The venue is a half open hall, one of its walls is connected to the city through giant glass windows. It is stretching out into the outside world, by which the exhibition hall with its superiority loses its innocent purity and objectivity.
I enhance this openness by increasing the practical functions of the communal space: I organised the space to be amenable to drinking and eating. I prepare food for the guests at the opening, which they can consume sitting at the tables that constitute the elements of the installation.
For the base material of the installation I chose a highly practical, and in its practicality and history a very aesthetic piece of furniture: school desks with matching chairs – 11 tables and 22 chairs. I raised the furniture to an adult height by welding a 40cm thick metal tube to it. I took advantage of the fact that the school desks refer to community, or even re-create community. The sense of community is enhanced by the scratches left behind from the past. I think that the participation of the viewer in the exhibition hall is realised when she/he enters through physical or communal sensations. I turned the desks towards the windows in an effort to direct attention outwards, to the city. The connection between those sitting next to each other is given, while the connection outwards is more conscious. I organised the inside of the tables as a lightbox: fluorescent lights that light up roots, which you can only see from the outside. I did not want to make natural roots. It was important, that the materials were truly close to the earth, ie. Clay, so that I could easily manoeuvre while forming the roots. Specific roots were created for matching objects. The objects on the table were chosen based on personal intuition. They are more concepts than objects, hence the difference in scale. According to szamata meditation, in the state of absorption, concentrating on objects creates first the clear reflection of the object, its ecstatic spirituality, later comes the blissful happiness, focused consciousness and transcended solidity. There must be a necessary stability in the material world to reach this long lasting state. In order to express the material-physical support, that stabilises the spirit, I have now found the root. The efforts in the Dunaújváros landscaping also use the stabilising force of roots.
– with different toppings, prepared personally
A personally prepared meal creates an everyday relationship that has unlimited emotional possibilities. It creates a true, reversible connection between host and guest. Here, the division of labour is possible during preparation, specially because the process is simple and visible. The result is a nexus that leads organically to the interactive use of the artwork. By this, the aim, the encounter is realized through a familiar terrain without any force.
Not just the whole process is visible and clear but I carry out the preparation of the food and the washing up as simple and unsophisticated as possible. By this, in a sensual way, I express the thought that I imagine the reception of my work on a totally voluntary basis preserving the freedom or the consciousness of the recipient. Also I declare that I do not use manipulation for attracting attention, there is no trick, all is what it seems, according to the laws of physics.