>> magyar szöveg <<



ABOUT THE EXHIBITION. BOTOND‚S exhibition in the 2B Galéria displays sculptures sewed from laminated polyethylene, images painted on used truck tilt, graphics drawn on paper with charcoal. Brain and the nervous system: the auto-poetic network of man. In the centre of the exhibition there is the human brain and the human imagination/knowledge. The brain is the main target of the researches carried out by the social and natural sciences. Its secret is somewhat similar to that of the universe. It is a starting point and an end at the same time. The centre that cannot be divided. A project supported by millions of dollars since the Millennium. It is interpreted by many in many ways. Some expect ultimate solutions from the recognition of the biochemical processes of the brain such as “settling the concept of God in a reassuring way”. Others hope that the brain remains to be a “Terra incognita”, the last place that we cannot conquer and taint.

Botond’s work is connected with this Great Secret with a refined art expression, which, as he put it, is “a dialogue between Man and the Universe”. The exhibition will also display the video document of the action „232° C”, which he performed on the anniversary of the Nazi book burning in 1989. It is the first time that the Hungarian audience will have an opportunity to see these works displayed in 2B Galéria.
ABOUT THE ARTIST. Sculptor Kardos Botond (1949-2010) became known as BOTOND in the International and Hungarian art scene. He had been living in Germany since 1979. He belonged nor to a group neither a school. He planned, among others, to erect a monument for the Library of Alexandria, he made a powerful performance in Nürnberg on the anniversary of the Nazi book burning, he adapted the end of the Thirty Years‘ War, the properties of the banquet celebrated by the descendants of the European monarchs, and re-painted the space of Leonardo’s Last Supper. He had elaborated framework projects since the 80s, which he realized through sculptures, drawings, paintings, photos, and actions. He committed himself to protect his authentic form of expression from the trends of the contemporary art industry.

Several of his works criticize knowledges and applications, e.g. nature/arts/science/religion/the social distribution systems. His works basically start from the issues of the concrete and metaphorical space. He elaborated the relationship of space/power/residency/nature/sign (Echo, 1987; Zengő,1989; Hommage, 1990; Civitas, 1991), the spaces of knowledge/preservation (Bibliothek, 1986; Bunker, 1993; NETZ-WERK, 2000), the common armoury of history/remembrance (Homo bellicosus, 2000; Fridensmahl, 1999; Arche 2003), the relationship between the different states of consciousness/perceptions of the universe (Schlaf, 2007; Säcke, 2007; Hirn, 2008), the everyday and aggressive signs of pathos/irony (M.A.C.I., 2009), as well as the marketing clouds of art/interpretation and artwork/hype (Abendmahl, 2009). His work should not be considered conceptual art despite their inclination for thematization: he used the means of the conventional sculpting, painting and graphics together with features characteristic of his art. His work are complete with criticism and humorous reflections that show themselves in a peculiar form of expression. He was fond of using stainless steel, used truck tilt, polyethylene sewed with thread, velvet, bronze, and wire.
His work became accessible in Hungary after the regime change in one man shows organized in Kunsthalle (Homage, 1990), Budapest Galéria (Délibáb, 1996), Kiscelli Múzeum (Homo bellicosus, 2000), Oktogon Galéria (Alvás, 2003), and MODEM (A vacsora/Abendmahl, 2012).
János Kurdy-Fehér