Baglyas Erika: ALIBI / solo show at Kortárs Művészeti Intézet - Dunaújváros (Institute of Contemporary Art) in collaboration with Z Angles Gallery. Curator Székely Sebestyén György art historian, the head of Z Angles Gallery, Cluj, Romania. On view till 13. 05. 2016 / in every day between 10 am - 6 pm --- except Sunday
Z Angles Gallery is a mobile gallery with projects and collaborations organized with/in other art institutions. 2016 will be a year of warming up, travelling, creating new contacts with artists and professionals. Not being limited to a given space but searching proper places to think exhibitions as site specific installations for the artist’s work this nomadism will also challenge the ways we communicate in a permanently changing social landscape.
A tanú, 2016, helyspecifikus installáció, kb. 1300 indigó lap a padlón, 8x8,5 m / The Witness, 2016, site-specific installation, circa 1300 indigo sheets on the floor, 8x8,5 m
|ALIBI, 2016, könyv indigólapokkal, keményborító, 19,2x12x4,2 cm / ALIBI, 2016|
book with indigo papers, hard cover, 19.2x12x4.2 cm
A. tárgyai, 2016, digitális fotó, papír, 50 x 70 cm / Objects of A, 2016, Digital photo print, paper, 50 x 70 cm
Kurázsi, 2015, bazalt kockakő, töltőtoll, 8x9x16 cm / Courage, 2015, Basalt cobblestone, pen, 8x9x16 cm
|Exhibition interior / detail|
|Exhibition interior from the street / detail|
|Exhibition interior / detail|
Hiány, 2016, tárgyegyüttes: 3 db, egyenként két részből álló rézöntvény (32x15,5x2,5 cm; 16,5x11x2 cm; 13x36,6x2 cm) / Absence, 2016, a set of three cooper moulds each consisting of two pieces (32x15.5x2.5 cm; 16.5x11x2 cm; 13x36.6x2 cm)
|Text on the window, view from the street: ‘I would also long for open and clear things, for fresh air and for the sincere surprise triggered by simple sentences.’|
Erika Baglyas uses elements of her biography as raw material for her art. Places and objects are surprisingly able to express the specific time of her life and, denying its linear nature, to capture the past in the present. Born in Dunaföldvár, as a child, Erika Baglyas visited Dunaújváros so often that the town became a permanent childhood location for her. Personal history became irrevocably entangled with historical connotations of the place („Stalintown”, Kádár-era, etc.) and a conviction of the artist seems to be that political and social systems can mould or transform destinies to an extent where they reach into the present beyond the span of several generations.
The Institution of Contemporary Art (Kortárs Művészeti Intézet), the two-floors exhibition space in Dunaújváros, with its shop-window-like room looking upon the residential block around, the obscure and isolated room and the dark cellar gallery with the flight of stair leading down there all offer an opportunity for exhibited works of art to reveal their content on a palette ranging from the extremely personal to the most estranged identity and to levels totally bereft of meaning.
The artist tries to establish a connection with pedestrians through her determined and yet hopeful statement displayed in the huge window (‘I would also long for open and clear things, for fresh air and for the sincere surprise triggered by simple sentences.’) while she also sets the direction for her own life and art, declaring an interest in things that are open, clean, fresh, simple, sincere. Erika Baglyas relies upon the strength of everyday expressions, thus she places her drawings, a series of drawings in defense of feminine honor, bearing the title “Maculate” („Makula”), literally in the front window. The room behind the front space is a much more intimate one. Here the artist exhibits the moulds fashioned using left-over copper tubes inherited from her father. The moulds preserve negatives of iconic objects owned by the late father (scissors, knife, screwdriver). The question is what are these moulds intended for and what kind of objects would they yield? Because a pair of scissors created this way would obviously have no cutting edge!
The indigo book is another means to suspend meaning and original functionality: an isolated universe comes to life between its pages, where originals cannot be distinguished from copies, where precedent and consequence melt while the book itself becomes un-writable and illegible. The indigo drawings are seemingly the most pretentious pieces of the entire exhibition, yet the drawing (the line) is a mere copy (indigo traces), designating the lack of the original. The artistic reality of Erika Baglyas is built upon the lack condensed into presence.
The floor of the lower space is covered with thousands of indigo sheets waiting for visitors’ feet to leave traces upon them. This could pass for a collective work of art but can also act as a starting point or raw material for further works.
Z Angles Gallery was created this year in Cluj, nevertheless this very exhibition passes for its opening event. The establishment sets out as a nomad gallery, wishing to focus energies upon openness and traveling, upon cooperation with artists, professionals and institutions of art, upon establishing connections with novel sections of the public. Traveling is also settling and discovery – we might call it, borrowing a term from a series of drawings by Erika Baglyas, a ‘quest for the home’. All our stops in space and time will become our homes, and we will be responsible to keep these homes open and alive.
Sebestyén György Székely
art historian, manager of Z Angles Gallery
A Hiány című réz objektsorozat a Nemzeti Kulturális Alap támogatásával valósult meg. A támogatás formája NKA Alkotói ösztöndíj, Képzőművészeti Szakmai Kollégium, 2o14-ben.