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subtil, de o maximæ discreflie, în care surprinde mecanisme sociale complexe. Prin
fabricarea acelor iconuri din fotografii banale, artistul creeazæ o hartæ a istoriei sale
personale, iar prin juxtapunerea acesteia cu harta de energie potenflialæ gravitaflionalæ,
el ne redæ similitudinea acestor procese, tocmai cele prin care sînt ignorate realitæfli
în mod „natural“ istorice în care nu doar respiræm, ci pe care øi pæøim, într-un fel
sau altul, oricare dintre noi.
Note:
1. Lucian Maier, „Un spafliu al artei. Tradiflie øi instituflie, Dénes Miklósi, Concurrency, Studio Protokoll, 2 iunie
– 12 iulie“, in IDEA artæ + societate, #27, 2007.
2. „Caracterul subversiv øi de cod al Mail Artei a fæcut ca acest gen sæ-øi gæseascæ nenumærafli participanfli în anii
’80 în flærile fostului «bloc comunist», nu numai printre artiøtii români, care au ræspuns cu entuziasm la aceste
manifestæri, percepute ca singurele forme de comunicare liberæ cu alte spaflii culturale øi artistice.“ Ileana
Pintilie, Acflionismul în România în timpul comunismului, Cluj, Idea Design & Print, 2000, p. 89, nota 5.
3. Aceastæ parte a proiectului a fost expusæ iniflial ca lucrare de sine stætætoare în expoziflia de grup GPS – Unknown
Scene, 12 octombrie – 25 noiembrie 2007, Muzeul Ernst, Budapesta, avînd titlul Miért buknak meg a magyar
gyermekek románból? Equipotential surface [De ce copiii maghiari picæ examenele la limba românæ? Suprafaflæ
echipotenflialæ], artistul servindu-se de aceeaøi logicæ a punerii laolaltæ a unei realitæfli naturale øi a uneia sociale.
Prima parte a titlului este preluatæ dintr-un articol de specialitate care denunflæ erorile pedagogice impuse
în învæflarea limbii române de cætre minoritæfli în øcolile publice.
View from the exhibition, photo: Zsolt Fekete
projected on the opposite wall which, although is delivered and
offered by a technical means specific to the dynamic image (the video
projector) is very static. We feel intensely this subliminal contradiction
and tension in the exhibition, which is also part of the subtle calculation
– adapted to approach the unknown within the familiar –
proposed by the artist.
The weight of the works of Dénes Miklósi, both in the sense of a difficult
access to them and the consistence which they take on, once
their resistance surmounted, consists not only in the attempt to reveal
this unnoticed presences, but also in the subtle parsimonious way
and the maximum discretion in which he catches complex social
mechanisms. By making those icons out of ordinary photographs
he creates a map of his personal history and by juxtaposing it with
the gravitational potential energy map we are presented the resemblance
of these processes, the very ones used to ignore “naturally“
historical realities in which each of us not only breathes, but also
steps in one way or another.
Translated by Alex Moldovan
Notes:
1. Lucian Maier, “A Space of Art: Tradition and Institution, Dénes Miklósi,
Concurrency, Studio Protokoll, 2 June – 12 July”, IDEA arts + society,
#27, 2007.
2. “The subversive and code-like character of Mail Art made genre popular
with innumerable participants from thecountries of the then ’communist
block’, in the 1980s. Romanian artists, where not the only ones,
enthusiastically rushing to get involved in such events perceived as the
only form of freely communicating with other cultural and artistic areas.”
Ileana Pintilie, Actionism in Romania during Communism, Cluj, Idea
Design & Print, 2002, p. 130, n. 5.
3. This part of the project was initially exhibited as an independent work
in the group exhibition GPS – Unknown Scene, 12–25 October
November 2007, Ernst Museum, Budapest, under the title Miért buknak
meg a magyar gyermekek románból? Equipotential surface
[Why do Hungarian children flunk their Romanian language exams?
Equipotential surface], the artist using the same logic of putting together
a natural and a social reality. The first part of the title is taken from
a specialized article denouncing the pedagogical mistakes imposed
in teaching the Romanian language by the minorities in public schools.
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