Pragmatikus líra és abszurd otthonosság Ferencz S. Apor művészetéről Ferencz S. Apor alkotási módszerét kollázs/assemblage általi világteremtésként lehet leginkább szintetizálni. Dialógust teremt tárgy és kép, meglévő és alkotott dolgok között, sokszoros szemantikai csavarokkal. Az eredmény olyan asszociációs tér, amely kissé rejtvényszerű, szerkezete pedig poétikus viszonyokra épül. Kompozícióinak erős elemei a régi, talált tárgyak és képek; ezeket azonban körültekintően kezeli: a nosztalgia negédes, torz formája ki van zárva. Ami helyette fellép, az valami sokoldalúan emberi nézőpont, melyben a régi elem hangulata tovább él, de az általa kiváltott szabad asszociációkkal is találkozik, új emlék-/élmény-, és gondolati rétegekkel gazdagodva. Ezek kötődhetnek a kép valamelyik konkrét interpretációjához, de lehetnek csupán érintőleges vagy szimultán mentális jelenségek is. A végeredmény egy szürreális (mentális) tér, amelyben a lineáris vagy összefüggő narratíva helyett töredékes, asszociatív fogalmi környezet jön létre. A gondolatok kollázsa mint szimultán tapasztalat formál tartalmat, amely nem logikus és ok-okozati struktúrákra, hanem sokkal implicitebb, intuitívabb és finomabb viszonyokra épít, és ezzel egyfajta különös relacionalitás érvényesül.1 Az alkotó formai megoldásaiban megidéz: modernista és régebbi, rusztikus tárgykultúrákat, valamint kortárs design trendeket, amelyekben ezek továbbélnek (vintage és retro tárgy- és képformák). A végeredmény mégsem nagyipari jellegű: egyfajta személyes dizájnosság hat a művekben, erőteljes materiális jelenléttel; ezt erősíti a precíz manuális kivitelezés, és az a komponálási mód, amely a tömeg gyártott tárgyak esetében is azok egyéniségét és egyediségét teszi láthatóvá. Mindezek ellenére azonban az anyagok hangsúlyos jelenléte nem köti meg a realitás szintjén a munkát: az installációk nem illuzionisztikusan megteremtett, érzékletes valóságok részei, hanem minden szinten valószerűtlen, abszurd tartományokban úsznak. A kontrasztos anyaghasználat hol kiemeli, hol pedig képpé, jellé simítja a tárgyakat, ezért olyan, mintha Ferencz S. magát az anyagot nem arra használná, hogy a valósághoz közel kerüljön, hanem segítségével sokkal inkább eltávolítja a látványt minden jelenségtől, ami ismert, kézenfekvő, és könnyen kategorizálható. Ezt a tendenciát erősítik az absztraktabb elemek is. A geometrikus konstrukciók, valamint a technikai illusztrációkat, mérnöki rajzokat, gépi jeleket, mérőeszközöket idéző részletek váratlan megjelenésükkel kibillentik a nézőt komfortzónájából, és elvontabb értelmezések felé tolják a látványt, továbbvíve a művet olyan szférák felé, ahol a gondolkodás végképp elrugaszkodik a képektől. Az abszurditás ezalatt állandó része marad a munkák közegének. Egyetlen konklúzió sem megkérdőjelezhetetlen, minden mélyebb tapasztalat megérint ugyan, de kicsit értelmetlen is egyszerre, az élmények pedig távoli motívumok, amelyek megindítanak esztétikumukkal, de ugyanakkor sokszor nem tudunk mit kezdeni velük. Ismerős létélmények ezek, melyek – valóban – leginkább abszurdban mérhetők. A finom humor azonban sokszor feloldja ezek drámaiságát, és gyakran kohéziós erőnek is bizonyul, amely elősegíti a komplex jelenségek feldolgozását is. A fantasztikusat együtt élhetjük meg az értelmezhetetlennel, a költőivel, a szuggesztívvel, elmerülve az élményben, de mindeközben irányt véve az állásfoglalás fele is. Az ennyire sokoldalúan épülő struktúra szokatlanul valósághű helyzeteket hoz a kiállítótérbe: a befogadó nem előre megemésztett tartalmakat kap, de mégcsak nem is munkafüzetet, amivel dolgozhat, hanem kisebb, válogatott (de karakterükben talán kissé borgesi) könyvtárakat, valamint saját könyvkötőműhelyt, amelyben ő maga állíthatja össze az anyagot. Ungvári-Zrínyi Kata
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A hegesztőmaszkos sorozatdarabjai kissé elkülönülnek ettől a tendenciától, amennyiben azokban a központi motívum visszatérésével annak mechanizmusai is ismétlődnek. A hegesztőmaszk eredeti szerepe nem az identitásképzés: nem reprezentál, nem elrejt; praktikus védőeszköz, amely viselője számára épp a vizuális érzékelést teszi lehetővé. Jelen sorozatban azonban funkciója átfordul: ő maga válik látvány-elemmé – így különböző helyzetekben való felbukkanása bizarr zsánerképeket teremt, és minden gyakorlati vonatkozása metaforikus tartományokba lép át (védelem, védekezés, (el)szigetelés, munka, mesterség, látás, tekintet, stb.). A jelenség Debord-t idézve lokális, keleteurópai szűrőn át láttatja a Spektákulum fétiseinek torzképeit. Elkerülhetetlen velejárója az elidegenedés, amelyben a látvány-látszat veszi át és fullasztja önmagába az Ünnep minden funkcióját, rányomva bélyegét többek között az intim szférára is.
Pragmatic Lyricism and Absurd Cosiness The Art of Ferencz S. Apor Ferencz Apor’s approach to artistic creation can be synthetized as world-creation by means of collage/assemblage. Using semantic twists, he creates dialogues between object and image, created and already existing elements. This results in a slightly puzzle-like associative space with a structure based on poetic relations. Old objects and pictures play a particularly important role in his compositions;these, however, are approached with caution by the artist: the distorted, treacly form of nostalgia is totally excluded. What comes to being instead is a multi-faceted human point of view, where, although the feeling triggered by the old element continues to exist, it also encounters some free associations enriched with new layers of memories/experiences and thought. These could offer a certain interpretation of the picture, , or they could take the form of tangential or simultaneous mental phenomena, as well. The result is a surrealistic (mental) space yielding a fragmented, associative conceptual environment instead of a linear or coherent narrative. The content formed by the collage of thoughts takes the form of a simultaneous experience, which is built on some much more implicit, intuitive and exquisite relationships rather than on logical cause-effect structures, thus engendering a kind of strange relationality.1 In his formal solutions, Ferencz S. uses the styles of modernist and older, rustic material cultures, as well as the contemporary design trends in which they live on (vintage and retro forms – both in objects and images). The end product, however, does not bear the aspect of large-scale industry products: there is a peculiar sense of personal design with a strong material presence in the works; this is emphasized by the meticulous manual craftsmanship, as well as by the composition technique, which, even in the case of mass-produced artefacts, highlights the "personality" and uniqueness of the objects. Despite all of this, the strong presence of the materials does not anchor the artwork at the level of reality: the installations are not fragments of illusionistically created, solid worlds, instead they float in realms that are absurd at all levels. Sometimes the contrastive use of materials emphasizes the objects, whereas in other cases it reduces them to mere images or signs; this is why it seems as if Ferencz S. did not use the material to get closer to reality, but, rather, to distance the scene from all the phenomena that are familiar, plausible and easy to categorise. This tendency is reinforced by the abstract elements, as well. Owing to their unexpected appearance, the geometrical constructs, the details that bring to mind technical illustrations, engineering drawings, mechanical signs or measuring instruments all shake the viewers from their comfort zones, and shift the scene towards more abstract interpretations, taking the artwork towards dimensions where thought irrevocably breaks away form the pictures. Meanwhile, absurdity will remain a constant ingredient of the artworks’ fabric. No conclusion is unquestionable. Although one is definitely touched by each and every profound moment, they also remain slightly devoid of sense, whereas the experiences appear like distant motifs, the aesthetic of which moves us, but at the same time we often don't really know what to do with them. All of these are existential experiences we are familiar with, which – indeed – can only be measured in absurdity. However, their dramatism is often softened by delicate humour, which proves to be a cohesive force which helps assimilate the complex phenomena. The fantastic is experienced together with the uninterpretable, with the poetic and the suggestive, wallowing in the experience, but all the while shifting towards taking a stance. A structure constructed in such a complex manner brings unusually lifelike situations into the exhibition space: the receivers aren't confronted with readily digested contents, nor are they offered a workbook to fill in. Instead, they are given a set of smaller, selected libraries (of a somewhat Borgesian Character, perhaps), as well as their own bookbinding workshop where they can compile the material themselves. Ungvári-Zrínyi Kata / Translated by Árpád Kémenes
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The pieces belonging to the welder’s mask sequence are, in a way, exceptions to this tendency in the sense that in these works the mechanisms of the central motif return in every image. Originally, the function of the welder’s mask is not identity creation: it neither represents, nor hides; it is a useful piece of protective equipment, which enables visual perception itself for the person wearing it. Yet there is a shift of functions in this sequence: the mask itself becomes an element of visual experience, and thus its appearance in different situations produces bizarre genre scenes, and each practical aspect of its functionality is interpreted at a metaphoric level (protection, defensivity, insulation, work, trade, sight, gaze, etc.). Forming an analogy with Debord, the phenomenon presents distorted fetishes of the Spectacle from an East-European perspective. It inevitably brings alienation, where all the functions of the Festival are replaced by and drowned into the spectacle-appearance, which, among others, affects the personal sphere, as well.
Fejreállt portré álgeometriával (önarckép helyett), vegyes technika, 130 x 120cm, 2017
Lirism pragmatic și intimitate absurdă Arta lui Apor Ferencz S. Metoda de creație a lui Apor Ferencz S. s-ar putea sintetiza mai precis cu termenul de creare a lumii prin colaje și asamblare. Artistul creează dialog între obiect și imagine, între un lucru care există deja și unul alcătuit și folosește vîrtejuri semantice multiple. Rezultă un spațiu al asociațiilor care este un pic enigmatic, iar structura sa e construită pe relații poetice. Elementele de bază ale compozițiilor sale sunt obiectele și tablourile vechi, găsite prin diferite locuri, dar pe ele, artistul le tratează cu circumspecție: formele kitchoase, diforme ale nostalgiei sunt excluse. În locul acestora avem de-a face cu o perspectivă multilateral-umană în care persistă atmosfera elementului inițial dar care se întîlnește și cu asociațiile derivate de el și astfel se îmbogățește cu noi amintiri, experiențe și pături ideatice. Acestea se pot conecta la una dintre interpretările concrete ale tabloului, dar pot fi fenomene adiacente sau simultane. Rezultatul final e un spațiu suprarealist mental în care în locul narativei lineare sau coerente se creează un mediu asociativ al noțiunilor. Colajul ideilor formează conținut prin experiență simultană care nu se construiește pe structuri logice și consecvente, ci pe relații mult mai implicite, mai intuitive și mai subtile, și prin asta se afirmă o relaționalitate ciudată. Piesele colecției cu masca de sudură sunt puțin diferite de această tendință deoarece în aceasta împreună cu recurența motivului central se repetă și mecanismele acelora. Rolul măștii de sudură nu e crearea identității: nu reprezintă ceva, nici nu ascunde ceva; este o unealtă de apărare practică care face posibilă chiar recepția vizuală celui care o poartă. În seria actuală însă funcția ei se schimbă radical: ea însăși devine un element vizual – și fiindcă apare în diferite situații, prin asta creează tablouri bizare din viața cu teme cotidiene, și aspectele sale pragmatice se mută în regiuni metaforice (apărare, autoapărare, izolare, muncă, meșteșug, văz, privire etc.) Exprimîndu-ne cu Guy Debord, fenomenul arată printr-un filtru local, est-european înfățișările diforme ale fetișelor Spectaculumului și unicitatea chiar și a obiectelor produse în masă. În pofida celor spuse mai sus prezența susținută a materiilor nu leagă operele de nivelul strict al realității: instalațiile nu sunt fragmente din realitățile create iluzoric și senzual, toate plutesc în regiuni ireale, absurde. Folosirea materiei prin contrast subliniază sau dimpotrivă, netezește obiectele în imagini sau semne, de aceea Apor Ferencz S. nu utilizează materialele pentru a se apropia de realitate, mai curînd el distanțează imaginea de toate fenomenele cunoscute, elementare și care pot fi lesne categorizate. Această tendință este subliniată și de elementele mai abstracte. Fragmentele care amintesc construcțiile geometrice și ilustrațiile tehnice, desenele tehnice, semnele mecanice și care apar într-un mod total neașteptat îl mută pe privitor din zona sa de confort și împing imaginea spre interpretații mai abstracte, luînd cu ele și creația în sfere în care ideile se rup cu totul de imagini. Mediul lucrărilor rămîne în continuu absurditatea. Nicio concluzie nu e indubitabilă, experiențele adînci ne ating dar sunt și puțin fără sens, iar experiențele sunt motive îndepărtate care ne entuziasmează cu latura lor estetică dar de multe ori nu ne putem apropia de ele. Sunt experiențe de viață cunoscute dar care într-adevăr pot fi măsurate numai în absurd. Umorul fin însă dizolvă dramatismul acestora și de multe ori funcționează și ca forță de coeziune care ajută în prelucrarea fenomenelor. Fantasticul îl experimentăm alături de incomprehensibil, de experiența poetică, sugestivă, ne putem adînci în opere, dar trebuie să ne formăm opinia. Structura construită atît de multilateral aduce situații surprinzător de reale în sala expoziției: privitorul nu primește conținuturi gata digerate, nici măcar un auxiliar didactic cu care poate lucra, ci biblioteci mici, alese care sunt de factură borgesiană și un atelier de legătorie în care el însuși poate culege materialul. Kata Ungvári-Zrínyi Tradus de Péter Demény
PortrĂŠ (R. 75/1), vegyes technika, 130 x 120 cm, 2017
Recycled memories (ciklus) no. 2., vegyes technika, 30 x 40 cm, 2016
Recycled memories (ciklus) no. 3., vegyes technika, 30 x 40 cm, 2016
Recycled memories (ciklus) no. 11., (rĂŠszletek)
Recycled memories (ciklus) no. 11., installรกciรณ, 2017
Ezerkilencszázhatvanhétmájustizennyolc (KA) - R. m. (ciklus), print, pecsétnyomó, 60 x 40 cm, 2016
68/06/13-FP - R. m. (ciklus), vegyes technika, 30 x 45 cm, 2015
Every day is the same, print, 70 x 70 cm, 2014
Ezerkilencszázhuszkétezertizenhat - R. m. (ciklus), installáció, 2016
Nincs bennem kétely - R. m. (ciklus), print, pecsétnyomó, 60 x 40 cm, 2016
Sansevieria trifasciata - R. m. (ciklus), print, pecsĂŠtnyomĂł, 60 x 40 cm, 2016
Recycled memories (ciklus) no. 9., installáció Recycled memories (ciklus) no. 9., (részlet), 2016
Recycled memories (ciklus) no. 8., installáció, 2015-16
Nyolcvanhárom/nyolcvannégy R. m. (ciklus), vegyes technika, 30 x 80 cm, 2015
Reggel (Maszk p.) fotรณ, print, 80 x 56 cm, 2015
683 (Maszk p.) fotรณ, print, 80 x 56 cm, 2016
Szemerei szerepcsere I.-IV. (Maszk p.) fotรณ, print, 80 x 56 cm, 2014
Noszvaji cross (Maszk p.) fotรณ, print, 80 x 56 cm, 2016
Mély víz! (Maszk p.) fotó, print, 80 x 56 cm, 2015
L. G. (Maszk p.) fotรณ, print, 80 x 56 cm, 2016
Ferencz S. Apor 1975, Miercurea-Ciuc (Csíkszereda), Romania www.fsapor.blogspot.com fsapor@gmail.com He attended Nagy István Art School (1994), then he studied at Bucharest Art University (2001). He is member of many professional organizations, among others member of the Romanian Artists’ Union, of Caffart Art Association in Budapest and of MAMŰ Association, respectively he is editor of the online art forum entitled Fórumtizenöt (Forum fifteen). Among his professional recognitions we mention the art scholarship of Communitas Foundation (2003, 2010), the scholarship of Budapest Gallery (2006), the HOLLÓSY SIMON scholarship (2006), the BARCSAY award (2011), the special award of the 2nd. Graphic Art Biennial of Szeklerland (2012) and several grants of NKA (National Fine Arts Fund). From 2018, curator of the Graphic Art Biennial of Szeklerland in Sfântu Gheorghe. Selected exhibitions (2008-2018): 2018 – New Kriterion Gallery, Miercurea-Ciuc (solo ex.) MAMÜ Gallery, Budapest, (together with Erika Szőke and Csilla Nagy) 2017 – Chamber Project, Carte Gallery, Târgu-Mureș MAIBE 5, MAGMA, Sfântu Gheorghe Art Market Budapest, MAMŰ stand 2016 – IV. Graphic Art Biennial of Szeklerland, Sfântu Gheorghe GIF, MAGMA, Sfântu Gheorghe Contemporary Paleolithic, MAMŰ Gallery, Budapest Art Market Budapest, MAMŰ stand Art Safari Bucharest 2015 – „Give me five!”, MAGMA, Sfântu Gheorghe exhibition of Caffart Art Association, Meiningen, Germany Narrative configurations- MAMŰ Gallery, Budapest 2014 – exhibition of Caffart Art Association, Csikász Gallery, Veszprém III. Graphic Art Biennial of Szeklerland, Sfântu Gheorghe Barcsay 25, Art Mill, Szentendre, „Parallel stories”, MAGMA, Sfântu Gheorghe (solo ex.) MAMÜ Gallery, Budapest (solo ex.) 2013 – MAMŰ Gallery, exhibition of new members, Budapest Pál Art Gallery, Miercurea-Ciuc (solo ex.) 2012 – Exhibition of BARCSAY award winners, Barcsay Collection, Szentendre II. Graphic Art Biennial of Szeklerland, Sfântu Gheorghe 2011 – Chinese Art Museum, Beijing (CN) 2010 – exhibition of Caffart Art Association, Hungarian Cultural Institute in Prague(CZ) I. Graphic Art Biennial of Szeklerland, Sfântu Gheorghe Art Market Budapest 2009 – Budapest Art Fair, Palace of Art, Budapest 2008 – „Tájreneszánsz” (Landscape renaissance), Volksbank Gallery, Budapest Vajda Lajos Studio, Szentendre (solo ex.) Chinese Characters Contemporary Art Space, Budapest (solo ex.)
Portret cu capul în jos cu geometrie falsă (În loc de Autoportret), tehnică mixtă / Upside Down Portrait with Pseudo Geometry (Instead of a Self Portrait), mixed media techniques, 130x120cm, 2017 Portret, (R.75/1), tehnică mixtă / Portrait, (R.75/1), mixed technique, 130x120cm, 2017 Recycled memories (ciclul) no. 2., tehnică mixtă / Recycled memories (cycle) no. 2., mixed technique, 30x40cm, 2016 Recycled memories (ciclul) no. 3., tehnică mixtă / Recycled memories (cycle) no. 3., mixed technique, 30x40cm, 2016 Recycled memories (ciclul) no. 11., intalatie / Recycled memories (cycle) no. 11., instalation, 2017 Recycled memories (ciclul / cycle) no. 11., (detaliu/ detail) Recycled memories (ciclul / cycle) no. 11., (detaliu/ detail) Omienouăsuteșaizecișișapteoptesprezecemai (KA) - (ciclul R.M.), print, stampă, / TheEighteenthofMayNineteenSixty-Seven(KA) - R. m. (cycle), print, seal, 60 x 40cm, 2016 68/06/13-FP - (ciclul R.M.), tehnică mixtă, / 68/06/13-FP - (R.M. cycle), mixed technique, 30 x 45cm, 2015 Every day is the same, print, 70 x 70cm, 2014 Recycled memories (ciclul) no. 13., tehnică mixtă / Recycled memories (cycle) no. 13., mixed technique, 23 x 23 cm, 2016 Omienouasutedouăzecidouămiișaisprezece, (ciclul R.M.), intalatie / NineteenTwentyTwoThousandSixteen - R. m. (cycle), installation, 2016 Nu am dubii - (ciclul R.M.), print, stampă, / I’ve no doubt - (R.M. cycle), print, stamp, 60 x 40cm, 2016 Sansevieria trifasciata, - (ciclul R.M.), print, stampă, / Sansevieria trifasciata, (R.M. cycle), print, stamp, 60 x 40cm, 2016 Recycled memories (ciclul / cycle) no. 9., instalatie / intalation, 2016 Recycled memories no. 9. (detaliu / detail) Recycled memories (ciclul / cycle) no. 8., instalatie / intalation, 2015- 2016 Dimineață (Proiect masca.) fotografie, print / Morning, (Masc Project), photo, print, 80 x 56cm, 2015 Optzecișitrei / opzecișipatru, (ciclul R.M.), tehnică mixtă, / Eighty-three/Eighty-four - R. m. (cycle), mixed media techniques, 30 x 80 cm, 2015 683 (Proiect masca.), fotografie, print / 683, (Masc Project), photo, print, 80 x 56cm, 2016 Inversiunea rolurilor de la Szemere I-IV., fotografie, print / Role Reversal from Szemere I-IV., (Masc Project), photo, print, 80 x 56 cm, 2014 Cros din Nosvaj (Proiect masca.), fotografie, print / Cross in Nosvaj, (Masc Project), photo, print, 80 x 56cm, 2016 Apa adîncă! (Proiect masca.), fotografie, print / Deep water, (Masc Project), photo, print, 80 x 56cm, 2016 L. G. (Proiect masca.), fotografie, print / L.G. (Masc Project), photo, print, 80 x 56cm, 2016