All exhibition projects carefully created by András look like film montages with performing actors, music and speeches. Yet it would be a pure mystification to describe him as a videoartist. He is completely indifferent to audiovisual innovations and sensual cultivaton. András behaves more like a writer and a dramatist, whose works must be normally read. At the same time this author doesn’t see practically any difference between a theoretical research and an artwork, which is proved by his existing videoessays, but primarily by his philosophic text Voldemort, which was published this year as a book of three copies. In the essay we can find out that particular stories can be used to simulate a certain problem. For reason of a necessary reduction the analogy appears to be less appropriate – we can count on proofing the verity on parts rather than on a complete simulation.
András as a storyteller is more and more delighted by stories which most of us know at least vicariously and which should contain the truth. He furnishes legends with important appendixes, romantically appropriated decorating and creates new models with a nostalgic perspective. He can’t afford to go against the myth itself, which is every time meant to be serious, lyrical and fervent. On the contrary, he stays in this ideal world as a hero on his own and he never disappears anywhere. He is aware of not only his exceptional qualities but also of human imperfection and particularly the fact, that he distends modernistic, a bit comical idea of an artist as a fair and reasonable saviour of the world. At the same time the character fails to meet the universal requirements the hero should live up to. András deliberately uses himself as a type of shy, determined but also short-sighted person. This hero isn’t really legible, he is rather unpredictable. He refuses to play the role of a twist mover in the storyline, he just perfectly directs or reconstructs the situation from a distance. That’s why he will never be one of us.
Michal Pěchouček
