{"id":3535,"date":"2019-05-31T13:23:52","date_gmt":"2019-05-31T13:23:52","guid":{"rendered":"https:\/\/punkt.hu\/2019\/05\/31\/ember-a-borotvakkal\/"},"modified":"2019-10-07T13:48:24","modified_gmt":"2019-10-07T13:48:24","slug":"man-with","status":"publish","type":"post","link":"https:\/\/punkt.hu\/en\/2019\/05\/31\/man-with\/","title":{"rendered":"Man with Razors"},"content":{"rendered":"
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Even though Abstract<\/em>, the latest exhibition of G\u00e1bor Gerhes has already closed, we deemed it important to write about it. As customary in this artist\u2019s case, the show once again perplexed the spectator. Entering the hall of the F\u00e9szek Gallery, there was no text or crutch<\/em> to help us interpret the exhibited material other than the title of the show and a sentence engraved on a black plaque (\u201cThe darkness inside the body\u201d). In this sense, the sentence localising darkness inside the body, and thus in the mind, was accurate and palpable.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

G\u00e1bor Gerhes: Abstract. Installation-view. Photo: Gy\u00f6rgy Cs\u00e9ka.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div><\/div>

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In his opening speech, Attila Hor\u00e1nyi did provide an important detail to help with orientation and contextualisation, as he mentioned that the exhibited works are part of a greater project: Atlas<\/em>. The materials detailing that project are still available through the website<\/a> of the Ludwig Museum, as the artist and curator Emese Mucsi submitted it to the competition for the Hungarian Pavilion\u2019s exhibition at the 2019 Venice Biennale.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

G\u00e1bor Gerhes: Abstract. Photo: Gy\u00f6rgy Cs\u00e9ka.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div><\/div>

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However, contrary to our expectations, Atlas<\/em> is not the passkey to opening up the hidden layers of Abstract<\/em>, as according to the description, its subject is the very fictionality, impenetrability and deconstruction of knowledge, namely within the pictures themselves or by them. The atlas has always stood for the visual equivalent, often supplement of the encyclopaedia, which is composed of words. The description of the world through images, or more precisely, by maps, in a defined scale, with scientific precision. The Atlas<\/em> of Gerhes, on the other hand, is enigmatic, and in an ontological, systematic<\/em> manner, just like its abridgment, or abstract<\/em>.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

G\u00e1bor Gerhes: Abstract. Photo: Gy\u00f6rgy Cs\u00e9ka.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div><\/div>

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The pictures of the exhibition comprise a selection from diverse chapters of the book. If we were to expect such an encyclopaedic work to orient us with regard to its meaning at least on the level of chapters, as theoretically it should encompass all, the entire corpus of knowledge and vision, we would once again be disappointed. The sections are organised<\/em>, giving the illusion of serious scientific discourse, in a similar way as Borges\u2019 Chinese encyclopaedia in Foucault\u2019s work The Order of Things<\/em>. It is recommended to quote the famous text in its entity, since regarding its meaning, it is more profound than the quotation cited by Foucault and further cited by many others: \u201cThese ambiguities, redundancies and deficiencies remind us of those which doctor Franz Kuhn attributes to a certain Chinese encyclopaedia entitled 'Celestial Empire of benevolent Knowledge'. In its remote pages it is written that the animals are divided into: (a) belonging to the emperor, (b) embalmed, (c) tame, (d) sucking pigs, (e) sirens, (f) fabulous, (g) stray dogs, (h) included in the present classification, (i) frenzied, (j) innumerable, (k) drawn with a very fine camelhair brush, (l) et cetera, (m) having just broken the water pitcher, (n) that from a long way off look like flies. The Bibliographic Institute of Brussels exerts chaos too: it has divided the universe into 1000 subdivisions, from which number 262 is the pope; number 282, the Roman Catholic Church; 263, the Day of the Lord; 268 Sunday schools; 298, Mormonism; and number 294, Brahmanism, Buddhism, Shintoism and Taoism. It doesn't reject heterogeneous subdivisions as, for example, 179: \u2018Cruelty towards animals. Animals protection. Duel and suicide seen through moral values. Various vices and disadvantages. Advantages and various qualities.\u2019\u201d (The Analytical Language<\/em><\/a> of John Wilkins<\/em>)<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

G\u00e1bor Gerhes: Abstract. Photo: Gy\u00f6rgy Cs\u00e9ka.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div><\/div>

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With the abstract<\/em> and absurd encyclopaedia, the enterprise of G\u00e1bor Gerhes reflects on the aforementioned ambiguities, redundancies, shortcomings of knowledge and systems of knowledge set in words, or, to put it in another way, on their deceit, fictionality and the exchangeability of categories and contrasting features. All these using images, which is, in turn, the irony of irony, a paradox move, as it brings into play, confronts and co-interprets the mutually untranslatable entities of image and text, visual and discursive meaning. Of course, in a manner that the chapter of the Atlas entitled Misologia<\/em> blasts the entire thing into smithereens like a landmine, as it can be known, if from no other source than Karl Ove Knausg\u00e5rd\u2019s also monumental and encyclopaedic-like book My Struggle, Book 2: A Man in Love<\/em><\/a>, that: \u201cMisology, the distrust of words, as was the case with Pyrrho, pyromania; was that a way to go for a writer?\u00a0 Everything that can be said with words can be contradicted with words, so what\u2019s the point of dissertations, novels, literature?\u00a0 Or to put it another way: whatever we say is true we can also always say is untrue.\u201d<\/p>\n

Which, of course, is a rephrasing of Nietzsche\u2019s radical insight, for: \u201cWhat then is truth? A movable host of metaphors, metonymies, and; anthropomorphisms: in short, a sum of human relations which have been poetically and rhetorically intensified, transferred, and embellished, and which, after long usage, seem to a people to be fixed, canonical, and binding. Truths are illusions which we have forgotten are illusions- they are metaphors that have become worn out and have been drained of sensuous force, coins which have lost their embossing and are now considered as metal and no longer as coins.\u201d (On Truth and Lies in a Nonmoral Sense<\/em><\/a>)<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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G\u00e1bor Gerhes: Abstract. Photo: Gy\u00f6rgy Cs\u00e9ka.<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div><\/div>

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The chapters of Gerhes\u2019 atlas are maps of an arbitrary, fragmented and indecipherable knowledge. Bogus maps, ironic abstracts of the world\u2019s continuously amassed, by now unfathomable and unmanageable, and for this reason uninterpretable and therefore futile immensity of the extracts of information. Exponentially at that, as it is impossible to reach a foundation, a point of origin, a first and accurate map of knowledge. As a result of the global digital amnesia, everything has existed before, everything is the distorted replica and extract of something else, which also means abstraction, subtraction, extraction from the original context. In addition, in philosophy<\/a>, the abstract entity also stands for an artificial and fictional entity, which only subsists in human consciousness and knowledge, but it does not exist autonomously and independently.<\/p>\n

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G\u00e1bor Gerhes: Abstract 2018-2019, (Atlas).<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div><\/div>

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At the exhibition, the images of Abstract<\/em> behaved like Lego pieces that could either be observed individually or freely joined with other pieces. The corpus was divided into various groups of images, which also brought thematic forces to the surface, as the show featured groups of abstract images, ones depicting the human body, or darkness, or peculiar assemblies of objects. But each of them was at once \u201crepresentation\u201d, in fact, representation<\/span>, that is, some fake, unreal, cumulatively \u2013 visually and verbally \u2013 undermined organisation.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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G\u00e1bor Gerhes: Abstract 2018-2019, (Atlas).<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div><\/div>

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This material brought into play is one of the signature tricks that hallmark Gerhes\u2019 art: the constant raising of suspicion that what we see cannot actually be what it seems. However, this feeling remains vague all the while, as we never reach the truth, he does not hand us the key that would unlock the mystery of what we should see or think when beholding his images. More precisely: he gives us a whole bunch of keys, as the chapters of his atlas also flash a plethora of important topos and discourses of Western culture, but in a context that is too broad and dispersed.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

G\u00e1bor Gerhes: Abstract 2018-2019, (Atlas).<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div><\/div>

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In one of Gerhes\u2019 images, a text on the page of a book is masked almost entirely by a black, pierced rectangle. Not very large to begin with, the picture lures us closer as we attempt to decipher the masked text from the visible fragments of the page. The blocked-out text, although in a negative approach, would help us get closer to the signification of the image. However, the words either make no sense or were written in some alien, extraterrestrial language. Gerhes renders an untranslatable and enigmatic script even less accessible by the act of masking. He represents<\/em> or disperses<\/em> negation with negation, deletion with deletion, black with black.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

G\u00e1bor Gerhes: Abstract 2018-2019, (Atlas).<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div><\/div>

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One of his black images has a tiny hole in it. But even if we go very close, we will not see anything through the hole. Of course, because this is a photograph and not reality. But then what does it mean<\/em>? The picture places the spectator into a voyeuristic position, but it does so by revoking, deleting the enticing sight. Similar holes can be seen in another photo, on a bone. As if it were possible to look inside the body, inside the bones and beyond. But what is inside the body?<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

G\u00e1bor Gerhes: Abstract 2018-2019, (Atlas).<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div><\/div>

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Another image seems to depict props of a strange past or future religion or rite, but we cannot piece together the meaning of the image that \u2013 again!<\/a> \u2013 has too many references: Christianity, paganism, geometry, English breakfast. It has to be noted here that although Gerhes\u2019 photographs are less explicitly humorous these days, much rather ominous descriptions, yet in a deeper sense, they are as amorally jocund as before \u2013 amorality should be understood in a Nietzschean sense here.<\/p>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div>

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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

G\u00e1bor Gerhes: Abstract 2018-2019, (Atlas).<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div><\/div>

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G\u00e1bor Gerhes is like the Bibliographic Institute of Brussels: he adds to the (epistemological) chaos, as there is nothing else he can do, he sees no way out, not even a tiny hole through which he could get a glimpse of reality, the splendid world of permanently established cardinal meanings where nothing is false and everything is true.<\/p>\n

Being an artist, Gerhes propagates, collides and mixes entities instead of deleting them, all the while holding at least two of Occam\u2019s razors in his hands. Atlas<\/em> is very well a pinnacle of his sophisticated and profoundly reflected oeuvre, at least as much as it can be judged on the basis of its abstract<\/em>.<\/p>\n

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01<\/span>03<\/p>\n\t\t\t\t\t\t\t\t\t\t

G\u00e1bor Gerhes: Abstract 2018-2019, (Atlas).<\/p>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\n\t<\/div>\n\n<\/div><\/div><\/div><\/div>

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Notes<\/div>\n\t\t\t
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G\u00e1bor Gerhes: Abstract<\/p>\n

F\u00e9szek Gallery<\/p>\n

16. 04. \u2013 10. 05. 2019.<\/p>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div><\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

G\u00e1bor Gerhes is like the Bibliographic Institute of Brussels: he adds to the (epistemological) chaos, as there is nothing else he can do, he sees no way out, not even a tiny hole through which he could get a glimpse of reality, the splendid world of permanently established cardinal meanings where nothing is false and everything is true.<\/p>\n","protected":false},"author":6,"featured_media":1665,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"spay_email":""},"categories":[9],"tags":[250,248,247,251,249],"acf":[],"yoast_head":"\nMan with Razors - PUNKT<\/title>\n<meta name=\"description\" content=\"Even though Abstract, the latest exhibition of G\u00e1bor Gerhes has already closed, we deemed it important to write about it. 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