Plan for an exhibit in the chapel
Title of the exhibit: Signs of Life-Signs of Existence
Graphics, painting, sculpture, movement, spatial images, temporality - music - projection, light effects - moving inner space constructs -one enters and experiences a distinct sense of fascination (the direction of the flow of traffic is indicated on the floor).
Pictures not on the
walls, but away from the walls.
At night, the ceiling
lit up (diffused light)
December 26, 1970.
"The geometry of amorphous forms"
Symbol: Everything that does not stand for itself, but points to something beyond itself, i.e., stands for something else, can be considered a symbol.
January 10, 1971.
The anatomy and psychology of amorphous forms.
We cannot go beyond what we do not know.
(In a way this, too, is like an axiom of geometry.)
The texts are from Nóra Aradi's A szocialista képzőművészet jelképei (Symbols in Socialist Fine Art, Kossuth-Corvina, 1974).
The sense of the
texts from the point of view of the action lies in that-unlike in their
original context-they do not relate to the pictures; this gives the objects,
and the texts themselves, a new meaning.
Almássy Square, Budapest
It becomes understandable and comprehensible only in the sphere of sensation!
My term "the geometry of amorphous forms" is just a system
of correlations: it can be helpful in explaining a number of creative
1. Basic idea: A portable piece of wall (of the Berlin Wall) to emphasize the ubiquity of walls. The wall is a contemporary symbol of peace. (Walls are of no use in a modern war). The wall symbolizes the sort of dumb peace that rules in a zoo, and is an important element of the terrifying culture of silence ("the walls have ears"). In peace of this kind, knowledge is stifled or crushed; the only voice is that of the culture of those in power.
The video camera viewed the Wall from a mirror.
The viewed-from-a-mirror Wall video views itself in the mirror on the wall.
The electronic image watches itself in the mirror.
The Wall sees itself on the wall.
3. Wall/wall interaction.
Identification is cognitive and liberating.
"Identification with" is emotional an anxiety-ridden.
4. Why a video installation instead of a sculpture?
The flood of electronic information surrounds us like an invisible wall and fills our lives without our even noticing it. If we do not want to live in the silence of the electronic zoo, we have to defend ourselves against electronics with electronics, against the flood of information with a flood of information.
Fight the Wall with the wall: "Heal the dog bite with dog hair".
MIRROR PLACARD (for demonstrations)
2. Symmetry project / for an action
LOCAL WORLD FEELING
Requirements: Video projector, beat-up garbage can, sand, a khaki-colored army tarpaulin, four mirrors, one UV lamp.
It must be "powerful"
enough to trans-function the objects. This is some sort of symbolic realism.
Matters of detail
The projected image
interprets the group of objects, the newsflash interprets both. Winter
and summer appear simultaneously. A feeling of cold and warm.
The atmosphere should
be that of an abandoned beach or camp site, with garbage left all over
material from Radio Kossuth
The war as background may be allowed to filter in (indirectly), for example, Hungarian national security considerations, and other indirect news items, such as the price of gasoline. (Only bits and pieces, by way of intimation.) The attitude being that there's a war somewhere, but we're not worried, though it might cross our minds.
Danubius vs. Kossuth
"LOCAL WORLD FEELING" notes
(inspiration: the Gulf War; editing plan for the video)
1. Only the English-Hungarian (CNN) material.
2. Only very personal material. (People make war the way they create works of art.)
3. If possible, cut only short episodes in rapid succession, like a mosaic.
4. The players:
- soldiers ("artists")
- politicians ("managers")
- the public (demonstrators and those who react: "critics", commentators)
- try to do it as if it were a story about the world of art
- many expressive faces, statements and contradictions.
Make an hour-long tape; needn't record everything, for nobody watches it all. What's important is that all segments be equally interesting and meaningful from beginning to end.
How is human behavior made manifest in the Gulf War?
It is expressed in the context.
Those who commission - those who execute (CAUSE -EFFECT), politics, business - reality!?, conflicts of interest - war, differences -fighting, power - oppression, religion - fraud.
Intermixed at our late-20th-century level of technology, the net effect is extremely comic and infantile. Could this be the behavior of an "artist?" If not, what can he do about it?
Does he join in? How? (Or does he demonstrate?)
Screens show nothing
RESEARCH, EXERCISES (summary)
1.1 linguistic connections
1.2 sound connections
1.3 sculptures - in paintings (genre switch)
1.4 use of conflicting materials
1.5 contradictory thinking
1.6 uniformity and diversity
1.7 the novelty content in good and bad situations
2. Projects, Organization,
I. The essence of invention is that the exercise of being becomes the experience of being, and the experience of being becomes the reason for being.
II. The question:
When does basic research influence practice? The answer: When there is
goes before practice, but also lags behind.
1993, October: Galántai's comprehensive exhibition, 'LifeWorks', at the Ernst Museum. He arranged the entire display area to look like an apartment.
April 4, 1995.
"THE GEOMETRY OF AMORPHOUS FORMS":
The regular interconnection of chance configurations, or the chance interconnection of regular configurations. The essential point is that the known and the unknown are in equilibrium, and we always find this to be unsatisfactory.