TOP SECRET
Prítomnosť maliarskeho jazyka na slovenskej výtvarnej scéne začiatku 21. storočia sa stáva čoraz zriedkavejším javom. Samozrejme podoba dnešného maliarskeho vyjadrenia má ďaleko od tzv. klasických maliarskych prostriedkov. Súčasná maľba už často vychádza priamo z computerovej predprípravy. Práve túto formu spojenú s radikálnou redukciou obrazového motívu, na znak alebo symbol zvolil Pavol Megyesi (1969) vo svojom výtvarnom projekte s názvom TOP SECRET. Megyesi stavia hlavne na rozmerných maľbách vytváraných air-brushovou technikou. Pracuje aj s obrazom ako s objektom, kde sa nerealizuje na jeho ploche ale práve na okrajoch čím upriami pozornosť na jeho trojrozmernosť (Okrajové témy 2001). Obraz sa v jeho podaní dostáva do priestoru, a pri tom stále ostáva „akrylom na plátne“. Leitmotívom výstavy a celého projektu je fenomén utajenej, či skôr kódovanej skutočnosti. Práca so štandardným označením tajných spisov TOP SECRET, kde obraz je umocnený železnou mrežou, je príkladom kde sa znaková skratka (písmo) stáva ýtvarným motívom. Ďalším z Megyesiho, až ikonickým motívom, je zvislá línia ako symbol utajenia a kódovania informácie, kde v podstate ide len o nahradenie skutočnosti možnosťou. Autor vstupuje aj do dialógu medzi zobrazením reálnej krajiny, ktorú ale tiež nepodáv mytológiách, hlavne v metaforickej a symbolicej rovine (City/1999, Plod/1999, Rezy/1999). V súčasnosti redukuje emocionálny a expresívny potenciál maľby do reči symbolov a znakov, ktoré ale hovoria opäť o tej istej realite. Autor dokazuje súčasnú multimediálnu zručnosť generácie výtvarníkov prelomu sedemdesiatych rokov, ktorých tvorba sa pohybuje v zónach počítačového umenia, inštalácie, videoumenia aj klasických výtvarných prostriedkov. Vzájomnosťou oboch skutočností nám Megyesi podáva správu o svete digitalizovanej reality, ktorej hranice už dávno nkončia pri čiarovom kóde.
Peter Tajkov
TOP SECRET
The presence of the painter’s language in the Slovak art scene at the beginning of the 21st century is becoming a remittent phenomenon. Obviously, the form of expression in today’s painting is far from that of the “so called” classical means of art. Contemporary painting is often a direct result advanced computer preparation. It is precisely this form, connected with a radical reduction of the picture idea to a sign or symbol, which was chosen by Pavol Megyesi (1969) for his art project named TOP SECRET. Megyesi builds mainly on dimensional paintings created with the air-brush technique. He treats a picture as an object, where he does not materialize himself on its surface, but right on its edges, thus highlighting its three-dimensionality (Marginal topics 2001). In his presentation the picture gets into the space, however it still remains “acrylic on canvass”. The leitmotif of the exhibition and the entire project is about the phenomenon of a secret, or even more, about encrypted reality. The work with the sandard sign of secret files TOP SECRET, where the picture is intensified by iron bars, represents an example, where the abbreviated symbol (letters) becomes an artistic motive. Another of Megyesi’s, even iconic motive, is a vertical line as a symbol of confidentiality and encryption of information, where, in fact, the thing is to replace reality by possibility. The author enters into a dialogue between the depiction of a real country, which at first sight is not interpreted in an unambiguous form, and its tansformation into a symbolized form, in the shape of today’s classical bar code (Country 2001). This symbol has been fully developed into its monumental form in his round picture (Without name 2001). His works with a digital press are also accompanied by the mysterious, or even techno-mystique atmosphere, of a misty message about a night bathing on the edge of a big city, which could not have been captured otherwise, but secretly. Here the event is tran bathing 2001, Night butterfly 2001). His work with video is based on a similar scheme. Here, forms of galactic intelligence unknown to us put information about our civilization into an extra-terrestrial space probe, which, stratosphere-beaten, landed directly in the gallery. And again the dialogue starts, in this case between the two differently coded systems of consciousness and language. This form of life, which we can hardly comprehend, is interpreted in the form of pulsating plasma in Megyesi’s vide. Throughout the author’s entire creation the visual dialogue appears to be an utterance about a world full of contradictions and merging which have revealed and obscured reality. Reality in the bright, even surreal form of his earlier works, where he revives the tendencies of a new reality by his own mythologies, mainly at the metaphoric and symbolic level (City/1999, Fruit/1999, Sections/1999). At present he reduces the emotional and expressive potential of the painting into the language of symbols and sins, which, again, also talk about the same reality. The author exhibits the multi-medial skills of the present generation of artists from the turn of the 70’s, whose creations range within the zones of computer art, installations, video-art, as well as classical artistic means. Through the reciprocity of both realities, Megyesi gives us the message about the world of the digitalized reality, the borders of which do not end at the bar code for long.
Peter Tajkov |
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