2019. 05. 25 – 09. 01.
Ámos Imre – Anna Margit Memorial Museum
25 May 2019 6pm
Considered an important achievement in the “world improving” ideologies of modern civilization, the city is a metaphor for improvement conceived in a linear manner. Going far beyond the original theological contexts, the New Jerusalem, the Civitate Dei or the CitéRadieuse have all become charged with ambivalent meanings. This is what is evoked in the well-known song of the band, Guns N’ Roses, whose title we have borrowed, and in a like vein, the exhibition simultaneously highlights the aesthetic, social-critical, idealizing and demonic character of the city. All works on view reflect on the complexity of the 21st-century city and its effects on the individual.
With a three-channel painting-video that is slowed down for the tempo of contemplation, Attila Kondor (b. 1974) transposes the everyday vision of the urban environment to the level of ideas, and connects it with the harmonic archetypes ofcollective memory. Andi Schmied (b. 1986) presents a conceptual series of at-first-sight aesthetic photos that reveal the anomalies of the reservations that are spawned by the disparities between incomes. Stefan Osnowski (b. 1970) combines digital image-making and one of the oldest duplication techniques to produce large woodcuts that intentionally exaggerate the support and represent so-called “non-places” (Marc Augé), standardized locations that serve the movement of people, and do not invite them to stay. With photography and digital image-making, Balázs Csizik (b. 1987) looks at how housing developments influence visual culture. Urban structures also play the main part in the paintings of Kristóf Szabó (b. 1988), which represent the standardized buildings together with the errors that may occur during digital image processing, reflecting on how the impersonal behemoths are tamed. In the ground-floor space of the museum, the two younger artists also present a site-specific installation, which is centred around metaphors of the city.