Remembering 2<\/em>, 2016\u20132020, video installation, 10 min each<\/p>\n
[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” padding_top=”10″][vc_column width=”1\/4″ css=”.vc_custom_1413446334543{margin-top: 0px !important;margin-bottom: 20px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][\/vc_column][vc_column width=”3\/4″][vc_column_text css=”.vc_custom_1757155911374{margin-top: 25px !important;}”]MEMORY AND THE MUSEUM<\/strong><\/p>\n The exhibition Memory Models, presented in the nave of the Museum Kiscell \u2013 Municipal Gallery, places individual memory in the spotlight. Zsolt Asztalos\u2019 art project, drawing on the findings of cognitive psychological research, explores questions of the past, memory, personal history, and constructed mnemonic narratives. Since the second half of the 20th century, research and discourse on personal and collective memory have played an increasingly important role in museum practices.<\/p>\n If we consider the museum as a lieu de m\u00e9moire (site of memory) in Pierre Nora\u2019s sense\u2014an institutionally framed space ensuring continuity between past and present\u2014then reflections on both former and current artistic, social, and political relations are of equal importance to the museum\u2019s mission. In recent years, the Municipal Gallery\u2019s exhibition program has often sought to create critical dialogue between past and present. The curators and art historians involved in exhibition-making did not only present pieces from the collection based on (art-)historical considerations; in collaboration with contemporary artists, they recontextualized works, raised questions, and created new interpretive frameworks.[\/vc_column_text][vc_column_text css=”.vc_custom_1757155953102{margin-top: 25px !important;}”]This exhibition continues that line of inquiry and, we hope, connects to projects in the coming years, as the museum\u2019s presentation of memory and the past will remain closely linked to contemporary art. However, this concept approaches the subject from a different angle: its points of reference are the latest findings in memory research. The essentially numerical results of cognitive psychology, transformed into images through data visualization techniques (such as MRI scans) or rendered into text in scientific summaries, become\u2014through another interpretive process\u2014the raw material for artistic creation, resulting in tangible and evocative objects and images. From the interplay between science and artistic interpretation emerge visual models that both reveal the constructed nature of private memory and, by incorporating them into the museum\u2019s mnemonic space, point to questions of collective memory.<\/p>\n In the coming years, the Museum Kiscell \u2013 Municipal Gallery will continue working along this trajectory, planning in 2022 a major exhibition on the history and present of public sculpture, monuments, forgetting, silence, and communal memory as part of the project The Memory of Women Raped in War.[\/vc_column_text][vc_separator type=”transparent” up=”50″][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” padding_top=”25″ padding_bottom=”25″ css=”.vc_custom_1414057161418{margin-top: 0px !important;}”][vc_column css=”.vc_custom_1413446275149{margin-top: 0px !important;margin-bottom: 0px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][vc_single_image image=”19426″ img_size=”full” alignment=”center” qode_css_animation=”element_from_fade”][vc_column_text]<\/p>\n Zsolt Asztalos [\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” padding_top=”10″][vc_column width=”1\/4″ css=”.vc_custom_1413446334543{margin-top: 0px !important;margin-bottom: 20px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][\/vc_column][vc_column width=”3\/4″][vc_column_text css=”.vc_custom_1757155993493{margin-top: 25px !important;}”]MEMORY MODELS \u2013 EXHIBITION BY ZSOLT ASZTALOS<\/p>\n In recent years, Zsolt Asztalos\u2019 artistic practice has been defined by the themes of history, the past, memory, and forgetting. His works reflect a postmodern conception of history and past experience that emphasizes the relativity of historical narratives and confronts us with the limits of capturing personal memory. Rather than examining history as institutionalized memory, Asztalos focuses on local or partial narratives\u2014yet he does not identify or clearly define them. Instead, he uses visual means to draw attention to the ineffable nature of memories and the question of their visual representation.<\/p>\n While many disciplines\u2014including the now independent field of memory studies\u2014address collective memory and the historical formation of narratives, cognitive psychology has achieved significant results in studying individual memory and uncovering the processes that take place in the brain. Western visual art and philosophical thought have been profoundly influenced by Henri Bergson\u2019s Matter and Memory (1896). His ideas\u2014alongside those of Freud and Jung\u2014also inspired literature (Proust) and visual art (informel, T\u00e0pies), attributing a formative role to memory and emphasizing that no perception exists that is not shaped by our memories. Although Bergson\u2019s view that memory is purely mental and cannot be traced in matter appears to be contradicted by contemporary scientific findings, his thesis\u2014distinguishing free memory from material mechanisms\u2014stimulated the humanities. Bergson\u2019s key concept later became duration (dur\u00e9e), which is heterogeneous, subjective, and immeasurable (as opposed to physical, homogeneous, measurable time) and can only be grasped through intuition.<\/p>\n In his video series Memory, Asztalos conducted \u201csilent interviews,\u201d asking participants to recall significant events from their lives. These memories are never verbalized: viewers see only the participants\u2019 faces and surroundings, while ambient sounds and noises hint at the passing of time. In Bergsonian terms, what becomes perceptible is subjective, heterogeneous time\u2014the duration in which the past flows into the present. Because of this unique temporal experience inherent in remembering, the \u201crepresentation\u201d of time is unavoidable in Asztalos\u2019 project. Beyond that, the artist explores what kind of visuality memory possesses: can a hidden story be captured through external human features? The absence of storytelling and verbalization activates situations of experiencing and silencing, living through and repression, in these short, still moments recorded in intimate settings.[\/vc_column_text][vc_separator type=”transparent” up=”50″][vc_single_image image=”19429″ img_size=”full” alignment=”center” onclick=”zoom” qode_css_animation=”element_from_fade”][vc_column_text]<\/p>\n Zsolt Asztalos [\/vc_column_text][vc_separator type=”transparent” up=”30″][vc_column_text css=”.vc_custom_1757156005228{margin-top: 25px !important;}”]The other part of the exhibition, located in the nave, is the installation Memory Models, consisting of 45 objects, photographs, object ensembles, and models placed on small tables of varying heights. Alongside these models are excerpts of scientific texts explaining how human memory functions. In this installation, Asztalos emphasizes the alienating and distancing character of the scientific language of memory research as opposed to lived emotions, rendering abstract concepts and scientific models through constructions reminiscent of architectural maquettes. The problem of the relationship between individual memory and scientific modeling thus leads\u2014more broadly\u2014to the question of verbal and visual expressibility.<\/p>\n The exhibition concludes with an interview with psychologist Anett Rag\u00f3, offering insight into the history and present state of scientific research on memory.[\/vc_column_text][vc_separator type=”transparent” up=”50″][vc_single_image image=”19432″ img_size=”full” alignment=”center” onclick=”zoom” qode_css_animation=”element_from_fade”][vc_column_text]<\/p>\n Zsolt Asztalos [\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” padding_top=”10″][vc_column width=”1\/4″ css=”.vc_custom_1413446334543{margin-top: 0px !important;margin-bottom: 20px !important;padding-top: 0px !important;padding-bottom: 0px !important;}”][\/vc_column][vc_column width=”3\/4″][vc_separator type=”normal” color=”#999999″ up=”50″ down=”30″][vc_single_image image=”18670″ img_size=”200×70″ onclick=”custom_link” img_link_target=”_blank” qode_css_animation=”element_from_fade” link=”http:\/\/www.nka.hu”][vc_separator type=”transparent” up=”30″][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” padding_top=”0″ padding_bottom=”25″][vc_column][vc_separator type=”transparent” up=”25″]
Remembering 3<\/em>, 2016\u20132020, video installation, 10 min each<\/p>\n
Memory Models 35<\/em>, 2019\u20132020, installation, mixed media<\/p>\n
Memory Models 38<\/em>, 2019\u20132020, installation, mixed media<\/p>\n
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