02.11.2016.

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nonentity


16.09. - 08.10 2016 | ica-d, institute of contemporary art, dunaújváros, hungary
supported by: banská st a nica contemporary, national cultural fund, ppg trilak kft. | 
special thanks to: koby nemec, sándor márton nagy, .page., zsolt páhi, márk radics, ádám szabó, márton emil tóth | translation: dániel sípos | photos by áron weber


“there will be no colours now. just black. glossy black. and peacocks, astronauts, earthquake and whirlwind. things and events against the black background of nonentity. tribute to the insignificants of this world who have been found worthy of encountering the absurd.”

lőrinc borsos is a fictitious artist brought to life by artists jános borsos and lilla lőrinc in 2008. she lives in székesfehérvár and works in budapest. her site-specific installation in the spaces of ica-d is made up entirely of new works created to study the “dark matter” he employs in her work. on this occasion he attempts to make the glossy black enamel paint talk along the lines of – and despite – its function and faculties, and then spread it out as a background, and editing board, in order to find correlations between past and current events of the passion of humanity. the arbitrariness of starting the process is marked by minimal gestures and further induced by mechanical installations. throughout the experiment, the effort of rational control is replaced by the practice of letting go. beyond expression through painting reduced to ornamental quality, the elements of the exhibition are ordinary objects overdriven in their operation or deprived of their functions – and even dead creatures. although mere trifles, together they suggest a coherent story.

“god will make man see things, if it is only against the black background of nonentity”*

as a result of disasters and tragedies, the individual’s perspective is deflected beyond the twilight zone behind the visible world, onto the ultimate horizon. the realm of eternal absurdity, lurking behind the fabric of reality punctured by evanescence. here, the laws of physics have no effect, this is the external darkness (light), in the reflection of which existence as we know it is a mere passing shadow. a particle experiment initiated by a flick, having expanded into chaos the size of a universe in order to collapse back into itself in the next moment.** perhaps it will be parenthesized, but it also may arrive at last.

“to look for the sake of looking: no different from being engrossed in aimlessness. man is left on his own; and while everything begins to fade all around, his own self appears before him, threatened by disappearance, by nothingness. this is not so far from the revoking of creation. even though the beginning was the hope of a new creation.” ***

the artist seeks the peace of mind of those who don’t stand a chance.


* g. k. chesterton, Introduction to the book of job
** we need to emphasize the responsibility of the flicker for the act of flicking, throughout which he craved to become visible instead of invisible, plural instead of singular. throughout which event he must have had some disturbing thought that made him frame the picture so mournfully. creation thus impaired apparently cannot be mended by neither plant nor animal or human, not even the creator. even if the creator also suffers from or – god forbid – falls victim to the misery and chaos that he brought about. apparently even the death of god can only make invisible marks on the soul of mankind and the barren wastelands of the created world. but maybe this hide-and-seek is an inseparable part of his essence, just so that there be something at least to find in the course of the terrible endeavour of reading among the lines. (bl)
*** lászló földényi f.: a festészet éjszakai oldala (the nocturnal side of painting) p. 105.



Good Funeral, Bad Funeral (detail)

2016

 
Good Funeral, Bad Funeral

2016 | acrilyc, enamel, pvc, steel, chain | 200x200 cm

 
etalon

2016 | enamel, 20x30x5 cm | silicon form: márton emil tóth

 
 
flag / byproduct

2015 | lacquer, zip-tie, flagpole, steel | 200x10x10 cm / 2016 | enamel, foil | 20x30x5 cm

 
biggie smalls, biggie smalls, biggie smalls

2016 | enamel, net | 50x70 cm

 
tool-kit

2016 | dock, held up by constrant stress, job without devil, stolen mécs

 
clipboard / “at the end, what was left of him also died.”

2016 | plastic, paper, enamel | 20x30x1 cm / lightbox, wood, enamel | 60x80x50 cm

 
“at the end, what was left of him also died.” (detail)
 
unfinishable inventory (detail)
 
unfinishable inventory

2016 | enamel, paper, steel, chain, foil | variable size

 
unfinishable inventory (detail)
 
the true face of enlightenment (detail)

2016 | gypsum, enamel, sand | variable size | technical consultant: Ádám Szabó

 
the true face of enlightenment (detail)

enamel, chain

 
sanctus nemo (artwork made for the project by .page.)

2016 | geotextile, frame | 30x40 cm

 
 
fuck kapoor black

2016 | spray, enamel, mechanics | variable size | mechanics, programming: Márk Radics

 
 
 
cockpit / “it isn’t that we don’t trust you, joe, but this time we’ve decided to go over your head.”

2016 | print, wood, enamel

 
cockpit (detail)
 
the old testament hero

2016 | print, ledlights, steel, chain

 
the old testament hero
 
isolation (detail)
 
isolation

|2016 | marbling on paper | 80x200x10 cm

 
 
legion

2016 | dead insects, enamel, pvc | 400x10x2 cm

 
legion (detail)
 
apparition

2016 | plexi, glass, led-light | 22x12x12 cm

 
no means no

2016 | baseball-bat, mechanics, pin-spot, wood | variable size | mechanics, programming: Márk Radics

 
no means no (detail)
 
 
statue of the unknown god

2016 | fan, neon-light, enamel, cartridge, cable, foil, sound | light: sándor márton nagy

 
statue of the unknown god (detail)
 
statue of the unknown god (detail)
 
statue of the unknown god (detail)