society aren’t perfect like the most of us
think.
Their fault or “unnatural” behaviour
extends the temporal dimensions of the
conflicts, even reveal them as timeless.
The object created for the destruction of
man left its original function, and went on
(may go on) to write the history of
humanity on its own, creating personal
myths and narratives which may make
the inexplicable or the irrational (miracle,
luck, etc.). This reduced and reversed
language may in turn help us to describe
and (re)consider our inner and external
conflicts.
visual and audio-visual effects, and when
these are applied to the crowd, the sense
of threat intensifies. The visual
representation of the ingloriousness and
inhumane character of war in the broad
sense is a central tenet of Zsolt Asztalos’s
installation.
Vigorously and consciously, visual art
returned to help man to learn about the
world. It shows that bloody genocides
occur in the name and shadow of false
slogans about democracy, mediation and
humanism, massacre and torture
continues with ever more professional
means. While our (visual) knowledge of
the horrors of war keeps increasing, the
planet invests its energies in regenerating
it again and again.
They were dropped but did not explode.
What has become of them? How did they
determine the future, our future?
Asztalos’s installation is a rigorous
investigation into these questions, an
invitation to ponder on all their
ramifications.
Zsolt Asztalos’s “found objects” are
multiple representations of conflict
situations, open to simultaneous
interpretations on personal, local,
regional and global levels.
Applying an art historical perspective, he
rewrites and reinterprets frieze
representations of combat, popular since
antiquity, the noisy turmoil and exulting
brutality of triumphant battle scenes, and
series that reveal the horrors of war. The
structure of battle scenes, the contrasting
of foreground figures and the crowd, is
replicated in the videos, with the
elements transforming and sublimating in