post_modellismus – models in art - krinzinger projekte - Galerie ...
post_modellismus – models in art - krinzinger projekte - Galerie ...
post_modellismus – models in art - krinzinger projekte - Galerie ...
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Miklos Gaál<br />
Construction Men, 2004<br />
C-pr<strong>in</strong>t, alum<strong>in</strong>um, series of 7 pieces, 67 x 76 cm each, ed. 5<br />
The <strong>art</strong>ist observes himself observ<strong>in</strong>g and has rel<strong>in</strong>quished the goal of recogniz<strong>in</strong>g<br />
everyth<strong>in</strong>g. If one pursues the mean<strong>in</strong>gs result<strong>in</strong>g from this constellation one would<br />
have to say: the jolts of our visual apparatus <strong>–</strong> or the world <strong>–</strong> prevent everyth<strong>in</strong>g from<br />
be<strong>in</strong>g recognizable. More: it would be illusionary that the image of the world is focused<br />
and presented without any blurs. In this sense Miklos Gaál is a realist true to<br />
reality. That would be one conclusion. The other consequence is <strong>in</strong> the medial<br />
reflection. As we know, photography can be reduced to camera obscura. Yet there<br />
is more evidence to be found <strong>in</strong> its connection with draw<strong>in</strong>g. And it has always been<br />
the strength of traditional draw<strong>in</strong>g that it is sporadically precise, that it can <strong>in</strong>vent<br />
the non-visible and blend out the visible <strong>–</strong> <strong>in</strong> case it seems right for the picture. And<br />
it is right for the picture, so it seems for this photographer, that you cannot see<br />
everyth<strong>in</strong>g precisely. - Peter Herbstreuth, Miklos Gaál <strong>in</strong> the sphn Gallery, Berl<strong>in</strong>.<br />
Introduction (2003).<br />
43
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