Saturday, April 23, 2011

A torinói ló/ The Turin Horse (2011)

I was recommended to see this film by my Hungarian teacher. We were looking at some Hungarian poetry, by Joszef Atilla, which was extremely sad, to do with loss and emotional poverty.

This film is definitely depressing. There is hardly any dialogue, and it is basically just 6 days in the life of a man, his daughter and his horse. They live in an extremely windy and cold sparsely occupied area of the country. Every day is much the same as the last. One of my favourite parts was watching the father and daughter eating one boiled potato a day, peeling the skin off the hot potato with their fingers, the noise of this action is so desperate and resonant, wet, as they eat in absolute silence, so hungry, but also their dire situation of poverty meaning they wolf some of the potato down, then suddenly lose their appetite and push the plate away.

Every day, the daughter goes out to the well to get the water for the day. With the water she washes and boils the potatoes. On the sixth day, the well is dry, and one of the last scenes is of the father and daughter sitting down to the regular potato dinner. The father bites into it and it sounds like an apple. The film drags you down to the depths of despair, although at no part does it drag. The silences, as the daughter dresses her father daily (he has one paralysed arm) are palpable, as he stares at her while she dutifully but heartlessly dresses him each day.

When they are not eating or dressing, they sit looking out the window or the daughter is looking after the horse. The old horse's health seems to deteriorate with each day. By the sixth day, the horse won't eat or drink. The well is dry, and the horse, their livelihood, is nearly dead. The film ends here.

1889. German philosopher Friedrich Nietzsche witnessed the whipping of a horse while traveling in Turin, Italy. He tossed his arms around the horse's neck to protect it then collapsed to the ground. In less than one month, Nietzsche would be diagnosed with a serious mental illness that would make him bed-ridden and speechless for the next eleven years until his death. But whatever did happen to the horse? This film, which is Tarr's last, follows up this question in a fictionalized story of what occurred. The man who whipped the horse is a rural farmer who makes his living taking on carting jobs into the city with his horse-drawn cart. The horse is old and in very poor health, but does its best to obey its master's commands. The farmer and his daughter must come to the understanding that it will be unable to go on sustaining their livelihoods. The dying of the horse is the foundation of this tragic tale. Written by Anonymous






Tuesday, April 19, 2011

Kind of Change - New Acquisitions 2009-2011

Zofia Kulik/KwieKulik: Activities with Dobromierz.
1972-74 / 2008

Kind of Change - New Acquisitions 2009-2011

March 05, 2011. - May 15, 2011.


Following on the Ludwig Museum’s exhibition, New Acquisitions - Rarely Seen Works (2009), Kind of Change offers a second occasion for the museum to display recently acquired works of art. This overview exhibition can be considered a complete whole together with the rearranged permanent exhibition, Unmistakable Sentences (2010), where many of the newly acquired works have been on view.

One of the reference points of the present exhibition is the statement of Ciprian Mureşan, a young artist from Romania, Communism never happened. This inscription is made of cut-outs from vinyl propaganda audio discs produced during the Ceauşescu-era, thus the text and its physical medium together compose a condensed ambiguity that characterizes the historical and social consciousness, and memory in the region. The majority of the works of art that have been acquired by the museum during the last couple of years are embedded in the texture of the recent past of East-Central Europe and that of its ever-changing present, where questions of artistic forms and existence, and of historically determined artistic products have been constantly and painfully raised.

Self-portraits by András Baranyay, his series of portraits of his artist friend, János Major, the complex Pseudo-system by Gyula Pauer, demonstrations by Endre Tót in the streets of Geneva, or the action by Judit Kele who as a „work of art” put herself onto auction in Paris, the art of Dóra Maurer, or Ilona Keserü are all manifestations of the criticism of the socialist regime, as well as independent artistic and political views expressed in the neo-avantgarde of the 1970s in a latent or explicit way. We could also mention here the series of photograps and its digitalized version by Polish artist Zofia Kulik / KwieKulik, as well as Tamás Szentjóby’s film, Centaur, which was made and prohibited in 1975, and restored in 2009, with the contribution of ACAX, under the auspicies of Ludwig Museum.

The other point of referece of the exhibition is composed of fresh works by a generation of artists who were socialized after the political transition. These works, produced after the turn of the millennium, reflect a society where the heritage of the East-Central European past and the phenomena of global capitalism are simultaneously present amidst constant change. Artists from Romania - Ciprian Mureşan, Mona Vătămanu and Florin Tudor - attempt to work through the history that permeates private life. In her video, Ilona Németh living in Dunaszerdahely, calls attention to the endangered private sphere. British designer, Matthias Megyeri produces „humanized” pieces for safeguarding industry. Czech Kateřina Šedá involves the inhabitants of Tükörhegy, a housing project in Törökbálint, with her „social games”, thus investigating the new ways of life and the visual-built environment of the sleeping districts, while Tehnica Schweiz, the artist duo of Gergely László and Péter Rákos, investigates the special hsitorical consciousness manifested in the activity of the community of artillerymen keeping guard over the legacy of traditions.


Exhibited artists
András Baranyay, Attila Csörgő, Pál Gerber, Tibor Hajas, Judit Kele, Ilona Keserü, Little Warsaw, Gergő Kovách, Zofia Kulik / KwieKulik, Dóra Maurer, Matthias Megyeri, Ciprian Mureşan, István Nádler, Ilona Németh, Gyula Pauer, Péter Rónai, Kateřina Šeda, Ágnes Szabó, Tehnica Schweiz, Endre Tót, Mona Vătămanu and Florin Tudor, Gyula Várnai, Tamás Waliczky.

Curated by Krisztina Szipőcs

Saturday, April 9, 2011

Andrassy


These pictures are from a march I heard out of my window. It was so loud, on one of the main boulevards in Budapest. At first it took me a while to figure out what the march was about. There were hardly any young people, which was the first thing I found unusual. Most protests/ marches have a lot of young people in the ranks. The people in the marches went back up the boulevard about 1 kilometre. It was a march of lots of different countries trade unions, with t'shirts, banners, megaphones, whistles etc. Everyone had cameras. There were lots of journalists photographers, but so many of the people taking part in the march were recording and taking pictures constantly. I wanted to make some record of my own.
The videos here are a couple I made on the day. The first is of an elderly lady dancing to the band set up on the stage where there were speakers from the trade unions. She wasn't marching. I think she was Hungarian and possible homeless. I don't think she was involved with the march, she was just enjoying the music and the crowd. The other video is of a piece of police tape fluttering in the wind, to the music.



Sunday, April 3, 2011

Friday, April 1, 2011

balance
raft
desperate
escape
fear
hope
travel
endurance
choice

If the world was due to end with a great flood, but there was a good chance you could survive with a place in a cruiseliner, but the rest of your family choose to get on a space ship, not to return for twelve years, how do you decide what to do? Weird. heartbreaking.


thinking about rafts. travelling 'homes', temporary escape, to safety.

hiding homes

noah's ark found - http://www.squidoo.com/noahsarkfound
escaping from the world, how do you choose to go? especially into space? the next noah's ark:

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