2 CONCRETE WREATH 2014, concrete, metal, 140x140x100 cm. F: Miklós Sulyok
5 GROUND BREAKING 2013, concrete, 15 x 140 x 20 cm. F: Miklós Sulyok Archive image of ramming the first pole of a Museum (new Bonnefantenmuseum) into the ground
6 LES STATUTES MEURENT AUSSI in collaboration with Hajnalka Somogyi 2014, mixed media, dimensions variable, exhibtion view: Les statues meurent aussi, Bonnefantenmuseum, Maastricht (NL)
8 Les Statutes Meurent Aussi* István Csákány was invited by the Bonnefantenmuseum to come up with a new work to accompany his exhibition with the Ghost Keeping, which presents a rather ambiguous endgame for late industrial modernity. So in July 2013 István and I set out on a research trip to Maastricht. Our intention was to find traces of the city s industrial past, traces of the industrial workers who for more than a century swarmed in and out of the immense Céramique factory complex, on the exact site where the museum and the surrounding apartment and office buildings stand today. Instead,we found that the transformation of the area in the last decade of the 20th century was so thorough that the memory of this industrial past had been more or less wiped off the face of earth in the process. From where we were coming from, it all seemed way too polished. Intriguingly, however, we did find an amazing private archive in a filmmaker s home on the Belgian side of the border. Max van Even and his father worked for local television, and shot hundreds of hours of raw material of the old factory complex, mostly out of operation since 1968,upon its de-molition in 1988, as well as on the construction of the museum and the new neighbourhood on the same site. Watching the silent footage of huge abandoned halls, of light creeping in through dirty, fragmented windows, and of various banal objects and an unbelievable mass of ceramics cluttered up on shelves and on the floor, all covered in dust, since who knows when, we were wondering what can have come over the people who left this all behind in what seemed like the space of five minutes. It seemed to be a finding like Pompeii. And then, shot on the open day when developers presented the reconstruction plan for the citizens of Maastricht on a site wiped clean of the factories save one building and a wing of another, images of people rummaging in the demolition debris put in large crates for this purpose, picking out shreds of porcelain, perhaps with a sense of belated affection. (Fig. 18) Memorials of the industrial past are surely to be found in the drawers of Maastrichteners. During the same research trip, we had the chance to visit the exhibition Il faut que le masque ait dansé ( The mask needs to have danced ) in Marres House for Contemporary Culture in Maastricht. Besides breath-taking African masks from the Tony Jorissen collection, as well as contemporary art works, it featured the 1953 essay film Les statues meurent aussi by Chris Marker and Alain Resnais. The film, which was partly censored in France until 1968, is a deeply critical statement on the effect of colonialism on African cultures, on the profound misunderstanding of masks and their status as ritual fetishes, manifest in the way they were handled and interpreted by European colonizers who approached these objects and their complex cultural context with an arrogant ignorance. Statues can also die if they are uprooted from the culture that brought them to life or if this culture ceases to exist. Paradoxically, the masks in the film seem to possess a liveliness as confident and assertive as that of the museum-goers featured staring back at them. And so, back in Budapest, the following idea emerged: just as sites and spaces of industrial production were transformed into places of art in the early nineties, often with nothing to allude to their previous use, why not imagine an era in which the capitalist service industry, and the cultural consensus that it supports and that supports it, is replaced by something profoundly different? A hypothetical paradigm shift that will also swipe away our current understanding of art, and its institutions. No, we wouldnot invent the era, no complex sci-fi vision of some future use of a place like, say, a museum: we simply cannot know what this future paradigm would entail. Rather, a vista of a transitory moment started to emerge, another endpoint of late modernity, as so often in István Csákány s work. A moment in which the expert curators, the trustees of the preservation and interpretation of cultural heritage, are gone, just like their policies, and the art objects are left behind, pretty much like the ceramics and tools in the abandoned factories, as if in a limbo: losing their aura, collecting dust, and, perhaps, taking on a life of their own. Certainly, there are historical examples of such paradigm shifts, most prominently the one that Hans Belting describes as the transition, during the Renaissance and Reformation, from the era of images to the era of art. Moreover, history presents us with moments in which a radical break with the past, with the status quo, was at least demanded, attempted or temporarily achieved, like when the Futurists proclaimed the destruction of museums, or when, in 1919, Kazimir Malevich wrote about why these institutions of the past should not be defended from the ravages of the Civil War.1 And by then the ravages had just begun: during the lootings of World War II, many treasures were forced into an incognito existence and, while hidden underground, experienced conditions dramatically different from those in museums (e.g. Rembrandt s Night Watch
9 was rolled up in a mineshaft in Sint Pietersberg, near Maastricht, for six years.) Without much destruction and violence, and with roots in the early avant-garde, Minimal and Conceptual Art also attempted to bring about a similar paradigm shift in what art and the artist is and could be in society. Even if mostly not in favour of closing down or destroying museums, artists since the sixties have again critiqued the power relations and the value-establishing mechanisms at play in these institutions. Nonetheless, if approved by this (constantly changing) value system, these radical experiments, the artworks, projects or their documentation, the objects, whether found, industrially produced or ephemeral, have ended up in museums. They also feature in prominent works in the Bonnefanten Collection. However, what these artists achieved is that, very often, the only thing that identifies their works as art is the context of their creationand their treatment as such in an art collection. And so we set out to imagine the last exhibition in the Bonnefantenmuseum a selection of artworks from the Contemporary Collection, carefully displayed in the galleries. What happens if, under circumstances that are presently unforeseeable and inexplicable, the museumcloses and the staff leave for good? Other people move in and, to kick things off, open the sealed-off windows, and casually shove the works to one side, or gather them in a corner in what could be described as a barbarian move, in the most neutral sense of the word these descendants being neither savage nor primitive, but simply from a different civilization,unbound by policies sanctioned by our current cultural consensus. We were aware that creating such a scenario in an active institution entailed a huge paradox. The museum s consensual role is to guarantee that a work s presentation align with its author s intention, as long as this align with the museum s other role of preserving this work forposterity. This double task necessitates a complex protocol that benefits pieces of observation; at the same time, other works that were meant to be humble documents, triggers for action, tools in live situations (or artefacts of old times and other cultures) can become alienated from their original context under the do not touch sign. Can this protocol be put in parentheses, even if only partially, as an illusion, for the time of a single project? Just to have a glimpse of how contemporary pieces would live without their authors and guards? Time ran fast, the road proved rocky, and the answer appeared to be that, at least for this occasion, the museum cannot orchestrate its own funeral. For the time being, a fragmentation of such order or a collage-like treatment of works can only be imagined or modeled. Therefore, this vision of the future is presently placed within a multi-part, allegorical frame, which emanates an air of nostalgia; however, in this case, nostalgia, an attitude that originates in the institution itself, is not so much directed toward the past as toward our endangered present. Hajnalka Somogyi *The text has been published in Les Statutes Meurent Aussi exhibition catalog, 2014 Sketch for Les Statutes Meurent Aussi
11 COAT STAND 2013, installation, wood, dimensions variable F: Miklós Surány
13 WORK STATION 2012, 350 x 250 x 350 cm, mixed media The installation Work Station (2012) is made of a double gate-forming structure of iron tubes with non-stick tarnish. The structure holds a ventilator and neon lamps, which are powered by solar panels placed outside the fair tent. Work Station is based on an image showing an industrial loom in a weaving mill factory. Csákány rebuilt the machine at life size, but the central element, the loom that can be understood as emblem for industrializationv is missing, with only the supplementary construction retained, deprived of its ordinary function. With the supply of solar energy the relict or ruin of a working station can function as a self-supporting system. As in several pieces in Csákány s oeuvre, this piece represents work, the product of work and, in this context, its absence.
15 SUDDEN GUST OF MOTIVATION 2012, painted fiberglass, h. 70x165x 135 cm The piece is a realistic sculpture based on a snapshot, that shows the artist in the very moment when a garden chair collapsed under him and he finds himself surprisingly half sitting and half laying on the floor. The sculpture freezes the moment where his body still hasn t adapt to the new situation and because of this still remained in the sitting position. The piece singles out the moment after loosing the ground or more general after a radical change and shows how difficult it is for our body and mind to adopt to the new situation, and points out to what kind of bizarre positions our attempt to adopt leads to..
19 This installation consists of two separate parts. One is an exact replica of a typical sewing workshop, disposed on a raised-up floor. Slightly larger than life-size, the sewing and ironing machines are aligned in two rows with a corridor between them, and everything: machines, furniture, cables, neon lamps and other fixtures are elaborately carved from wood. The other is eight mannequins in groups of two or three, frozen into poses of sitting, standing and walking on a long catwalk-like platform that runs along the workshop space. The figures men and women, based on their proportions wear elegant dark-blue pinstripe suits of a rather unconventional cut, and have no heads or hands, as if they were invisible under their clothes. (Hajnalka Somogyi)
21 SUSPENDED 2010, image pair (wood cut: 1260 x 1750 mm, paper/acryl: 1260 x 1750 mm) Photo: Simon Liddiment The woodcut is based upon an archive image that shows workers removing a sculpture titled the Snake Killer by the Hungarian sculptor Pál Pátzay. In April 1949, a few hours before its official erection ceremony, the sculpture has been removed by the city government and was hidden for several years. It shows a man fighting with a snake, and was meant to be a memorial for Raul Wallenberg, a Swedish diplomat who worked in Budapest during World War II and rescued lot of Jewish people from the Holocaust. In 1952, the sculpture was re-erected without any dedication to R. Wallenberg in the city of Debrecen, in front of a pharmaceutical fabric. Then in 1999, a copy was erected at its original location at the Szent István Park in Budapest.
23 BERNSTEINZIMMER 2010, wood, bulb. h. 400x400x570 cm Photo: Miklós Surányi
25 István Csákány has created a huge, site-specific installation for this exhibition: a 1:1 all-wooden replica of the private workshop of a jack-of-all-trades: the well-known messy sanctuary of (usually) men where complex, creative and downto-earth manual work can be exercised for one s own contentment. This type of activity having been relegated to the realm of free time in the age of almighty machines, the private workshop, especially when roughly carved in wood and set in an uncanny blue room, appears as a time capsule of a terminated past. (Hajnal Somogyi - curator of the exhibtion)
27 IT WAS AN EXPERIENCE TO BE HERE! site-specific installation, 2009 Photo: Miklós Surányi The It Was An Experience To Be Here! installation has been realized during a 3 month residency in Prague at a cultural institute called Meetfactory. For the installation, Csákány painted the working- and living-space (all furniture, walls, lights etc.), everything he found there when he came, with pink paint. Only his private objects (and the plants) stayed without paint. The pink color reflected the light differently from the previously white walls and dull items, it completely transformed not only the room and the furniture, but also the experience of being in the very same room. This work reflects on the special status of an artist in residency, who finds himself in situation where he is forced to build up his own private sphere in the given temporary space. He used the pink color to build - with a bit of irony - a contrast between the rough surrounding of my living, a grim, deserted factory district very close to a cargo handling station, and his private living room. After the open studio event, he continued living in the pink space until the end of his stay.
29 THE WORKER OF TOMORROW service-uniform, 2009, concrete, 78x130x114 cm Photo: Miklós Surányi The pedestal of the worker s statue is empty - only the absence can be incarnated. Chair, coat, pants, boots - this ensemble forms a figure in (.. ) sculpture. A figure that is perhaps just slightly bigger than life-size - as expected from the ideal type of the worker - but who is definitely not present. It might appear that the act of raising a statue is an outdated phenomenon, when it is difficult enough to formulate statements about the worker. The absence, heavy as concrete, not only bears the weight of the present, but that of the next moment as well. For the statue refers to a real situation: it is based on a press photograph depicting firefighting gear, workwear in other words, readied for emergency. This standby state is preserved in concrete, pointing out the fact that perhaps the imperative of continuous alertness and standby binds us in a similar way. We are always ready for work. If there is work, because its certainty is dubious, and if there is none, because its uncertainty is doubtless. The workwear awaits the worker, the artistic rendering of the circumstances awaits its centre. Nikolett Erőss
31 ERECTING Wood cut, 2008, 100x157 cm Photo: György Orbán This woodcut shows the efforts of a group of people to raise the huge sculpture of a human. The visual language of this work is a reminiscence of the woodcut, a medium highly popular in the socialist times. The situation is based on the preparations of the erection of the artist s piece Monument for a Monument.
33 MONUMENT FOR A MONUMENT 2008, street light, fiber glass, metal construction, solar panel, akkumlator, x 1.25 x 0.70 m (...) They artist place a sculpture on the top of one street light in the middle of a roundabout in Zilina. The sculpture shows a 1/2 times bigger than lifesize realistic portrait of an average man - the artist himself. The figure holds im his two hands covered by working gloves a solar panel above his head. This panel collects during baytime the energy to light via the lights fixed to the bottom of the panel the figure by night. More information:
35 THE CHOREOGRAPHY OF THE MOUNTAIN 2008, slat, 3,90x5,30x7,80 m Photo: Miklós Surányi
37 THE PROGNOSIS OF THE 25TH OF MARCH 2004, 2004, wood frame, roof slates, hinge, 650x800x380 cm The Prognosis of the 25th of March 2004 consists of elements that can be easily constructed and deconstructed. I used the same raw material as used in The Reconstruction of the Lominic Peak in the exhibition The robbery of Europe at Millenáris Park. Contrastingly in this piece, I formed another version of the Lomnic Mountain, which can be seen on the Slovakian 20 koruna coin. The Prognosis of the 25th of March 2004 is more related to the visualizations of data, e.g. Diagrams.
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