyanis a Birk\u00f3z\u00f3k<\/em> (1966) a k\u00f6z\u00f6s marcoussis-i m\u0171teremh\u00e1z fal\u00e1r\u00f3l a vakolattal egy\u00fctt. A Birk\u00f3z\u00f3k<\/em> egy\u00fattal az Ember<\/em> (1966\u20131972) sorozat \u201er\u00e9sze\u201d is, \u00e9s G\u00e1t sz\u00e9pen t\u00e1rja fel, hogy benne van a J\u00e1kob harca az angyallal<\/em> tematika is, k\u00fcl\u00f6n\u00f6sen annak Delacroix<\/span>-f\u00e9le verzi\u00f3i (1850-es \u00e9vek). \u00c9s ez egy\u00fattal egy \u00fajabb szem\u00e9lyes dimenzi\u00f3t is kinyit, hiszen Reiglt m\u00e1r p\u00e1ly\u00e1ja elej\u00e9n, Budapesten is foglalkoztatja a t\u00e9ma, miut\u00e1n It\u00e1li\u00e1ban \u201ehagyja\u201d a frissen megismert Betty Andersont, aki a szocialista realista elv\u00e1r\u00e1soknak megfelelni pr\u00f3b\u00e1l\u00f3 Munk\u00e1s-Paraszt bar\u00e1ts\u00e1g<\/em> (1948) egyik \u00f6lelkez\u0151 figur\u00e1j\u00e1t is inspir\u00e1lta. Reigl Hal\u00e1lt\u00e1nc<\/em>a (2015\u20132020) egyfajta materi\u00e1lis, figurat\u00edv eml\u00e9kez\u00e9s, amely a vizualit\u00e1son t\u00fall\u00e9pve, plasztikusan-motorikusan, remeg\u0151 k\u00e9zzel \u00e9s szinte vakon a hal\u00e1lt\u00e1nc toposz\u00e1n \u00e1t saj\u00e1t \u00e9let\u00e9nek egyes momentumait is megid\u00e9zi.<\/p>\n

Az el\u0151k\u00e9p term\u00e9szetesen ifj. Hans Holbein<\/span> Hal\u00e1lt\u00e1nc<\/em> metszetsorozata (1526), amely szint\u00e9n l\u00e1that\u00f3 a ki\u00e1ll\u00edt\u00e1son, illetve egy szem\u00e9lyes eml\u00e9k egy francia ossz\u00e1rium kopony\u00e1ir\u00f3l. A remeg\u0151, illet\u0151leg vibr\u00e1l\u00f3 Hal\u00e1lt\u00e1nc rajzokon kopony\u00e1k sz\u00e1zai jelennek meg \u2013 mag\u00e1nyosan \u00e9s halmokban, az individuum \u00e9s az univerzum absztrakci\u00f3ba hajl\u00f3, melankolikus portr\u00e9ik\u00e9nt. A kopony\u00e1kkal p\u00e1rhuzamosan a hal\u00e1lt\u00e1nc toposz\u00e1nak kiterjeszt\u00e9sek\u00e9nt felbukkan azonban az \u00e9letfa \u00e9s a vonul\u00e1sban t\u00e1rgyiasul\u00f3 \u00e9let\u00f6r\u00f6m (joi de vivre)<\/em> toposza is. A Hal\u00e1lt\u00e1nc<\/em> ekk\u00e9nt az \u00e9letf\u00e1hoz \u00e9s az \u00e9let\u00f6r\u00f6mh\u00f6z l\u00e1ncolva Reigl \u00e9let\u00e9nek \u00e9s szerelm\u00e9nek is eml\u00e9ket \u00e1ll\u00edt a hal\u00e1l pillanat\u00e1ban.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”box-l20″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/3″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs” column_padding_type=”default” 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=”34447″ 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 css=”” text_direction=”default”]\n

Reigl Judit: Sz\u00e1rnyal\u00e1s \u2013 Vol \u2013 Flight, Reigl Judit figur\u00e1lis fest\u00e9szete,<\/em> Kiscelli M\u00fazeum Templomt\u00e9r, 2023. augusztus 23 \u2013 okt\u00f3ber 27. \u00a9 Fot\u00f3: Keppel \u00c1kos, BTM Kiscelli M\u00fazeum \u2013 F\u0151v\u00e1rosi K\u00e9pt\u00e1r<\/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 css=”” text_direction=”default”]Az \u00e9let \u00e9s a hal\u00e1l, a keletkez\u00e9s \u00e9s az elt\u0171n\u00e9s dialektik\u00e1ja mark\u00e1nsan \u00e1thatja a Sz\u00e1rnyal\u00e1s<\/em> ki\u00e1ll\u00edt\u00e1st is, amelynek \u00e1ltal\u00e1nosabb \u00e9s elvontabb dimenzi\u00f3i az Ember \u00e9s az Univerzum viszony\u00e1ra is reflekt\u00e1lnak. A k\u00f6zponti elem, a ki\u00e1ll\u00edt\u00e1s gerince a templomt\u00e9rbe f\u00fcggesztett Lepel\/Dek\u00f3dol\u00e1s<\/em> sorozat (1973), amely t\u00f6bb szempontb\u00f3l is centr\u00e1lis, illetve allegorikus darabja az \u00e9letm\u0171nek. A sorozat konkr\u00e9tan \u00e9s \u00e1tvitt \u00e9rtelemben is az Ember<\/em> sorozat (1966\u20131972) \u00fajra\u00e9rtelmez\u00e9se, dinamiz\u00e1l\u00e1sa. Az Ember sorozat figurativit\u00e1s\u00e1t ugyanis er\u0151s kritik\u00e1val fogadta a p\u00e1rizsi m\u0171v\u00e9szeti vil\u00e1g, Reigl pedig szerette volna megmutatni, hogy itt egy\u00e1ltal\u00e1n nem egy klasszikus figurativit\u00e1s visszat\u00e9r\u00e9s\u00e9r\u0151l van sz\u00f3. Az eredeti Ember festm\u00e9nyek is gesztu\u00e1lis, impulz\u00edv, absztrakt expresszionista, elvont testek, a Lepel\/Dek\u00f3dol\u00e1s<\/em> pedig ezeknek a testeknek a k\u00f6ztes (r\u00e9szben figur\u00e1lis \u2013 r\u00e9szben elvont) st\u00e1tusz\u00e1t hangs\u00falyozza a reprezent\u00e1ci\u00f3 folyamat\u00e1nak tematiz\u00e1l\u00e1s\u00e1val. A leplek ugyanis Veronika kend\u0151j\u00e9t\u0151l a sz\u00fcrrealista frott\u00e1zsig \u00edvel\u0151en a realizmus \u00e9s a val\u00f3s\u00e1g (a lenyomat \u00e9s a nyom) perspekt\u00edv\u00e1it hozz\u00e1k be a k\u00e9pbe. S\u0151t ha a modern kontextust is tekintetbe vessz\u00fck, akkor az ember \u201ereproduk\u00e1lhat\u00f3s\u00e1g\u00e1nak\u201d (Walter Benjamin<\/span>) tematik\u00e1j\u00e1t is \u00e9les\u00edtik.<\/p>\n

Reigl a Lepel\/Dek\u00f3dol\u00e1s<\/em> kapcs\u00e1n ezt az egyszerre klasszikus \u00e9s modern, technikai kontextust a technol\u00f3giai f\u00f3kusszal emeli ki, amikor hangs\u00falyosan csak arr\u00f3l besz\u00e9l, hogyan is j\u00f6nnek l\u00e9tre a v\u00e1sznak. El\u0151sz\u00f6r is finom v\u00e1szonnal, lepellel fedi le az \u201eelrontott\u201d, eldobott Embereket, majd megfesti \u0151ket \u00fagy, ahogy \u00e1tl\u00e1tszanak a frott\u00e1zs egy saj\u00e1tosan finom verzi\u00f3jak\u00e9nt. V\u00e9g\u00fcl megford\u00edtja a v\u00e1sznakat, lekaparja a fest\u00e9ket, \u00e9s a r\u00e9gi festm\u00e9nyekkel \u00e9rintkez\u0151 lepel fon\u00e1kja lesz a m\u0171 sz\u00edne.<\/p>\n

Mindehhez t\u00e1rsulhat azonban egy fizikai-kozmol\u00f3giai \u00e9rtelmez\u00e9s is: Reiglt ugyanis a f\u00e9ny \u00e9s az anyag kett\u0151s term\u00e9szete is er\u0151teljesen foglalkoztatja. A Lepel\/Dek\u00f3dol\u00e1s<\/em> \u00e9s az ut\u00e1na elkezdett Folyamat<\/em> a hull\u00e1m \u00e9s a korpuszkula komplementer dualit\u00e1s\u00e1nak<\/em> megjelen\u00edt\u00e9sek\u00e9nt is felfoghat\u00f3. A gesztu\u00e1lis hull\u00e1mokban a v\u00e1szonra felvitt fest\u00e9k a finom sz\u00f6v\u00e9s\u0171 v\u00e1szon m\u00e1sik oldal\u00e1n apr\u00f3 testekk\u00e9nt, fest\u00e9k g\u00f6b\u00f6kk\u00e9nt, korpuszkul\u00e1risan jelenik meg. Zseni\u00e1lis \u00e9s zseni\u00e1lisan egyszer\u0171 fest\u0151i reprezent\u00e1ci\u00f3ja ez Niels Bohr<\/span> kvantumfizik\u00e1j\u00e1nak, amely szerint a f\u00e9ny \u00e9s az anyag meglep\u0151 m\u00f3don hull\u00e1mk\u00e9nt \u00e9s korpuszkulak\u00e9nt is k\u00e9pes viselkedni.26<\/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 css=”” text_direction=”default”]\n

26<\/p>\n

Niels Bohr:<\/span> Atomfizika \u00e9s emberi megismer\u00e9s.<\/em> (1957) Ford. Nagy Tibor, Gy\u00f6rgyi G\u00e9za, Gondolat, Budapest, 1964. Bohr filoz\u00f3fi\u00e1j\u00e1nak poszthumanista \u00e9rtelmez\u00e9s\u00e9hez l\u00e1sd Karen Barad:<\/span> Meeting the Universe Halfway. Quantum Physics and the Entanglement of Matter and Meaning.<\/em> Duke University Press, Durham, 2007<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” 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” el_class=”allo-kep” 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” column_padding_type=”default” gradient_type=”default”][image_with_animation image_url=”34448″ 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 css=”” text_direction=”default”]\n

Reigl Judit: Lepel, dek\u00f3dol\u00e1s,<\/em> 1972\u20131973, tempera, v\u00e1szon, 340\u00d7240 cm, mag\u00e1ngy\u0171jtem\u00e9ny, Magyarorsz\u00e1g \u00a9 Fot\u00f3: 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 css=”” text_direction=”default”]Ennek a hagyom\u00e1nyos \u00e9s naiv realizmust (szil\u00e1rd testek \u00e9s newtoni er\u0151k) megk\u00e9rd\u0151jelez\u0151 kvantumfizikai perspekt\u00edv\u00e1nak<\/em> a relevanci\u00e1j\u00e1t R\u00f3ka Enik\u0151 elemz\u00e9se is al\u00e1t\u00e1masztja Reigl m\u0171term\u00e9r\u0151l \u00e9s a fal\u00e1ra t\u0171z\u00f6tt k\u00e9pek intuit\u00edv \u201eatlasz\u00e1r\u00f3l\u201d. Az egyik k\u00e9pen ugyanis elemi r\u00e9szecsk\u00e9k \u00fctk\u00f6z\u00e9sei l\u00e1that\u00f3k egy k\u00f6dkamra felv\u00e9telen.27<\/span> A CERN \u00e9s a t\u00f6bbi r\u00e9szecskegyors\u00edt\u00f3 speci\u00e1lis felv\u00e9telei tett\u00e9k el\u0151sz\u00f6r l\u00e1that\u00f3v\u00e1 a val\u00f3s\u00e1g \u00e9s az anyag szerkezet\u00e9t meghat\u00e1roz\u00f3 elemi r\u00e9szecsk\u00e9ket. A k\u00f6dkamra felv\u00e9telek r\u00e1ad\u00e1sul a gesztusfest\u00e9szet \u00e9s az informel k\u00fcl\u00f6nf\u00e9le fr\u00f6csk\u00f6lt fel\u00fcleteivel is p\u00e1rhuzamba \u00e1ll\u00edthat\u00f3k, de Reigl vegy\u00edti \u0151ket az anyag \u00e9s az ember hagyom\u00e1nyos, klasszikus, s\u0151t prehisztorikus reprezent\u00e1ci\u00f3ival is a barlangrajzokt\u00f3l Michelangelo<\/span>ig \u00edvel\u0151en. Ez a fajta komplexit\u00e1s teszi m\u00e9g izgalmasabb\u00e1 a Sz\u00e1rnyal\u00e1s<\/em> k\u00eds\u00e9rteties humanizmus\u00e1t. A Kiscelli M\u00fazeum templom\u00e1ban a Lepel\/Dek\u00f3dol\u00e1s<\/em> k\u00e9t oldal\u00e1n ugyanis az Ember,<\/em> az emberi alak \u00e1br\u00e1zol\u00e1s\u00e1nak programja bomlik ki. Vagyis az Ember<\/em> \u00e9s a humanizmus tulajdonk\u00e9ppen folytat\u00f3dik, mik\u00f6zben \u00e1t is alakul valami m\u00e1ss\u00e1. L\u00e9nyeg\u00e9ben a Folyamat<\/em> kvantumfizikai hagyom\u00e1nyira \u00e9p\u00edtve kil\u00e9p az Univerzumba: err\u0151l sz\u00f3l a Szemben<\/em> (1988\u20131990), az Egy test t\u00f6bbes sz\u00e1mban<\/em> (1991) \u00e9s a K\u00edv\u00fcl<\/em> (Hors,<\/em> 1993\u20131999) \u00e1ltal kirajzolt vizu\u00e1lis narrat\u00edva a monument\u00e1lis, vibr\u00e1l\u00f3 \u00e9s univerz\u00e1lis emberi testekkel, amelyek felold\u00f3dni l\u00e1tszanak a t\u00e9rben. A K\u00edv\u00fcl<\/em> eset\u00e9ben G\u00e1t Rimbaud inspir\u00e1ci\u00f3t sejt, mint ahogy a Megfizethetetlen test<\/em> (1999\u20132001) c\u00edme is Rimbaud-t id\u00e9zi: \u201eElad\u00f3k a megfizethetetlen testek, k\u00edv\u00fcl minden fajon, minden t\u00e1rsadalmon, minden nemen, minden sz\u00e1rmaz\u00e1son.\u201d28<\/span> A m\u0171termi fot\u00f3kat szem el\u0151tt tartva l\u00e9nyeg\u00e9ben a m\u0171v\u00e9szett\u00f6rt\u00e9net \u00f6sszes teste megid\u00e9z\u0151dik ebben a folyamatban Lascaux-t\u00f3l Dubuffet-ig, Judit \u00e9s Betty alakj\u00e1t\u00f3l a fotonokig \u00e9s a neutr\u00edn\u00f3kig \u00edvel\u0151en. Nemcsak \u00e1tvitt \u00e9rtelemben, de konkr\u00e9tan is: Reigl a Kiscelli M\u00fazeumnak aj\u00e1nd\u00e9kozott K\u00edv\u00fcl<\/em> (1998) lebeg\u0151, a gravit\u00e1ci\u00f3nak ellenszeg\u00fcl\u0151 emberi alakj\u00e1t p\u00e9ld\u00e1ul egy Hidrog\u00e9n, foton, neutr\u00edn\u00f3<\/em> v\u00e1szonra festette r\u00e1.[\/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″ gradient_type=”default” column_padding_type=”default”][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 css=”” text_direction=”default”]\n

27<\/p>\n

R\u00f3ka Enik\u0151:<\/span> Reigl Judit priv\u00e1t univerzuma. In: Sz\u00e1rnyal\u00e1s \u2013 Vol \u2013 Flight.<\/em> 2023, 41-51.<\/p>\n

28<\/p>\n

Id\u00e9zet Arthur Rimbaud<\/span> V\u00e9gelad\u00e1s<\/em> c\u00edm\u0171 vers\u00e9b\u0151l (ford. Kardos L\u00e1szl\u00f3, URL: https:\/\/mek.oszk.hu\/04400\/04407\/04407.htm#139<\/a>). A k\u00fcl\u00f6nf\u00e9le Folyamatok \u00e9s Emberek logik\u00e1ja \u00e9s folytonoss\u00e1ga G\u00e1t J\u00e1nosnak a Hal\u00e1lt\u00e1nc<\/em>hoz mell\u00e9kelt tanulm\u00e1ny\u00e1b\u00f3l rajzol\u00f3dik ki krist\u00e1lytiszt\u00e1n: Reigl Judit folyamatrendszere. In: Hal\u00e1lt\u00e1nc.<\/em> 2023, 23-39.<\/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-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” el_class=”allo-kep” 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” column_padding_type=”default” gradient_type=”default”][image_with_animation image_url=”34449″ 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 css=”” text_direction=”default”]\n

Reigl Judit: New York, 2001. szeptember 11.,<\/em> 2001, vegyes technika, v\u00e1szon, 195,5\u00d7195,5 cm, mag\u00e1ngy\u0171jtem\u00e9ny, Magyarorsz\u00e1g \u00a9 Fot\u00f3: 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=”” 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=”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 css=”” text_direction=”default”]K\u00fcl\u00f6n\u00f6s \u00e9s tragikus tal\u00e1lkoz\u00e1s dokumentumai a 2001-es emberk\u00e9pek, amikor Reigl \u00e9s a terrorizmus univerzuma tal\u00e1lkozik. A WTC zuhan\u00f3, rep\u00fcl\u0151 \u00e1ldozatai, az \u00e9g\u0151 tornyok apokalipszise rezon\u00e1l Reigl saj\u00e1tosan kozmikus ember\u00e1br\u00e1zol\u00e1saira. A zuhan\u00e1s \u00e9s az emelked\u00e9s dialektik\u00e1ja ism\u00e9t mozg\u00e1sba lend\u00fcl: 2001-ben a testek m\u00e9g zuhannak, 2006-ban a sorozat folytat\u00e1sk\u00e9nt azonban m\u00e1r emelkedni l\u00e1tszanak. Klasszikus m\u00f3duszban: Reigl a pokolra sz\u00e1ll\u00e1st a mennybemenetellel \u00edrja fel\u00fcl. Majd 2008-ban, mindezek \u00e9s Betty Anderson hal\u00e1la ut\u00e1n, j\u00f6nnek azok az \u00f6sszegz\u0151 m\u0171vek, amellyel a Sz\u00e1rnyal\u00e1s<\/em> tulajdonk\u00e9ppen elkezd\u0151dik: az 1973-ban indul\u00f3 Folyamat<\/em> lez\u00e1r\u00e1sak\u00e9nt az Antropomorfizmus<\/em> poliptikon (2008) testei kozmikus \u00e9s biblikus asszoci\u00e1ci\u00f3kat is keltenek. A szint\u00e9n 2008-as Egy test t\u00f6bbes sz\u00e1mban II.<\/em> sorozat is hasonl\u00f3 v\u00e9gs\u0151 szint\u00e9zis, hiszen Reigl a Folyamat<\/em> \u00e9s a Bej\u00e1rat-Kij\u00e1rat<\/em> r\u00e9gi v\u00e1sznaira festi r\u00e1 az emberi testeket, Michelangelo \u00e9s El Greco<\/span> plasztikus \u00e9s l\u00e9gies testeit a vibr\u00e1l\u00f3 \u00e9s hull\u00e1mz\u00f3 Kozmosz felt\u00e1rul\u00f3 tereiben. Az emberi \u00e9s a kozmikus testeket is megjelen\u00edt\u0151 v\u00e1sznakon \u00edgy Reigl humanizmusa \u00e9s poszthumanizmusa is \u00f6sszeforr, amikor is a mindens\u00e9g egyetlen r\u00e9szecsk\u00e9je, Reigl Judit m\u00e9giscsak a mindens\u00e9g centruma lesz, amelyen kereszt\u00fcl maga a Mindens\u00e9g \u00e1ramlik \u00e1t a k\u00e9peken.[\/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” vertically_center_columns=”true” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” el_class=”p-2-0″ gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”]

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