Deathly Nature
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- The title of the exhibition was intended to be cryptic and it sounds like Deathly Nature.00:00:37.000
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- In fact we started from a Latin version, since the point of departure was Natura Morte00:00:44.330
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- that I gave a twist to so it became Natura Mortifera. Henceforth it is Deathly Nature and not Dead Nature.00:00:52.220
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- And I was interested in if we see these on first glance horror like works00:01:02.200
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- in regard to Foucault, Lacan or Kristeva what is our concept of human today. And its course.00:01:10.200
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- Somehow the center peace of the exhibition became “The Big Grey” by Gábor Fülöp.00:01:26.000
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- A guy with tattoo and a grey cattle head which of course is an amalgamation of several myths.00:01:36.000
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- On one hand obviously the myth of the Minotaur and00:01:42.080
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- on the other hand lets say an important myth of the Hungarian National Culture the Grey Cattle00:01:50.000
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- by which the Great Hungarian Plain and its cultural meaning come into picture for us.00:02:02.050
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- There are several other works that play in a similar way with different cultural circles and myths00:02:08.000
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- and as such amalgamate the ancient with the modern, pop with high brow culture.00:02:17.250
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- The same applies to movie citations,00:02:37.800
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- so on one hand classic thrillers appear and on the other had pop SciFi movies like Star Wars or Transformers.00:02:43.000
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- But I think each and every such border crossing carries deeper meaning as well00:02:55.400
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- and for that reason I have introduced the idiom transgression borrowed from George Bataille00:03:04.800
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- and that is about how we humans refer ourselves to what.00:03:21.220
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- So that is for one in relation to nature and for the other to machines, to techno culture.00:03:28.780
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- I was interested precisely in works that cross such borders.00:03:42.600
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- There are other examples of associations to horror movies as to the more sensuous one00:03:52.900
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- and the other incorporating the slasher movies like the painting of Csaba Kis-Roka.00:04:01.180
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- However for me it wasn’t the wanker style of Kis-Roka that was gripping00:04:19.300
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- but that involving a complete different culture scene, the slasher movies,00:04:30.360
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- the Hungarian National Culture is being replayed with a certain point of view.00:04:37.000
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- This is being stretched all the way that the Hungarian outlaws from the plain (betyár) are not only00:04:44.880
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- active in the Great Hungarian Plain of the 18-19th century but in a post-socialist milieu as well.00:04:50.900
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- So the background, the dilapidated crumbling block of flats actualizes the deconstruction of00:05:00.770
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- Hungarian national culture by Kis-Roka, that it takes place in the present tense…00:05:06.200