play with dissolved levitation

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art, etchings, figurative art

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  • Tuz, vr, ember

    sszegyrva homok a vrrel

    Juhsz Ferenc: Vilgtuz

    Vilgunk tuzben keletkezett, fldnk emberi trtnete vrrel sznezett, mondhatni

    legkzenfekvobb szimboliknkban a piros szn taln a legegyrtelmubb, mindannyiunk

    elmlhatatlan gyermeksgben legmegkzelthetobb szinte egyezmnyes jelentssel.

    Bizonyos, hogy az ember mg kpzelt drapria piros, ha az imnti szimbolika jegyben

    fogalmazunk. Rszegh Botond kpi megnyilatkozsaiban az embert rendre ebben a jelkpi

    kontextusban mutatja fl a tuz krl melegedo kezek vagy a tragikus sorsban megtretett

    ember folytonos kivrzse akrha egyazon sznmezo volna. A kpek alaptnusa teht

    valamilyen rnyalatban ezt a sznt hordozza, sot, az alaptnuson teltettebben megjelenik

    tuzknt, vrknt, megmutatkozik kapcsolatban az emberrel, amely kapcsolat nemhogy

    szoros, de egyenesen megszakthatatlan. gy is fogalmazhatnk, hogy a staffzs idorol idore

    elotrbe kerl: a drma lejtszsban tveszi az ot megilleto foszerepet.

    Az egyik foszerepet.

    Mivel a msik foszerep minden esetben az ember, aki megkerlhetetlen rszese

    ennek a drmnak. Tragikus hangoltsgak ezek a kpek akkor is, amikor a cidrizteto

    magny knyszerti a tuz kzelbe az tfzott kezeket, akkor meg kivlt, amikor az lteto vr

    mlik ki a meggyalzott emberi testbol. Holott a rajz szerint jszerivel teste sincs Rszeg

    Botond embernek, mintha a szakadoz, olykor mr-mr nknyesen mozdul vonal

    mindssze az ur egy-egy darabkjt keretezn figurv, figura jelkpp, maradvnny. Semmi

    esetre sem gy, mint a gyerekrajzokon, amelyeken a torzts tbbnyire szimbolikusan nem

    relevns, inkbb a fllrhatatlan expresszi rtelmben az. Persze, ez korntsem azt jelenti,

    hogy Rszegh szmra nem a kifejezs lenne elsodleges, csupn annyit, hogy o az ltalnost

    sugalmazza, a mindenkori ltalnost, amely kpes jzan kapcsolatra az osi elemmel, a tuzzel,

    de aki knyegnl fogva kptelen szabadulni az eredendo buntol, a vr buntol. Ami a

    legrdekesebb a Rszeg-jelensgben, az az, hogy noha esze gban sincs fladni a nagy-

    elbeszlst (lehet-e nagyobb elbeszls az emberi sors lnyegnek megkzeltsnl?), formai

    eszkzei flreismerhetetlenl a posztmodern iskolzottsgot mutatjk: az j-figuratvits jegyeit

    tanstjk. A nyilvnval s szndkolt nellentmonds ha nem is flttlenl fricska a

    posztmodernnek, mindenkppen tovbbgondolsa s posztja: zskutca helyett j tkeress.

    Eszkztelensgben, viszonylagos szukszavsgban, jelzsszerusgben is

    rendkvl komoly, gretes vllalkozs ez, amely tgondolt, letisztult formanyelvet ptett fl

    mondandja kifejezsre, korszerusge pedig eltklten bizonyos magyarorszgi s erdlyi

    grafikai hagyomnyokra alapoz marknsan egyni hitellel, merszsggel.

    Fbin Lszl

  • Fire, blood, man

    Sand and blood kneaded together

    Juhsz Ferenc: Worldfire

    Our world was created in fire, our earth's human history is stained with blood, and we could

    say that in our most obvious symbolism, the red color is maybe the most evident, the best reachable

    in our all never-ending childhood - baring almost a conventional meaning. It is certain that the

    hangings imagined behind the man are red, if we define it in the terms of the previously described

    symbolism. In his paintings, Rszegh Botond presents the man in this symbolical context hands

    heating around the fire or the constant bleeding of the man shattered in his tragic destiny, are

    presented as if they were of the same color palette. The basic tone of the paintings carries this red

    color in different forms, moreover, on the fundamental tone it appears more impregnated than fire or

    blood; it presents itself in his relation with the man, and this relationship is not just tight but it is

    unbreakable. I could even affirm that the decoration is highlighted from time to time: in playing the

    drama play, it overtakes its rightful main role.

    One of its main roles.

    No doubt, the other main role belongs to the man, who is an ineludible part of this drama.

    These paintings are tragically tuned- when the solitude constrains the frozen hands near the fire, and

    particularly when the vital blood pours out from the outraged human body. According to the painting,

    Rszegh Botond's man doesn't even have a body, as if the braking, sometimes almost arbitrarily

    moving line, would frame some of the space's pieces into a figure, a figure symbol, into remains. The

    body isn't represented as in the children's drawings, in which the distortion is not relevant symbolically,

    but more in the meaning of the unexplainable expression. This doesn't mean that for Rszeg, the

    expression isn't primary, but it means that he suggests the general, the all-time general, which is

    capable of rational relationship with the ancient element, with the fire, but which is unable to escape of

    the original sin, of the blood's sin. The most interesting aspect in Rszegh's phenomena is that, even

    though he doesn't intend to give up the big narrative (is there bigger narrative than approaching the

    significance of man's destiny?) its formal means show his unmistakably postmodern education: they

    testify the marks of the new shapes.

    The evident and intended self-contradiction, if it isn't a flip for the postmodernism, in any

    case, it is the further- thinking and post- thinking of it: instead of a dead-end it is a search for a new

    direction.

    In its lack of instruments, in its relative sparing of words, in its signification, it is a highly severe and

    promising task, which has set up a deliberate and clear-out language form in order to express what it

    has to say; its modernity is based on specific Hungarian and Transylvanian graphical traditions, with

    craggy unique authenticity and boldness.

    Lszl Fbin