CRICKETDANCE ON THE EDGE OF EXISTENCE


As part of a series of exhibitions presenting the rich fine art collection of the Ferenczy Museum Centre Szentendre, this time we show a selection of works by one of the classics of modern Hungarian art, Dezső Korniss (1908–1984). The collection includes some valuable highlights of the oeuvre, among them the painting The Cricket Wedding (1948). The exhibition is centered around this painting, other items, on loan from some of the major Hungarian collections, are presented in the exhibition in connection with it.

Dezső Korniss, who developed a sympathy towards progressive artistic movements already during his studies at the Hungarian College of Fine Arts, went back to Hungarian folk art and integrated it with the language of Avant-garde – thus citing the work of Béla Bartók – with the aim of creating a modern Hungarian art. He and his friend Lajos Vajda have found an ideal location for this purpose in Szentendre, where in 1935 they started collect­ ing and processing motives of folk art and craftsmanship. However, under the threat of war, they were not able to transfer their ideas into a collective art. After 1945, during his second Szentendre period, Korniss painted several playful surrealist compositions, some of which evoke dramatic associations. One of these is The Cricket Wedding, an allusion to a children’s song, also adapted by Béla Bartók, the protagonists of which are beetles and other animals with human characteristics. But the joyful dance of the surreal­ istically enlarged figures of this micro-world is interfused by a disturbing sensation of existence in an upside down universe.

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SUBJECTIVE VARIABLES


The exhibition explores the questions of perception. The majority of new installations created for the show take the symbolic use of individual objects as their starting point, in some instances emphasizing the feigned or disguised nature of perception – in other words, illusion. These works also render visible the crossing of boundaries that separate the media: it is as if the functional, real object infl uenced what happens in the video. The TVs facing one another and creating moving images explore not only the relationship between illusion and reality in a personal manner, but also the possibilities in terms of what is seen and how it is represented: as the faces transform and disappear into one another, boundaries dissolve. The new, exhibited pieces fall in line with the artists’ usual working methods, in so far as – by drawing on the traditions of oppositely positioned objects and installations – they highlight psychological and philosophical meanings. On this occasion, however, an unprecedentedly emphatic role is given to the artistic attitude that focuses on interpersonal relationships and explores personal relations, the place of the individual, and the perception of the Other.

 

 

 

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