脕d谩m Szab贸: Shadowy side
Can the future, that which is yet to happen, have a memory? If so, how can it be shown? Can we look back on what has not taken place? And where are we? What is our position in this dimension, regarded in our everyday thinking as given, with no passage between its points? The exhibition of 脕d谩m Szab贸鈥檚 most recent works in INDA Galley presents possible answers to these questions and others related to them.
With an elegantly natural gesture, or, if you like, with his signature playful and serious curiosity, employing his characteristically ironical and anxious experimental method of exploration, in the first two rooms of the show, Szab贸 creates passages from what is only planned (expected and desired) to a future that has already happened. Walking in the two spaces of the sculpture installation, brought to remember, with a kind of nostalgia, what does not yet exist but has already materialised as a memory, the viewer also becomes increasingly conscious of their own time, their perspective tied to the intangible and elusive present. This elusiveness, the ephemeral is made frozen in the large sculpture in the third room.
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Can the future, that which is yet to happen, have a memory? If so, how can it be shown? Can we look back on what has not taken place? And where are we? What is our position in this dimension, regarded in our everyday thinking as given, with no passage between its points? The exhibition of 脕d谩m Szab贸鈥檚 most recent works in INDA Galley presents possible answers to these questions and others related to them.
With an elegantly natural gesture, or, if you like, with his signature playful and serious curiosity, employing his characteristically ironical and anxious experimental method of exploration, in the first two rooms of the show, Szab贸 creates passages from what is only planned (expected and desired) to a future that has already happened. Walking in the two spaces of the sculpture installation, brought to remember, with a kind of nostalgia, what does not yet exist but has already materialised as a memory, the viewer also becomes increasingly conscious of their own time, their perspective tied to the intangible and elusive present. This elusiveness, the ephemeral is made frozen in the large sculpture in the third room.