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P E T E R  P U K L U S

T E X T S  A N D  S I G N S

( T h e  E p i c  L o v e  S t o r y  o f  a  W a r r i o r )

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The most recent series of Peter Puklus, entitled The Epic Love Story of a Warrior, deals with the history of an imaginary family from Central Europe int the 20th century. Out of the hundreds of pictures in the series the ones exhibited use commonly known linguistic signs and symbols that we might find familiar from our personal life or even from our collective history.

With this exhibition Puklus further experiments with the medium of photography to widen the possibilities by redefining them. He even leaves the dimensions of photography behind by using the context of space and time as well to experiment with blurring the borderlines between sculpture, photography, film and installation. The pieces exhibited work well on their own in the space, but they also have a strong, inseparable bond together as a three-dimensional collage. The artworks are not only connected by the multiplied shadows appearing behind them due to the reflectors spotted at them from several different directions, but also by the key pieces, the models' (Maquette of a Monument Symbolizing the Liberation 1 and 3) multiple transfomration throughout the exhibition. The photos made of these were shot from 24 angles and presented in a 72 pages long checkered notebook like an animated GIF, and the two traditional photographs commemorate them with a sculpture portrait.

The phenomenon demonstrating the interaction between light and shadow not only moves the static objects, but the shadows of the visitors passing in front of the reflectors also become part of the exhibition. The artist encourages the visitors to redefine their former perceptions of light, shadow and space. The multiplication of light is a playful reinterpretation of the everyday shadow. The visitors reconstruct the space and their role in it by experiencing their multiplied shadows and miracle of sciense as well.

The exhibition not only manipulates the visitors' perception of reality with different light effects and the space altered by that, but also with working beyond the boundaries of photography with indirect and direct signs, texts to give a complex image of a new direction that is about experimenting and constatly redefining the borderlines between different artistic mediums.

The graffiti entitled Life is techno on the central wall of the exhibition space refers not only to repetitive, simple electronic music which only uses a few easy to undertand elements, but also to the central motif of the exhibition, the always changing, evolving and recurring models. It can also refer to the repetitions in the subject and in function, to the pattern of the checkered paper, but also to the female figure that appears repeatedly in a montage and also to the grids of a tablecloth symbolizing the Europian mountain range.

Peter Puklus (1980, Cluj) studied at the Moholy-Nagy Univerity of Art and Design, currently lives and works in Budapest. In 2011 he participated in the residency program of St a nica Contemporary in Banská Stiavnica and this year he is doing the fellowship of KulturKontakt Austria and the Austrian Ministry of Culture in Vienna. He has two monographic publications: One ad a Half Meter (Kehrer Verlag) and Handbook to the Stars (Stokovec, Space for Culture).