[Nettime-ro] OBJET - Zsolt BERSZAN

[Bazis <bazisgallery@gmail.com>]

The very essence of Berszan Zsoltâs artworks consist of a reductionist visual thinking. In his personal exhibitions from the previous years, Berszan employed Malevichâs gesture through the dominant use of black and the idea of splitting the world into four primary colours, in which black stands for materiality, finitude. Bearing this concept in mind, the starting point of the present exhibition is the depiction of finitude: in the two large drawings we are confronted with black joined surfaces. But the black comes in a light colour framework. The dark matter of the material world is adjoined with the infinity, it unfolds to an indeterminable and imperceptible space, which â in these circumstances â is to be perceived as the other side of human life. The hidden lights lying on the drawingsâ surface reveal shapes almost homogenous with the black, certain prominences of the other world.

The two drawings are placed one in front the other, framing an object of a really unidentifiable nature: a deformed matter lying on the floor, the very look of shapeless matter. The past black artworks of Berszanâs â made of silicone, metal or concrete â all reflected the very meaning of extinction, of cease. In this case, the shapeless concrete block, through its insignificant grey, is depriving us of the possibility to assign a certain meaning. Stuck in between the given âmise en sceneâ that emphasizes even more the bleakness of the room, the grey block becomes an âobjectâ denying its status, the one of an object. In reality it ceases to be a body, it can not longer be called an object, but only an âobjetâ- staring out from the remains of life. âObjetâ in Julia Kristevaâs definition. In the French philosopherâs essay, called âPowers of Horror. An Essay on Abjectionâ, âobjetâ represents an objectless object, identifiable â as rejection â by a self, who is disrespectfully considering his/her self, his/her materiality, his/her extinction. âObjetâ may be a tuft of hair, a suppurating wound, or the corpse itself â as the remains of life, of the body. Berszanâs concrete block lies down the floor as the expression of the eternal rest. Thereâs nothing but a concrete block that undresses itself of any sculptural shape: seen from above seems to be a tridimensional painting, a âtridimensional canvasâ painted with savage gestures. On the surface of this concrete block, created with a brute force, some different nuances are alternating, building an undefined composition, bearing no meaning. As if we would look into a coffin, where the corpse is unrecognizable and the death is devoid of motherland.

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Ãn cazul Berszan Zsolt esenÈa lucrÄrilor este o gÃndire vizualÄ reducÈionistÄ. Ãn expoziÈiile lui personale din anii trecuÈi (Muzeul Brukenthal, Sibiu, 2008; UAD, Cluj-Napoca, 2009; MODEM, Debrecen, 2010; Galeria Anaid, BucureÈti, 2010) Berszan apeleazÄ la gestul lui Malevich prin folosirea dominantÄ a negrului, la ideea ÃmpÄrÈirii lumii Ãn patru culori de bazÄ, Ãn cadrul cÄreia negrul ÃnseamnÄ materialitate, finitudine. Punctul de pornire al expoziÈiei actuale este ÃnfÄÈiÈarea finitudinii: pe cele douÄ desene de dimensiuni mari putem observa suprafeÈe negre unite. ÃnsÄ negrul este capturat Ãntr-un cadru de culoare deschisÄ. Masa ÃntunecatÄ a lumii materiale e ÃnvecinatÄ cu infinitul, se deschide cÄtre un spaÈiu indeterminabil Èi imperceptibil, care â Ãn aceastÄ dispoziÈie â se percepe ca partea cealaltÄ a vieÈii omeneÈti. Luminile tainice de pe suprafaÈa desenelor dezvÄluie motive aproape invizibile Ãn negrul omogen, niÈte protuberanÈe ale lumii de dincolo. 

Cele douÄ desene, instalate faÈÄ Ãn faÈÄ, ÃncadreazÄ un obiect greu de identificat: o masÄ diformÄ ÃntinsÄ pe podea, ÃnfÄÈiÈarea materiei fÄrÄ formÄ. LucrÄrile negre anterioare â realizate din silicon, metal sau beton â ale lui Berszan purtau cÃte o semnificaÈie concretÄ despre dispariÈie, extincÈie. Ãn schimb, blocul de beton cu suprafaÈa fÄrÄ formÄ, prin griul sÄu insignifiant, ne priveazÄ de posibilitatea de a conferi semnificaÈie. Ãntre âdecoruriâ, care accentueazÄ pustietatea ÃncÄperii, blocul gri devine un âobjectâ care renunÈÄ la statutul de obiect. Ãn realitate nu mai este un corp, nu poate fi numit obiect, numai âobjetâ â holbÃndu-se dintre rÄmÄÈiÈele vieÈii. âObjetâ Ãn sensul folosit de Julia Kristeva. Ãn eseul intitulat âPowers of Horror. An Essay on Abjectionâ al filozofului francez, âobjetâ este un obiect fÄrÄ obiect, sesizabil â ca respingere â de cÄtre un eu, care se priveÈte cu dispreÈ pe sine, materialitatea sa, expunerea sa cÄtre pierire. âObjetâ poate fi un smoc de pÄr, o ranÄ supurÃndÄ sau cadavrul Ãn sine â ca rÄmÄÈiÈÄ a vieÈii, a trupului. Blocul de beton al lui Berszan este Ãntins pe podea ca un astfel de rest. Este numai un bloc de piatrÄ, care se dezbracÄ de orice formÄ sculpturalÄ: privit de sus pare a fi o picturÄ tridimensionalÄ, o âpÃnzÄ tridimensionalÄâ pictatÄ cu gesturi sÄlbatice. Pe suprafaÈa acestui bloc de beton, creat cu forÈÄ brutÄ, alterneazÄ nuanÈe diferite, formÃnd o compoziÈie neordonatÄ, fÄrÄ sens. De parcÄ ne-am uita Ãntr-un sicriu, Ãn care cadavrul e de nerecunoscut Èi moartea e fÄrÄ patrie.

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BerszÃn Zsolt mÅvÃszetÃnek alapja a redukcionista festÃszeti gondolkodÃs. Az elmÃlt Ãvekben rendezett nagyobb ÃnÃllà kiÃllÃtÃsain (Brukenthal MÃzeum, Nagyszeben 2008; UAD, KolozsvÃr 2009; MODEM, Debrecen, 2010; ANAID ART GalÃria, Bukarest, 2010) BerszÃn a fekete szÃn dominÃns hasznÃlatÃval a malevicsi gesztushoz nyÃlt vissza, a vilÃg nÃgy alapszÃnre valà felosztÃsÃnak gondolatÃhoz, melyen belÃl a fekete az anyagisÃgot, a vÃgessÃget hivatott kifejezni. A mostani kiÃllÃtÃs kiindulÃpontja is a vÃgessÃg felmutatÃsa: a falakon lÃthatà kÃt nagymÃretÅ grafikÃn ÃsszefÃggÅ fekete felÃletet lÃtunk. Azonban a feketesÃg itt vilÃgos keretek kÃzà van zÃrva. Az anyagi vilÃg sÃtÃt tÃmbje a vÃgtelensÃggel hatÃros, megnyÃlik valamifajta meghatÃrozhatatlan Ãs befoghatatlan tÃr felÃ, melyet ebben a diszpozÃciÃban az emberi Ãlet mÃsik oldalakÃnt ÃrzÃkelÃnk. A grafikÃk felÃletÃn felsejlÅ fÃnyek, melyek kÃnnyÅ mintÃzatot rajzolnak az egybefÃggÅ fekete felÃletbe, a vilÃg tÃlsà horizontjÃnak ÃttÃremkedÃseikÃnt hatnak. 


Az egymÃssal szemben installÃlt kÃt grafika egy nehezen beazonosÃthatà tÃrgyat fog kÃzre: egy fÃldre fektetett dÃsztelen masszÃt, mely mintha magÃnak a megformÃlatlan anyagnak a tÃrgyi felmutatÃsa lenne. BerszÃn korÃbbi â jÃrÃszt szilikonbÃl, fÃmbÅl, betonbÃl megalkotott â szobrai mÃg hordoztak egy-egy konkrÃt jelentÃst, a fekete szÃn rÃvÃn leginkÃbb az elmÃlÃs gondolatvilÃgÃhoz kapcsolÃdva. Ãm a koporsÃszerÅ kÅtÃmb felÃletÃn megkÃpzÅdÅ formÃtlansÃg, a maga szÃrke jellegtelensÃgÃvel valÃsÃggal megfoszt a jelentÃsadÃs lehetÅsÃgÃtÅl. A szÃrke kÅtÃmb Ãgy vÃlik tÃrggyÃ, azaz objekt-tà a terem ÃressÃgÃt hangsÃlyozà âdÃszletekâ kÃzÃtt, hogy kÃzben megfosztja ÃnmagÃt a tÃrgyisÃg stÃtuszÃtÃl. ValÃjÃban mÃr nem is szobor, dolognak is aligha nevezhetÅ, objet csak â az Ãlet maradÃkakÃnt mered rÃnk. Objet abban az Ãrtelemben, ahogyan Julia Kristeva hasznÃlja ezt a kifejezÃst. A francia filozÃfus BevezetÃs a megalÃzottsÃghoz cÃmÅ esszÃjÃben az objet az a tÃrgytalan tÃrgy, ami mÃg megragadhatà â elutasÃtÃskÃnt â az ÃnmagÃt, a maga dologisÃgÃt, pusztulÃsnak valà kitettsÃgÃt megvetÅ Ãn szÃmÃra. Objet lehet egy kihullà hajcsomÃ, egy gennyes seb, vagy akÃr maga a holttest â mint az Ãlet, a test maradÃka. BerszÃn betontÃmbje is ilyen maradÃkkÃnt van a fÃldre fektetve. Csak egy kÅtÃmb, mely levetkÅzi magÃrÃl mÃg a szoborszerÅ megformÃltsÃgot is: felsÅ nÃzete felÅl inkÃbb egy hÃromdimenziÃs festmÃnynek tetszik, egy vad gesztusokkal megfestett âhÃromdimenziÃs vÃszonnakâ. Ennek a nyers erÅvel megformÃlt betontÃmbnek a felÃletÃn kÃlÃnfÃle Ãrnyalatok vÃltakoznak rendezetlen, jelentÃstelen kompozÃciÃt teremtve. AkÃrha egy koporsÃba tekintenÃnk bele, amelyben azonban mÃr felismerhetetlen a hulla, s otthontalan a halÃl.



Gerda SzÃplaky
philosopher â aesthetician
Budapest



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