Facebook

Exhibitions

B E A T R I X S Z Ö R É N Y I 




F L Y I N G B L I N D





1 0 . 0 9 . – 1 2 . 1 0 , 2 0 1 3





Flying Blind describes a situation when a plane is only driven by it’s own navigation system. In poor viewing conditions, when the pilot can’t find any visual geographical reference points, the machine takes charge of the control, and the pilot must trust in it “blindly”. The everyday use of the expression refers to navigating into the unknown without knowing exactly where we are heading to.





This exhibition is not only about showing the most recent works of Szörényi. It deals also with the effect of an invisible past has on the present and with the effects that the present's provisional state has on the future. The exhibited works are crystal-clear in means that each of them raises questions about the consequences of present events or decisions on future, they also highlight with a bit of skepticism epistemological, economical, social and philosophical issues. The ambivalent attitude towards the current knowledge of mankind and the information gained through empirical observations are all subjects of the exhibition whereas also the faith in the change that new technologies bring. But for a specific example, the exhibition also casts light on the biggest problem of nuclear power: the secure storage of the radioactive waste.





This is the specific topic of the prints made with the use of press photos covering one wall of the gallery, where you can see a furnished meeting room of a salt mine where radioactive substances are stored. Nowadays highly active radioactive waste is simply stored in deep geological repository, with faith in periodic solutions of burying it really deeply. Szörényi arranges all other works at the exhibition around this central issue so this way they become a three-dimensional collage – which plays an important role in the œuvre of Szörényi – where the elements are communicating above, in front of, or overlapping and hanging on each other.





The blind door made out of pseudo-stucco elements is also important. Collage as a genre essentially stands for the equalness of the elements which are next to each other. Stucco, the material of the installation is a recurring motif in Szörényi's work who likes to use these ornaments that got popular with the historicist architecture of the 19th century. This special architectural ornament was already used in the Roman Age, basically it had a decorative function and it was designed to keep the symmetry, the balance and the harmony in a building's facade. In addition to that, as a walled up or not yet opened door it also believed to be a possible portal to the future.





 


Beatrix Szörényi plays a really important role in the contemporary Hungarian art scene with an active, innovative and conceptualist mentality, she graduated in the Intermedia department of the Hungarian University of Fine Arts, awarded with the Derkovits Grant and the Klára Herczeg Award of the The Studio of Young Artists’ Association.