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TRANSCOM.net



Authors, exhibition title: Erika Szoke, Éva Mayer, Andrea Pézman, Gabriel Gyenes: TRANSCOM.net
Venue: Synagogue – Centre of Contemporary Art, Halenárska 2, Trnava: the Ján
Koniarek Gallery in Trnava

Curator: Máté Csanda
Opening: 9 July 2013, 18:00 hod.
Duration: 9 July - 27 July 2013
 

transcom-web

Transcom.net is an exhibition of four young artists: Éva Mayer, Andrea Pézman, Erika Szőke and Gábor Gyenes. Common thematic and conceptual junction in their work consists in their interest in intersubjective channels, imaginary tendrils, tracks and paths, layers and links among human memories. In form of sensitive graphical interventions and fragments they are trying to sensitize us to the fluctuations, derailments, productive entanglements, but also shortcuts and deadlocks of interpersonal communication, to the hidden grammar of memories, as well as to the syntax of our mental reminiscences. One of the central points of reference in their work is searching for answers to the question to what extent do we benefit from such life events as sadness, extreme cases, sudden and tragic turnover that often stand aloof from any rational interpretation. Authors do not perceive the medium of graphics in a dogmatic way, but rather as a playful synthesis of the wide variety of media options that meet and mingle productively, but often make problems to one another.

Works by Gábor Gyenes (ranging between the photography, gravure printing and digital printing) are opening foils that show us a kind of vibrant anthill. Peculiar bodies (demonstrators or music festival participants?) are more or less melting in the fluid crowd, only limbs can be recognized, blurred contours are diffusing - as if the viewing angle were identical with footage of security cameras: face and identity are not relevant here. People fulfill the function of some creative junctions of a massive, faceless entity. Subjectivity, face and singularity occur only in the form of bizarre, closely exposed ants, where every shot represents one dose of worrying exoticism. The second Gábor´s exhibit is a kind of memories seismograph. The installation consists of three glass layers. Blurred and shadowy forms (contours of faces of family members) overlap one another, thus depicting the hierarchy of memories, imaginary maze of genetic continuity.
Andrea Pézman creates subtle and vulnerable objects in form of paper spirals which necessarily reveals both their sides. Fragile paper entities of different lengths probably do not even know what content defines them. For these sculptures are wearing a specific reference in form of HTML code. But the relentless flow of information becomes an unreadable ornament – at least for technologically underdeveloped entities. But also extremely intimate remarks occur, directly addressed to one deceased person. But handwritten lines are blurred, so a sort of polyphony of unreadable textures is dominating. The entire content is portrayed as one big unreadable cobweb full of metatext information, instruction and private notes. Erika Szőke´s series is based on playful appropriation, fictional collage of quasi-photos. The artist accidently ran into a pale girl´s face on Victorian post mortem photography from the late 19th century. A paralyzed face full of melancholy was at the time of making the photo only a silent relic of the deceased: according to the then habit, the grieving parents had their last photo made together with their lost daughter. So the found face becomes a leading theme in Erika´s hands, a kind of catalyst of symbolic processes: re-staging of the life destroyed in the bud thus emerges in front of our eyes. We become witnesses of symbolic rehabilitations: the person in an imaginary environment is given a sort of second, parallel life, thus enabling her to gain a kind of ex-post identity. Works by Éva Mayer could be called piety pictures. Digital printing were attached directly onto aluminum panels and hung in the central area of the synagogue. Evocative power of these characters printed with reflective film alludes to the artist´s personally experienced trauma: a car accident linked with an irreparable bereavement. On the surface of cold metal plates we can see dainty installations with lots of photographed layers: films slide into one another like onion skins. The base is shots featuring traces of the deceased person: we are surrounded by transformations of private relics of mourning. Thus, the panels gain a sort of sacred undertone: even the number of exhibits (fourteen) depicts the stations of Christ´s suffering. QR codes containing specific additions appertain to these pictures. Thanks to Smartphones, unexpected backstage shall be revealed to spectators: discussions with people who have witnessed a similar tragedy. Éva´s stations thus function as springboards into the networks of comprehensive and endless dialogues.

Máté Csanda
 


Oznam


Z dôvodu rekonštrukcie ulice Halenárska  je vstup do Synagógy z Haulíkovej ulice.

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