{"id":232,"date":"2020-12-18T15:45:51","date_gmt":"2020-12-18T15:45:51","guid":{"rendered":"https:\/\/evangelium21.hu\/?page_id=232"},"modified":"2024-02-27T07:47:44","modified_gmt":"2024-02-27T07:47:44","slug":"petranyi-zsolt-egy-gyujtemeny-ertelmezese","status":"publish","type":"page","link":"https:\/\/evangelium21.hu\/index.php\/petranyi-zsolt-egy-gyujtemeny-ertelmezese\/","title":{"rendered":"Egy gy\u0171jtem\u00e9ny \u00e9rtelmez\u00e9se \/ Interpreting a collection"},"content":{"rendered":"\n
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A kort\u00e1rs m\u0171v\u00e9szet miszticizmusa, spiritualit\u00e1sa gyakori k\u00e9rd\u00e9s a mai k\u00e9pz\u0151m\u0171v\u00e9szetben. A 21. sz\u00e1zad felbolydult \u00e9rt\u00e9krendj\u00e9ben a legfontosabb dilemma a fogalmat ak\u00e1r absztraktan kezel\u0151, ak\u00e1r valamelyik vil\u00e1gvall\u00e1shoz k\u00f6t\u0151 m\u0171v\u00e9szek \u00e9s a k\u00f6z\u00f6ns\u00e9g r\u00e9sz\u00e9r\u0151l az, hogy ma mennyiben relev\u00e1ns a misztika \u00e9rz\u00e9keltet\u00e9se a m\u0171v\u00e9szetben. Egy\u00e1ltal\u00e1n, ha \u00e1ltal\u00e1nos \u00e9rv\u00e9ny\u0171 a m\u0171ben ennek megjelen\u00edt\u00e9se, mire utalva lehet b\u00e1rmilyen vil\u00e1g feletti entit\u00e1sra hivatkozni? Vagy ford\u00edtva: nincs el\u00e9g rossz dolog a vil\u00e1gban ahhoz, hogy a m\u0171v\u00e9szetnek azokra a jelens\u00e9gekre kelljen konkr\u00e9t gy\u00f3gy\u00edrt vagy feldolgoz\u00e1si m\u00f3dszert adnia, amelyek mindennapjainkat \u00e9rintik?
A v\u00e1lasz ezekre a k\u00e9rd\u00e9sekre rendszerint elfogad\u00f3; azaz kimondja, hogy b\u00e1rmilyen ellentmond\u00e1sos is a vil\u00e1g, akkor is megnyugv\u00e1st adhat a m\u0171v\u00e9szet, ha nem a kl\u00edmav\u00e1ltoz\u00e1s, a terrorizmus vagy a szeg\u00e9nys\u00e9g, a v\u00edrusfenyegetetts\u00e9g vagy a t\u00e1rsadalmi, illetve egy\u00e9ni fesz\u00fclts\u00e9gek a t\u00e9m\u00e1i, hanem egy att\u00f3l elemel\u0151 megk\u00f6zel\u00edt\u00e9s, mint amilyen a spiritualit\u00e1s. Ennek kifejez\u00e9s\u00e9re a huszadik sz\u00e1zadi avantg\u00e1rd ir\u00e1nyzatok megteremtett\u00e9k a nyelvezetet, amelyre a 21. sz\u00e1zadi m\u0171v\u00e9sz alapozhat: ak\u00e1r Mark Rothko1, ak\u00e1r Richard Long, vagy m\u00e1sok m\u0171veire gondolunk, a m\u0171v\u00e9szet lelki\u2013szellemi tartalmakhoz val\u00f3 vonz\u00f3d\u00e1s\u00e1nak kifejez\u00e9se az absztrakci\u00f3n kereszt\u00fcl az \u00e1ltal\u00e1nos\u00edt\u00e1s lehet\u0151s\u00e9g\u00e9t hordozza.<\/p>\n\n\n\n

De felmer\u00fcl a k\u00e9rd\u00e9s, hogy ha a m\u0171v\u00e9sz egy konkr\u00e9t vall\u00e1s szimb\u00f3lumrendszer\u00e9t k\u00edv\u00e1nja feldolgozni egy eszmerendszer kodifik\u00e1lt iratainak seg\u00edts\u00e9g\u00e9vel, mik\u00e9nt j\u00e1rjon el, ha nem illusztrat\u00edv m\u0171veket szeretne l\u00e9trehozni? Erre a k\u00e9rd\u00e9sre m\u00e1r bonyolultabb v\u00e1lasz adhat\u00f3, mert a konkr\u00e9t t\u00f6rt\u00e9netek, tan\u00edt\u00e1sok \u00e9s szerepl\u0151ik id\u00e9z\u00e9se a m\u0171v\u00e9szetben egy sokkal sz\u0171kebb k\u00f6z\u00f6ns\u00e9gnek sz\u00f3lhat ma, amikor a vall\u00e1sok n\u00e9pszer\u0171s\u00e9ge, az akt\u00edv h\u00edv\u0151k \u2013 \u00edgy a vall\u00e1sokra utal\u00f3 m\u0171veket \u00e9rt\u0151k sz\u00e1ma \u2013 k\u00fcl\u00f6nb\u00f6z\u0151 okokb\u00f3l vil\u00e1gszerte egyre cs\u00f6kken.
A Kov\u00e1cs Levente \u00e1ltal kezdem\u00e9nyezett gy\u0171jtem\u00e9ny c\u00e9lja, hogy a 21. sz\u00e1zadban olyan form\u00e1t tal\u00e1ljon az evang\u00e9lium k\u00e9pz\u0151m\u0171v\u00e9szeti k\u00f6zvet\u00edt\u00e9s\u00e9re, amely nyelvezet\u00e9ben \u00e9s k\u00e9pi kifejez\u00e9si m\u00f3djaiban is integr\u00e1lja J\u00e9zus \u00e9let\u00e9nek aspektusait a jelenkor \u00f6sszetett \u00e9s probl\u00e9m\u00e1kkal teli \u00e9let\u00e9be. A projektben felk\u00e9rt 12 magyar m\u0171v\u00e9sz mind m\u00e1s-m\u00e1s h\u00e1tt\u00e9rrel rendelkezik, m\u0171v\u00e9szi l\u00e1t\u00e1sm\u00f3djuk is elt\u00e9r\u0151, de \u00f6sszek\u00f6ti \u0151ket az, hogy a hazai m\u0171v\u00e9szeti \u00e9letben mind kiv\u00e1l\u00f3 referenci\u00e1kkal rendelkeznek, nagy ki\u00e1ll\u00edt\u00e1sokon vettek \u00e9s vesznek r\u00e9szt, \u00e9s sokat tettek hozz\u00e1 ahhoz a m\u0171v\u00e9szeti \u00f6sszk\u00e9phez, amely a hazai kort\u00e1rs m\u0171v\u00e9szetet jellemzi. Nem tartoznak k\u00f6z\u00f6s nemzed\u00e9khez, mint ahogy elt\u00e9r\u0151 a m\u00e9dium is, amelyben dolgoznak: vannak k\u00f6z\u00f6tt\u00fck, akik a hagyom\u00e1nyos technik\u00e1k h\u00edvei, de vannak olyanok is, akik vegyes vagy intermedi\u00e1lis m\u00f3dszerekkel dolgozz\u00e1k fel az evang\u00e9lium \u00e1tfog\u00f3 t\u00e9m\u00e1it. Van, hogy elszakadva a szigor\u00faan vett t\u00f6rt\u00e9neti sz\u00e1lt\u00f3l, install\u00e1ci\u00f3t, f\u00e9nyt vagy mozg\u00f3k\u00e9pet haszn\u00e1lnak gondolataik k\u00f6zvet\u00edt\u00e9s\u00e9re.<\/p>\n\n\n\n

A munka el\u0151k\u00e9sz\u00edt\u00e9se teol\u00f3giai alapokon t\u00f6rt\u00e9nt. A n\u00e9gy evang\u00e9liumban le\u00edrt esem\u00e9nyek \u00f6sszess\u00e9ge egy olyan rendszert alkot, amely az \u00f6sszes J\u00e9zus \u00e9let\u00e9hez k\u00f6t\u0151d\u0151 t\u00f6rt\u00e9netet \u00e9s tan\u00edt\u00e1sait tartalmazza. Ezek csoportos\u00edt\u00e1sa J\u00e9zus \u00e9let\u00e9nek, munk\u00e1ss\u00e1g\u00e1nak \u00faj struktur\u00e1l\u00e1s\u00e1t eredm\u00e9nyezte. Egy-egy egys\u00e9g ennek alapj\u00e1n tematikusan is megnevezhet\u0151v\u00e9 v\u00e1lt annak t\u00fckr\u00e9ben, hogy milyen jelenetek sorolhat\u00f3k abba az egys\u00e9gbe. \u00cdgy alakult ki a feloszt\u00e1s 12 r\u00e9szb\u0151l \u00e1ll\u00f3 rendszere, ez szolg\u00e1lt alapul a m\u0171v\u00e9szek megh\u00edv\u00e1s\u00e1ra.
A t\u00e9m\u00e1k teol\u00f3gia alap\u00fa \u00f6ssze\u00e1ll\u00edt\u00e1sa, az evang\u00e9liumok egys\u00e9gekre oszt\u00e1sa a m\u0171v\u00e9szek kiv\u00e1laszt\u00e1s\u00e1t r\u00e9szben k\u00f6nny\u00edtette, r\u00e9szben nehez\u00edtette. Az alkot\u00f3k megkeres\u00e9s\u00e9ben szerepet j\u00e1tszott az a felt\u00e9t\u00e9telez\u00e9s, kik azok, akiknek a munkam\u00f3dszereivel \u00f6sszeegyeztethet\u0151, hogy m\u00e1sokhoz igazodva \u201e\u00e1lljanak be\u201d a t\u00f6rt\u00e9net egy-egy szakasz\u00e1ba, \u00e9s a maguk v\u00e1lasztotta szimbolik\u00e1val dolgozzanak a v\u00e1lasztott egys\u00e9g megjelen\u00edt\u00e9s\u00e9n.
A magyar kort\u00e1rs m\u0171v\u00e9szetben a misztika vagy a zsid\u00f3-kereszt\u00e9ny hagyom\u00e1ny m\u0171veken kereszt\u00fcli k\u00f6zvet\u00edt\u00e9se, ha nem is gyakori, de elfogadott: direkt \u00e9s k\u00f6zvetett utal\u00e1sokkal gyakran tal\u00e1lkozunk az alkot\u00e1sok k\u00f6z\u00f6tt, amelyek bemutat\u00e1s\u00e1t t\u00f6bb int\u00e9zm\u00e9ny is felkarolta \u2013 mindezek kifejez\u00e9se \u00e1tsz\u00f6vi a huszadik sz\u00e1zad m\u0171v\u00e9szet\u00e9t. A mai feldolgoz\u00e1sok k\u00f6z\u00f6tt azonban meg kell eml\u00edteni a Pannonhalmi Benc\u00e9s F\u0151ap\u00e1ts\u00e1g ki\u00e1ll\u00edt\u00e1si programj\u00e1t, ahol M\u00e9lyi J\u00f3zsef kur\u00e1tori koncepci\u00f3ja alapj\u00e1n rendezt\u00e9k meg a \u201eKib\u00e9k\u00fcl\u00e9s\u201d c\u00edm\u0171 csoportos ki\u00e1ll\u00edt\u00e1st 2018-ban, \u00e9s Er\u0151s Nikolett elk\u00e9pzel\u00e9se szerint a \u201eCsend\u201d c\u00edm\u0171 t\u00e1rlatot 2019-ben. Ezeken a v\u00e1logat\u00e1sokon olyan m\u0171v\u00e9szek szerepeltek, akik sz\u00e1m\u00e1ra a kereszt\u00e9ny misztika aktualiz\u00e1lhat\u00f3 m\u0171v\u00e9szeti tartalom volt. Mindezeknek az alkot\u00f3knak a list\u00e1ja, mind a m\u0171veik szellemis\u00e9ge seg\u00edts\u00e9g\u00fcl szolg\u00e1lt az Evang\u00e9lium 21 projekt m\u0171v\u00e9szeinek a kiv\u00e1laszt\u00e1s\u00e1hoz. B\u00e1r a v\u00e1logat\u00e1s sor\u00e1n m\u00e1s m\u0171v\u00e9szekhez is eljutottunk, az eml\u00edtett p\u00e9ld\u00e1k meger\u0151s\u00edtett\u00e9k a t\u00e9m\u00e1nak a hazai m\u0171v\u00e9szetben bet\u00f6lt\u00f6tt jelent\u0151s\u00e9g\u00e9t.<\/p>\n\n\n\n

A m\u0171v\u00e9szek nyitotts\u00e1ga a kereszt\u00e9ny tartalom v\u00e1laszt\u00e1s\u00e1ban sokszor elk\u00f6telez\u0151d\u00e9sb\u0151l ad\u00f3dik, de nem mindig. Van, aki a vall\u00e1sos \u00e9rz\u00fcletet mag\u00e1n\u00fcgynek tartja, \u00e9s nem tekinti annak \u201ekibesz\u00e9l\u00e9s\u00e9t\u201d a m\u0171v\u00e9szet mag\u00e1t\u00f3l \u00e9rtet\u0151d\u0151 t\u00e9m\u00e1j\u00e1nak. Ha a m\u0171v\u00e9szet egyik lehets\u00e9ges c\u00e9lja az emberi viszonyok, \u00e9rz\u00e9sek, konfliktusok kifejez\u00e9se, egy konkr\u00e9t vall\u00e1s \u00fatmutat\u00e1s\u00e1ra utal\u00e1s sz\u0171k\u00edtheti az \u00e9rt\u0151 n\u00e9z\u0151k k\u00f6r\u00e9t, hiszen egy vall\u00e1s szimbolik\u00e1ja nem mindenkinek egy\u00e9rtelm\u0171. Tal\u00e1n \u00e9pp ez az oka annak, hogy a m\u0171v\u00e9szet keresi az utal\u00e1sok \u00e1ltal\u00e1nos\u00edt\u00f3 \u00e9rv\u00e9ny\u00e9t, azokat az \u00fczeneteket, amelyek lehet, hogy egy adott referenci\u00e1ra t\u00e1maszkodnak, de \u00e1ltal\u00e1nos\/glob\u00e1lis \u00e9rv\u00e9ny\u0171 gondolatokat fogalmaznak meg.
Az Evang\u00e9lium 21 m\u0171v\u00e9szeinek kiv\u00e1laszt\u00e1s\u00e1t \u00e9pp ez a kett\u0151ss\u00e9g mozgatta. B\u00e1r a felk\u00e9r\u00e9s egy adott bibliai r\u00e9sz megjelen\u00edt\u00e9s\u00e9re vonatkozott, de a kollekci\u00f3ban elk\u00e9pzelt m\u0171vek karakter\u00e9ben fontos szerepet j\u00e1tszott, hogy id\u0151t\u00e1ll\u00f3k legyenek, \u00e9s a kort\u00e1rs m\u0171v\u00e9szet nyelvezet\u00e9t besz\u00e9lj\u00e9k m\u00e9g akkor is, ha ennek r\u00e9v\u00e9n a m\u0171vek elszakadnak a sz\u00f3 szerinti illusztr\u00e1ci\u00f3t\u00f3l.
A m\u0171v\u00e9szek kiv\u00e1laszt\u00e1s\u00e1nak k\u00e9t szempontja volt: az egyik az, hogy a t\u00e9ma ir\u00e1nti \u00e9rdekl\u0151d\u00e9s\u00fck munk\u00e1ss\u00e1gukkal al\u00e1t\u00e1maszthat\u00f3 legyen, a m\u00e1sik pedig az, hogy karakter\u00fck, munkam\u00f3dszer\u00fck r\u00e9v\u00e9n a projektben r\u00e9szt vev\u0151 alkot\u00f3k munk\u00e1i egym\u00e1ssal dial\u00f3gusba ker\u00fclhessenek. Figyelembe kellett venni a kiv\u00e1laszt\u00e1sn\u00e1l a leend\u0151 gy\u0171jtem\u00e9ny \u00f6sszk\u00e9p\u00e9t, egys\u00e9g\u00e9t, mert nyilv\u00e1nval\u00f3 volt, hogy a projekt \u00fczenet\u00e9t csak \u00fagy tudja hat\u00e9konyan k\u00f6zvet\u00edteni, ha mind a ki\u00e1ll\u00edt\u00e1s, mind a k\u00f6nyvform\u00e1tumban publik\u00e1lt tartalom v\u00edzi\u00f3ja \u00f6sszefogott \u00e9s k\u00f6vetkezetes. Mindez persze most, hogy e kiadv\u00e1nyt k\u00e9zbe veszi az olvas\u00f3, mag\u00e1t\u00f3l \u00e9rtet\u0151d\u0151nek t\u0171nik, de a munka megkezd\u00e9sekor m\u00e9g nem volt l\u00e1that\u00f3, csak \u201ev\u00e1gyhat\u00f3\u201d.
Mivel a m\u0171v\u00e9szek k\u00f6zti p\u00e1rbesz\u00e9d kulcsk\u00e9rd\u00e9s volt, ez\u00e9rt azok megh\u00edv\u00e1sa t\u00f6bb k\u00f6rben t\u00f6rt\u00e9nt. El\u0151sz\u00f6r azokat sz\u00f3l\u00edtottuk meg, akikhez tal\u00e1n legk\u00f6zelebb \u00e1llt e k\u00f6t\u00f6tt tartalom kifejez\u00e9se, akik munk\u00e1ikban m\u00e1r kor\u00e1bban is k\u00f6zvetlen m\u00f3don utaltak ak\u00e1r a Bibli\u00e1ra, ak\u00e1r a szentek \u00e9let\u00e9re. \u00cdgy Imre Mariann, M\u00e1trai Erik, Lovas Ilona, Feh\u00e9r M\u00e1rta vagy Szelley Lell\u00e9 bevon\u00e1sa ahhoz is alapot adhatott, hogy a k\u00f6vetkez\u0151 k\u00f6rben megsz\u00f3l\u00edtott m\u0171v\u00e9szekr\u0151l m\u00e1r egy\u00fctt gondolkodjunk, m\u00e9rlegelve a lehets\u00e9ges \u00e1thall\u00e1sokat \u00e9s stilisztikai hasonl\u00f3s\u00e1gokat.<\/p>\n\n\n\n

A m\u00e1sodik k\u00f6r megh\u00edvottjaira a m\u0171v\u00e9szek is javaslatot tettek, er\u0151s\u00edtve a v\u00e1laszt\u00e1s biztons\u00e1g\u00e1t. \u00cdgy F\u00e1tyol Viola, Asztalos Zsolt, Csont\u00f3 Lajos, Richter S\u00e1ra, Bukta Imre, Gerber P\u00e1l, Erhardt Mikl\u00f3s invit\u00e1l\u00e1sa a munk\u00e1ba m\u00e1r konzult\u00e1ci\u00f3inkon alapult.
A r\u00e9sztvev\u0151k k\u00f6z\u00f6s megbesz\u00e9l\u00e9seinek els\u0151 k\u00f6re a t\u00e9m\u00e1k kiv\u00e1laszt\u00e1s\u00e1r\u00f3l sz\u00f3lt. A r\u00e9szek megjelen\u00edt\u00e9s\u00e9nek szem\u00e9lyre szabotts\u00e1g\u00e1val kapcsolatban meg kell eml\u00edteni, hogy a m\u0171v\u00e9szek els\u0151 megk\u00f6zel\u00edt\u00e9sben a m\u0171v\u00e9szett\u00f6rt\u00e9neti \u00e1br\u00e1zol\u00e1sokban gyakrabban el\u0151fordul\u00f3 jeleneteket kev\u00e9sb\u00e9 prefer\u00e1lt\u00e1k, mert azok olyan k\u00e9pi konvenci\u00f3kat k\u00f6vetnek, amelyeket neh\u00e9z megker\u00fclni. Mondhatn\u00e1nk, ha valaki gy\u00f6keresen elt\u00e9r egy megszokott \u00e1br\u00e1zol\u00e1st\u00f3l, kock\u00e1ztatja annak felismerhet\u0151s\u00e9g\u00e9t, kock\u00e1ztatja saj\u00e1t egy\u00e9ni \u00fczenet\u00e9nek kifejezhet\u0151s\u00e9g\u00e9t. A v\u00e9geredm\u00e9ny, ahogyan M\u00e1ria \u00e9s Erzs\u00e9bet tal\u00e1lkoz\u00e1sa, a Getsem\u00e1ne-kert, az utols\u00f3 vacsora, a keresztre fesz\u00edt\u00e9s vagy a felt\u00e1mad\u00e1s v\u00e9g\u00fcl a projektben megjelent, j\u00f3 p\u00e9ld\u00e1i annak, hogy a kort\u00e1rs m\u0171v\u00e9szet hogyan tudja meg\u00faj\u00edtani ezeket a legt\u00f6bbet id\u00e9zett jeleneteket. A t\u00f6bbi egys\u00e9g eset\u00e9ben azonban nagyon vonz\u00f3 volt ennek az ellenkez\u0151je, az, hogy az alkot\u00f3k m\u0171veikben szabadon s\u0171r\u00edthett\u00e9k egy-egy jelenetsor, t\u00f6rt\u00e9netr\u00e9sz esszenci\u00e1j\u00e1t ak\u00e1r a maguk v\u00e1lasztotta szimb\u00f3lumok, ak\u00e1r olyan asszoci\u00e1ci\u00f3k r\u00e9v\u00e9n, amelyek kifejt\u00e9se a Biblia mai, a 21. sz\u00e1zadnak megfeleltethet\u0151 \u00e9rtelmez\u00e9s\u00e9nek ir\u00e1ny\u00e1ba vezethet. De n\u00e9zz\u00fck v\u00e9gig, hogy az Evang\u00e9lium 21 m\u0171v\u00e9szei mik\u00e9ppen jelen\u00edtik meg ezt a gondolatmenetet, hogyan dolgozz\u00e1k fel az \u00dajsz\u00f6vets\u00e9g els\u0151 n\u00e9gy k\u00f6nyv\u00e9nek kiv\u00e1lasztott \u00fczeneteit.<\/p>\n\n\n\n

Imre Mariann M\u00e1ria \u00e9s Erzs\u00e9bet tal\u00e1lkoz\u00e1s\u00e1t bemutat\u00f3 install\u00e1ci\u00f3ja a lenyomatokr\u00f3l sz\u00f3l. A ruh\u00e1n az \u00f6lel\u00e9s nyoma vagy a betonk\u00f6vezeten az al\u00e1hull\u00f3 szirmok \u201ebevarrt\u201d mint\u00e1zata a pillanat \u00f6r\u00f6kk\u00e9val\u00f3s\u00e1g\u00e1t hangs\u00falyozza. Imre Mariann a szisztematikus munka, a varr\u00e1s, h\u00edmz\u00e9s figyelmet \u00e9s t\u00fcrelmet ig\u00e9nyl\u0151, de felemel\u0151 karakter\u00e9t emeli ki, amikor az \u00e1ttetsz\u0151 ruh\u00e1n az \u00f6lel\u00e9s rajzolat\u00e1t saj\u00e1t hajsz\u00e1lai ezreinek a sz\u00f6vetbe f\u0171z\u00e9s\u00e9vel alak\u00edtja ki, vagy egyedi technik\u00e1j\u00e1val a sz\u00ednes szirmokat a k\u0151kem\u00e9ny betonlapba h\u00edmezi. Install\u00e1ci\u00f3ja \u2013 mint ahogy t\u00f6bb m\u0171 az anyagban \u2013 a hi\u00e1nyon kereszt\u00fcl mondja el \u00fczenet\u00e9t, az alakokat nem jelen\u00edti meg, csak az \u00f6lt\u00f6zetet \u00e9s az azon hagyott k\u00e9znyomot. A szimb\u00f3lumokat nem a figur\u00e1k karakter\u00e9ben keresi, hanem azokban a kell\u00e9kekben, amelyek a tal\u00e1lkoz\u00e1st jelent\u0151ss\u00e9 \u2013 az \u00dajsz\u00f6vets\u00e9g egyik kezd\u0151 t\u00f6rt\u00e9net\u00e9v\u00e9 tett\u00e9k.
F\u00e1tyol Viola fot\u00f3sorozata a tal\u00e1lkoz\u00e1s, a sz\u00fclet\u00e9s \u00e9s a keresztel\u00e9s mozzanatait k\u00f6ti \u00f6ssze azzal az \u00fczenettel, hogy a szimbolikus, sorsford\u00edt\u00f3 t\u00f6rt\u00e9netek a h\u00e9tk\u00f6znapokban zajlanak, abban a mindennapi k\u00f6rnyezetben, amely annyira szokv\u00e1nyos, hogy ak\u00e1r \u00e9szrevehetetlen is maradhat. K\u00e9pein olyan r\u00e9szleteket emel ki vagy tesz jelk\u00e9pp\u00e9, amelyek bibliai \u00e9rtelme k\u00f6zismert, de mint egy t\u00e1voli, mitikus id\u0151 elemei szerepelnek a Szent\u00edr\u00e1sban: ilyen a v\u00edz, az \u00e9g, a f\u00f6ld vagy ak\u00e1r a keny\u00e9r is. A fotogr\u00e1fia m\u00e9dium\u00e1t felhaszn\u00e1lva, be\u00e1ll\u00edtott k\u00e9peinek jelent\u0151s\u00e9ge a t\u00f6rt\u00e9neti \u00e9s napjaink val\u00f3s\u00e1g\u00e1nak p\u00e1rhuzamaiban ragadhat\u00f3 meg. F\u00e1tyol Viola sz\u00e1m\u00e1ra a k\u00f6rnyezet, a term\u00e9szeti \u00e9s figur\u00e1lis k\u00e9pek \u00e1tl\u00e9nyeg\u00edt\u00e9se a c\u00e9l: n\u00e9ha kisebb-nagyobb beavatkoz\u00e1sokkal, a jelenetek megrendez\u00e9s\u00e9vel emeli \u00e1t a f\u00e9nyk\u00e9p karakter\u00e9t egy fennk\u00f6lt, emelkedett dimenzi\u00f3ba.<\/p>\n\n\n\n

Csont\u00f3 Lajos k\u00e9psorozata az elh\u00edvat\u00e1sr\u00f3l, a tan\u00edtv\u00e1nyok kiv\u00e1laszt\u00e1s\u00e1r\u00f3l sz\u00f3l. Sz\u00e1m\u00e1ra ebben a kiv\u00e1laszt\u00e1s mot\u00edvuma a legmeghat\u00e1roz\u00f3bb, az a pillanat, amikor a kijel\u00f6lt \u00e9s a kiv\u00e1laszt\u00f3 tekintete el\u0151sz\u00f6r tal\u00e1lkozik. Csont\u00f3 ehhez embercsoportokr\u00f3l k\u00e9sz\u00edtett felv\u00e9teleit haszn\u00e1lta fel, ahol a t\u00f6megben l\u00e9v\u0151k k\u00f6z\u00f6tt ut\u00f3lag a k\u00e9p kinagy\u00edt\u00e1sakor v\u00e1lt l\u00e1that\u00f3v\u00e1, hogy valaki az expoz\u00edci\u00f3 pillanat\u00e1ban a kamer\u00e1ba n\u00e9zett. Az arcokat kiemelve a m\u0171v\u00e9sz 12 portr\u00e9t alkotott, amelyeket f\u00e9nyes fekete fel\u00fcletre nyomtatott az\u00e9rt, hogy a k\u00e9peket n\u00e9zve a n\u00e9z\u0151 megl\u00e1thassa mag\u00e1t is \u2013 mint kiv\u00e1lasztottat \u2013 a k\u00e9pfel\u00fcleten. Szemmagass\u00e1gba helyezett, t\u00fck\u00f6rszer\u0171v\u00e9 tett k\u00e9psorozat\u00e1t videoanim\u00e1ci\u00f3 eg\u00e9sz\u00edti ki, amely a r\u00e1k\u00f6zel\u00edt\u00e9st, a portr\u00e9k kiv\u00e1laszt\u00e1s\u00e1t mutatja az eredeti fot\u00f3k fel\u00fclet\u00e9n.
Asztalos Zsolt megk\u00f6zel\u00edt\u00e9se az esem\u00e9nyek absztrah\u00e1l\u00e1s\u00e1r\u00f3l sz\u00f3l. A Tan\u00edt\u00e1sok t\u00e9mak\u00f6r\u00e9t azok r\u00e1nk gyakorolt hat\u00e1s\u00e1nak aspektus\u00e1b\u00f3l vizsg\u00e1lja. M\u0171v\u00e9nek, amely 12 asztalosm\u0171helyben meghajl\u00edtott, emberl\u00e9pt\u00e9k\u0171 l\u00e9cb\u0151l \u00e1ll\u00f3 install\u00e1ci\u00f3 a hajl\u00edt\u00e1s fot\u00f3dokument\u00e1ci\u00f3j\u00e1val, az az \u00e1ll\u00edt\u00e1sa, hogy a bibliai sz\u00f6vegek hatnak r\u00e1nk, megv\u00e1ltoztatnak, m\u00f3dos\u00edtanak szem\u00e9lyis\u00e9g\u00fcnk\u00f6n. Hasonl\u00f3an a faipari beavatkoz\u00e1shoz, olyan \u00e1talakul\u00e1son megy\u00fcnk kereszt\u00fcl, amely kezdetben lehet, hogy \u00e1ldozatot k\u00f6vetel, de a jobb\u00e1 v\u00e1l\u00e1s \u00e9rdek\u00e9ben al\u00e1vetj\u00fck magunkat annak, hogy v\u00e1ltoztassunk viselked\u00e9s\u00fcnk\u00f6n. Asztalos Zsolt ezt a gondolatot a kort\u00e1rs m\u0171v\u00e9szet nyelv\u00e9vel k\u00f6zli, mert a l\u00e9cek elrendez\u00e9s\u00e9t nem statikus m\u00f3don k\u00e9pzeli el, a kicsomagol\u00e1s \u00e9s szerel\u00e9s kell\u00e9keivel b\u0151v\u00edtett elrendez\u00e9st l\u00e1thatunk. A f\u00f6ld\u00f6n f\u00f3li\u00e1ra pakolt l\u00e9ceket fedez\u00fcnk fel, n\u00e9h\u00e1nyat szor\u00edt\u00f3 kapcsol \u00f6ssze, de mindez kiindul\u00f3 gondolat\u00e1hoz k\u00e9pest \u00fajabb jelent\u00e9sek \u00e9s \u00f6sszetett asszoci\u00e1ci\u00f3k lehet\u0151s\u00e9g\u00e9t ny\u00fajtja.<\/p>\n\n\n\n

Bukta Imre a P\u00e9ld\u00e1zatok k\u00f6z\u00fcl h\u00e1rmat v\u00e1lasztott ki: ezekr\u0151l egy-egy vegyes technik\u00e1j\u00fa k\u00e9pet k\u00e9sz\u00edtett. Fest\u00e9szeti munkam\u00f3dszer\u00e9nek megfelel\u0151en jel\u00f6lte ki a problematikusabb t\u00f6rt\u00e9neteket, a sz\u00fcrre\u00e1lis jeleneteket, amelyeket az \u00e1ltala ismert \u00e9s sokszor feldolgozott vid\u00e9ki, mez\u0151gazdas\u00e1gi k\u00f6rnyezetbe helyezett. A kisz\u00e1r\u00edtott f\u00fcgefa, a gyilkos sz\u0151l\u0151m\u0171vesek \u00e9s a j\u00f3 p\u00e1sztor szimbolikus t\u00f6rt\u00e9netei k\u00f6z\u00fcl az els\u0151 kett\u0151 k\u00e9pi \u00e9s szellemi feldolgoz\u00e1sa a mai olvas\u00f3 sz\u00e1m\u00e1ra sem k\u00f6nny\u0171 feladat. A k\u00e9pek a t\u00f6rt\u00e9netekhez \u00e9rtelmez\u00e9st k\u00edn\u00e1lnak \u2013 Bukta Imre olyan, a Szent\u00edr\u00e1sban megl\u00e9v\u0151 elemeket emel ki, amelyek jelk\u00e9pis\u00e9ge \u0151t mint m\u0171v\u00e9szt foglalkoztatj\u00e1k, elgondolkodtatj\u00e1k: ilyen a kisz\u00e1radt f\u00fcgefa felmagasztal\u00e1sa vagy a z\u00e1r\u00f3k\u0151 mot\u00edvuma. A harmadik, k\u00f6nnyebben feldolgozhat\u00f3 t\u00f6rt\u00e9netben a m\u0171v\u00e9szt a k\u00f6z\u00f6ss\u00e9gteremt\u00e9s, az \u00f6sszetartoz\u00e1s mozzanata ragadja meg, amelynek f\u0151alakja, a P\u00e1sztor mai figura, akin m\u00e9g egy korunkra jellemz\u0151, tetov\u00e1lt \u00e1br\u00e1t is felfedezhet\u00fcnk.
Feh\u00e9r M\u00e1rta a Csod\u00e1kban a legfontosabb elemnek az \u00e1tl\u00e9nyeg\u00fcl\u00e9st, az \u00e1tv\u00e1ltoz\u00e1st l\u00e1tja. Teol\u00f3giai elm\u00e9lked\u00e9sei alapj\u00e1n \u00f6t \u00f6sszetartoz\u00f3, absztrakt k\u00e9pp\u00e1rt alkotott, amelyek sz\u00edneikkel id\u00e9zik J\u00e9zus csodat\u00e9teleit. A k\u00e9peket az ikonfest\u00e9s hagyom\u00e1nyait k\u00f6vetve k\u00e9sz\u00edtette el, amelyben a technikai r\u00e9szletek fontos jelent\u00e9ssel b\u00edrnak. Akvarellv\u00e1zlatokkal dolgozott, amelyekr\u0151l elmos\u00f3d\u00f3, bemozdul\u00f3 f\u00e9nyk\u00e9pfelv\u00e9teleket k\u00e9sz\u00edtett. Ezeket gondosan alapozott fat\u00e1bl\u00e1kra nyomtatta, amelyeket v\u00e9g\u00fcl \u00fajabb fest\u00e9ssel korrig\u00e1lt. A m\u0171vek sz\u00fclet\u00e9s\u00e9nek folyamata sz\u00e1m\u00e1ra maga is csoda, az \u00e1tl\u00e9nyeg\u00fcl\u00e9s gyakorlati \u00fatja, amely \u00edgy nemcsak a v\u00e1lasztott jeleneteket, de a csodav\u00e1r\u00e1s \u00e9s beteljes\u00fcl\u00e9s mechanizmusait is k\u00f6zvet\u00edti.
Richter S\u00e1ra monument\u00e1lis, k\u00e9t oldal\u00e1n is h\u00edmzett, festett textilinstall\u00e1ci\u00f3j\u00e1nak t\u00e9m\u00e1ja a gy\u00f3gy\u00edt\u00e1s. Szem\u00e9lyes \u00e9rintetts\u00e9get feldolgozva alkotta meg majd\u2019 h\u00e1romszor \u00f6t m\u00e9ter hossz\u00fa grafik\u00e1inak varr\u00e1ssal \u00e9s fest\u00e9kkel megjelen\u00edtett sz\u00f6vets\u00e1vj\u00e1n a betegs\u00e9g stigm\u00e1it \u00e9s a gy\u00f3gyul\u00e1s folyamatait. Sz\u00f6vegeket is haszn\u00e1l\u00f3 munk\u00e1j\u00e1nak egyik f\u0151 eleme az ism\u00e9tl\u00e9s, a repet\u00edci\u00f3, ami az ima logik\u00e1j\u00e1t k\u00f6vetve hangs\u00falyoz \u00fczeneteket. A m\u0171 a k\u00e9sz\u00edt\u00e9s folyamat\u00e1t is l\u00e1ttatja, az egyik oldalon tiszta k\u00e9pi elemek a h\u00e1toldalon a kil\u00f3g\u00f3 sz\u00e1lak miatt m\u00e1s eszt\u00e9tikai min\u0151s\u00e9get mutatnak, \u00e9s m\u00e1s komment\u00e1rokat kapnak. A betegs\u00e9g \u00e9s a gy\u00f3gyul\u00e1s eg\u00e9sz \u00e9let\u00fcnk\u00f6n \u00e1t k\u00eds\u00e9r\u0151 \u00e9s k\u00eds\u00e9rt\u0151 folyamat, amellyel egy\u00fctt \u00e9lni csak annak feldolgoz\u00e1s\u00e1val \u00e9s elfogad\u00e1s\u00e1val lehet. A m\u0171 \u00edgy a test v\u00e1ltoz\u00e1sainak, muland\u00f3s\u00e1g\u00e1nak, regener\u00e1l\u00f3d\u00e1s\u00e1nak is id\u0151t\u00e1ll\u00f3 szimb\u00f3lum\u00e1v\u00e1 v\u00e1lik.
Lovas Ilona install\u00e1ci\u00f3ja az utols\u00f3 vacsora k\u00e9t momentum\u00e1t dolgozza fel. A l\u00e1bmos\u00e1s az al\u00e1zat szimb\u00f3luma, amelyet egy n\u00e9gy k\u00e9pb\u0151l \u00e1ll\u00f3 sorozat jelen\u00edt meg: a l\u00e1bat mos\u00f3 maga a m\u0171v\u00e9sz, a l\u00e1b pedig a m\u0171v\u00e9sz legk\u00f6zelebbi hozz\u00e1tartoz\u00f3j\u00e1nak v\u00e9gtagja. Lovas Ilona a jelenetet l\u00e9nyegre t\u00f6r\u0151en jelen\u00edti meg, a k\u00e9z \u00e9s a l\u00e1bfej \u00e9rint\u00e9s\u00e9nek gesztus\u00e1t elemzi. Mint sok m\u00e1s munk\u00e1j\u00e1nak eset\u00e9ben, a k\u00e9peket \u00e1llati h\u00e1rty\u00e1val vonja be, ezzel az \u00e1br\u00e1zol\u00e1s szimbolikuss\u00e1g\u00e1t, \u00e9lethez k\u00f6thet\u0151s\u00e9g\u00e9t hangs\u00falyozza. M\u0171egy\u00fcttes\u00e9nek m\u00e1sik eleme az utols\u00f3 vacsora asztala, el\u0151tte csak egy sz\u00e9kkel, amely a r\u00e9szv\u00e9telre megh\u00edvott n\u00e9z\u0151 \u00fcl\u0151helye. Az asztallap igeversekkel van s\u0171r\u0171n tele\u00edrva, ezekkel a m\u0171v\u00e9sz olyan olvasnival\u00f3t ad, amely az elm\u00e9lyed\u00e9st \u00e9s az \u00e1tl\u00e9nyeg\u00fcl\u00e9st szolg\u00e1lja. Az asztal k\u00f6z\u00e9ps\u0151, kerek, bemart r\u00e9sz\u00e9t az \u00farvacsorai ostya t\u00f6lti ki, amely a liturgi\u00e1ban elterjedt kerek keny\u00e9rszimb\u00f3lum szerepeltet\u00e9s\u00e9vel szimbolikusan az \u00farvacsor\u00e1n val\u00f3 r\u00e9szv\u00e9telre sarkall.<\/p>\n\n\n\n

Erhardt Mikl\u00f3s a Getsem\u00e1ne-kert jelenet\u00e9t, a J\u00e9zus el\u00edt\u00e9l\u00e9se el\u0151tti utols\u00f3 \u00e9jszak\u00e1t dolgozza fel 16 mm-es fekete-feh\u00e9r filmre forgatott m\u0171v\u00e9ben. A jelk\u00e9pes esem\u00e9nysor arra a mozzanatra koncentr\u00e1l, amikor J\u00e9zus az \u00e9jszak\u00e1ban im\u00e1dkozik, \u00e9s azt tapasztalja, hogy tan\u00edtv\u00e1nyai elalszanak. A mind\u00f6ssze n\u00e9gy szerepl\u0151vel elj\u00e1tszott filmben a f\u0151alak a t\u00f6bbieket k\u00e9tszer \u00e9breszti fel, de harmadszor belenyugodva fogadja el, hogy \u00fajra elaludtak: ez a v\u00e1ltoztat\u00e1s a kimer\u00fclts\u00e9get \u00e9s a mag\u00e1ra marad\u00e1st \u00e1ll\u00edtja a Getsem\u00e1ne-kert \u00e9jszak\u00e1j\u00e1nak a k\u00f6z\u00e9ppontj\u00e1ba. Azzal hogy Erhardt Mikl\u00f3s mindezt egy lak\u00f3telepi parkban forgatta napk\u00f6zben, amat\u0151r szerepl\u0151kkel, \u00e9s maga is statiszt\u00e1l a filmben, hallhat\u00f3v\u00e1 t\u00e9ve annak els\u0151 r\u00e9sz\u00e9ben hangj\u00e1t\u00e9kk\u00e9nt a forgat\u00e1s instrukci\u00f3it, a bibliai helyzet aktualit\u00e1s\u00e1t hangs\u00falyozza.
A ki\u00e1ll\u00edt\u00e1sban \u00e9s az anyagban a pil\u00e1tusi \u00edt\u00e9letet egy, a projektet kezdem\u00e9nyez\u0151 \u00e1ltal v\u00e1lasztott mondat jelen\u00edti meg, amely a m\u0171veket \u00f6sszek\u00f6t\u0151 feliratk\u00e9nt s\u0171r\u00edti mag\u00e1ba J\u00e9zus el\u00edt\u00e9l\u00e9s\u00e9nek pillanat\u00e1t. A jogt\u00f6rt\u00e9neti kutat\u00e1sok elemezte pil\u00e1tusi t\u00e1rgyal\u00e1snak mai napig \u00e9l\u0151 k\u00e9rd\u00e9se, hogy miben ragadhat\u00f3 meg a Megv\u00e1lt\u00f3 b\u0171n\u00f6ss\u00e9ge? A mai v\u00e1lasz erre a dilemm\u00e1ra egyetlen mondat, a \u201eTe mond\u00e1d\u201d, amely azt a pillanatot eleven\u00edti fel, amikor J\u00e9zus a f\u0151pap k\u00e9rd\u00e9s\u00e9re nem hangs\u00falyozza Megv\u00e1lt\u00f3 volt\u00e1t, hanem azt a k\u00e9rdez\u0151 \u00e1ll\u00edt\u00e1s\u00e1nak nevezi. A megv\u00e1lt\u00e1s elrendeltetett t\u00e9ny, \u00e9s nem v\u00e1lasztott misszi\u00f3, amit a h\u00edv\u0151, m\u00e9gis vak k\u00f6zeg blaszf\u00e9miak\u00e9nt \u00e9rtelmezett. A mondattal a ki\u00e1ll\u00edt\u00e1son a n\u00e9z\u0151 Gerber P\u00e1l festett feliratak\u00e9nt tal\u00e1lkozhat.
Gerber P\u00e1l v\u00e1lasztott t\u00e9m\u00e1ja az ezt k\u00f6vet\u0151 k\u00ednzat\u00e1s \u00e9s keresztre fesz\u00edt\u00e9s. A hossz\u00fa esem\u00e9nysor a m\u0171v\u00e9szett\u00f6rt\u00e9net kedvelt t\u00e9m\u00e1ja: J\u00e9zus szenved\u00e9st\u00f6rt\u00e9net\u00e9nek r\u00e9szleteit sok alkot\u00f3 feldolgozta. Gerber megold\u00e1sa, hogy egyetlen ikonikus k\u00e9pegy\u00fcttesbe s\u0171r\u00edti a t\u00f6rt\u00e9n\u00e9sek eszk\u00f6zeit, elker\u00fcli az ember\u00e1br\u00e1zol\u00e1st, de az egym\u00e1s mell\u00e9 applik\u00e1lt, megfaragott t\u00e1rgyakkal felsorolja az utols\u00f3 \u00f3r\u00e1k sor\u00e1n felhaszn\u00e1lt \u00f6sszes eszk\u00f6zt. Megold\u00e1sa a n\u00e9pi vall\u00e1sos \u00e1br\u00e1zol\u00e1sok ar\u00e1nytalans\u00e1gaira is utal, a f\u00e1b\u00f3l kifaragott kereszt, a l\u00e1ndzsa, a szivacs, a sz\u00f6gek, s\u0151t m\u00e9g az \u00e1rul\u00e1shoz felhaszn\u00e1lt p\u00e9nzek sora is megjelenik a kompoz\u00edci\u00f3n. Gerber P\u00e1l m\u0171ve olyan k\u00fcl\u00f6nleges olt\u00e1rk\u00e9pszer\u0171 alkot\u00e1ss\u00e1 \u00e1ll \u00f6ssze, amely a t\u00f6rt\u00e9net ismeret\u00e9t felt\u00e9telezi: annak, aki j\u00e1rtas J\u00e9zus \u00e9let\u00e9nek esem\u00e9nyeiben, \u00e1ttekint\u00e9st ad, utal\u00e1sok egym\u00e1sut\u00e1nj\u00e1t, amely egyszerre k\u00e9pes \u00f6sszefoglalni a t\u00f6rt\u00e9n\u00e9sek jelent\u0151s mozzanatait. A m\u0171vet k\u00e9t Gerber \u00e1ltal festett felirat eg\u00e9sz\u00edti ki, k\u00e9t oldal\u00e1n jelz\u00e9seket l\u00e1that a n\u00e9z\u0151. Az I.N.R.I. (Iesus Nazarenus Rex Iudeorum \u2013 N\u00e1z\u00e1reti J\u00e9zus, a zsid\u00f3k kir\u00e1lya) r\u00f6vid\u00edt\u00e9st a hagyom\u00e1ny szerint a keresztre szegezt\u00e9k Krisztus feje f\u00f6l\u00e9; az IHS pedig (Iesus Hominum Salvator), amelynek leggyakoribb felold\u00e1sa \u2013 J\u00e9zus, az emberek megv\u00e1lt\u00f3ja \u2013 egy\u00e9rtelm\u0171v\u00e9 teszi a k\u00e9pegy\u00fcttes jelent\u00e9s\u00e9t.<\/p>\n\n\n\n

Szelley Lell\u00e9nek a kereszthal\u00e1l \u00e9s a felt\u00e1mad\u00e1s k\u00f6z\u00f6tti id\u0151szakkal foglalkoz\u00f3 ikonoszt\u00e1z\u00e1t formailag az ortodox kereszt\u00e9nys\u00e9g szimbolik\u00e1ja \u00e9s k\u00e9pelrendez\u00e9se inspir\u00e1lta. Az \u00f6tsz\u00f6r \u00f6t fekv\u0151 koll\u00e1zsb\u00f3l szorosan egym\u00e1s mell\u00e9 install\u00e1lt k\u00e9p az olt\u00e1rt a k\u00f6z\u00f6ss\u00e9gi t\u00e9rt\u0151l fallal elv\u00e1laszt\u00f3 ikonoszt\u00e1z \u00e9p\u00edtm\u00e9nyek gyakorlat\u00e1ra utal. A keretezett lapok sz\u00e1ma \u00e9s szimmetrikus h\u00e1l\u00f3ba rendez\u00e9se az egy\u00fcttesben szimbolikus pontokat jel\u00f6l ki, amelyek kiemelt eleme a k\u00e9pek tengelyeinek metsz\u00e9spontja; itt kapott helyet a Szentl\u00e9lek szimbolikus \u00e1br\u00e1zol\u00e1sa. Szelley Lell\u00e9 a mindennapok csomagol\u00f3anyagait haszn\u00e1lta fel m\u0171v\u00e9ben, csillog\u00f3 pap\u00edrokat, amelyek az \u00fcnnep\u00e9lyess\u00e9gre utalnak azon t\u00fal, hogy a szents\u00e9get kapcsolj\u00e1k \u00f6ssze a h\u00e9tk\u00f6znapis\u00e1ggal. A koll\u00e1zsok r\u00e9szei a kiv\u00e1gott sz\u00f6vegek is, utal\u00e1sk\u00e9nt a bibliai sz\u00f6vegek szem\u00e9lyes \u00e9rtelmez\u00e9s\u00e9re \u00e9s a szubjekt\u00edv kiemel\u00e9sekre, amelyek eredm\u00e9nye az, hogy minden egyes olvas\u00f3nak m\u00e1s \u00e9s m\u00e1s jelenti a sz\u00f6veg esszenci\u00e1j\u00e1t att\u00f3l f\u00fcgg\u0151en, milyen \u00e9lethelyzetben vagy \u00e9letkorban tal\u00e1lkozik vele.
M\u00e1trai Erik munk\u00e1i az Evang\u00e9lium 21 gy\u0171jtem\u00e9ny \u00e1ltal fel\u00f6lelt t\u00e9m\u00e1k kereteit adj\u00e1k. \u0150 k\u00e9sz\u00edtette el a n\u00e9gy evang\u00e9lista portr\u00e9j\u00e1t, amelyek hagyom\u00e1nyos \u00e1br\u00e1zol\u00e1si s\u00e9m\u00e1kat k\u00f6vetnek k\u00e9s\u0151bbi funkci\u00f3juk \u2013 v\u00e9d\u0151szent mivoltuk \u2013 alapj\u00e1n. M\u00e1t\u00e9 arck\u00e9pe mint a bank\u00e1rok v\u00e9d\u0151szentje feldarabolt p\u00e9nzekb\u0151l, Luk\u00e1cs mint az orvosok \u00e9s fest\u0151k v\u00e9delmez\u0151je M\u00e1trai fiatalkori, elrontott festm\u00e9nyeib\u0151l, M\u00e1rk szem\u00e9ly\u00e9nek b\u00fazaszentel\u00e9shez val\u00f3 k\u00f6t\u0151d\u00e9se miatt b\u00fazaszemekb\u0151l, m\u00edg J\u00e1nos, az \u00edr\u00f3k \u00e9s tan\u00e1rok v\u00e9d\u0151szentje az A, a B \u00e9s a C bet\u0171k h\u00e1l\u00f3zat\u00e1b\u00f3l alakult ki.
De M\u00e1trai Erik jelen\u00edtette meg a gy\u0171jtem\u00e9ny z\u00e1r\u00f3jelenet\u00e9t, a felt\u00e1mad\u00e1st is f\u00e9nyinstall\u00e1ci\u00f3j\u00e1ban. A kr\u00f3mozott, nyolc\u00e1g\u00fa, ember nagys\u00e1g\u00fa monstranciaszobrot n\u00e9gy sz\u00edn, a v\u00edz k\u00e9kje, a v\u00e9r v\u00f6r\u00f6se, a kenyeret szimboliz\u00e1l\u00f3 s\u00e1rga \u00e9s a tisztas\u00e1got jelk\u00e9pez\u0151 feh\u00e9r vil\u00e1g\u00edtja meg, amelyek a t\u00fckr\u00f6z\u0151d\u00e9sek r\u00e9v\u00e9n egy teret bet\u00f6lt\u0151, sz\u00ednes f\u00e9nyj\u00e1t\u00e9kot eredm\u00e9nyeznek. A sz\u00ednek kevered\u00e9sei a jelk\u00e9pek t\u00f6rt\u00e9neti jelent\u00e9seinek \u00e1tfed\u00e9seit \u00e9rz\u00e9keltetik, m\u00edg mag\u00e1nak a f\u00e9ny alap\u00fa m\u0171alkot\u00e1snak az \u00f6sszhat\u00e1sa, ahogyan a n\u00e9z\u0151 a szobor k\u00f6rbej\u00e1r\u00e1sa nyom\u00e1n felfedezi, a felt\u00e1mad\u00e1s csod\u00e1j\u00e1ra eml\u00e9keztet. A monstrancia hagyom\u00e1nyos, barokk m\u0171v\u00e9szetet id\u00e9z\u0151 form\u00e1j\u00e1nak plasztikus megold\u00e1sa a m\u0171v\u00e9szett\u00f6rt\u00e9net nyelvezet\u00e9nek kort\u00e1rs jelent\u00e9s\u00e9t adja, a hagyom\u00e1ny jelenkori \u00e9rv\u00e9nyess\u00e9g\u00e9t hangs\u00falyozza.
A Biblia le\u00edrt szavai egy olyan sz\u00f6veget k\u00f6zvet\u00edtenek, amely napi gondolatokat hat\u00e1roz meg, elm\u00e9lyed\u00e9sre sarkall, de fogalmaz\u00e1s\u00e1ban archaikus, egy majd k\u00e9tezer \u00e9ves esem\u00e9nysort elemez. A k\u00e9pz\u0151m\u0171v\u00e9szet t\u00f6rt\u00e9nete sor\u00e1n minden korban ezt a t\u00e9nyanyagot k\u00edv\u00e1nta k\u00f6zvet\u00edteni aktu\u00e1lis k\u00f6z\u00f6ns\u00e9g\u00e9hez, hogy az id\u0151beli t\u00e1vols\u00e1got \u00e1thidalja, \u00e9s bizony\u00edtsa a tartalom aktualiz\u00e1lhat\u00f3s\u00e1g\u00e1t. A renesz\u00e1nsz a maga jelk\u00e9prendszer\u00e9vel a misztikumot hangs\u00falyozta, a barokk az \u00e9rzelmeket \u00e9s az ext\u00e1zist, m\u00edg a klasszicizmus a letisztults\u00e1gra helyezte a f\u0151 hangs\u00falyt. A huszadik sz\u00e1zad m\u0171v\u00e9szeti ir\u00e1nyzatai elszakadni l\u00e1tszottak a bibliai esem\u00e9nysorokt\u00f3l, hogy egy \u00faj k\u00e9pi nyelvezetet kereshessenek egy technik\u00e1j\u00e1ban meg\u00fajul\u00f3, ugyanakkor t\u00f6rt\u00e9nelm\u00e9ben dr\u00e1mai korban. Az elm\u00falt \u00e9vtizedekben, ha volt hangs\u00falya a nem templomi vall\u00e1sos m\u0171v\u00e9szetnek, akkor az bizony\u00e1ra a kontempl\u00e1ci\u00f3ban, az elm\u00e9lyed\u00e9sben \u00e9s a medit\u00e1ci\u00f3ban kereshet\u0151.
A 21. sz\u00e1zad \u00faj kih\u00edv\u00e1sokat tartogat a vall\u00e1si tartalmak kifejez\u00e9s\u00e9ben, \u00e9s ezek k\u00f6z\u00fcl tal\u00e1n a legfontosabb a feled\u00e9s. A feln\u00f6v\u0151 gener\u00e1ci\u00f3k \u00faj kommunik\u00e1ci\u00f3s gyakorlata, teljesen \u00faj, technol\u00f3giai eszk\u00f6zt\u00e1ra elhom\u00e1lyos\u00edt olyan tradicion\u00e1lis \u00e9rt\u00e9keket \u00e9s tartalmakat, mint az evang\u00e9lium, mert a gyors v\u00e1ltoz\u00e1sok egyre kevesebb id\u0151t hagynak arra, hogy a mai ember olyan t\u00f6rt\u00e9netek meg\u00fajul\u00f3 \u00e9rtelmez\u00e9s\u00e9t keresse, amelyek historikus korokat id\u00e9znek. Mivel azonban e jelenetek, J\u00e9zus \u00e9let\u00e9nek \u00f6sszetett szimb\u00f3lumvil\u00e1ga \u00f6r\u00f6k, tan\u00edt\u00e1sa egyetemes, \u00edgy az \u00dajsz\u00f6vets\u00e9g folyamatosan aktualiz\u00e1lhat\u00f3 viselked\u00e9smint\u00e1kat magyar\u00e1z.
Ez\u00e9rt az Evang\u00e9lium 21 projekt misszi\u00f3ja az evang\u00e9liumok t\u00f6rt\u00e9neteinek, f\u0151 t\u00e9m\u00e1inak a kort\u00e1rs k\u00e9pz\u0151m\u0171v\u00e9szet \u00e1ltali aktualiz\u00e1l\u00e1s\u00e1t t\u0171zi ki c\u00e9lj\u00e1ul. Szeml\u00e9lete nyitott, a m\u0171v\u00e9szekt\u0151l nem illusztr\u00e1ci\u00f3t v\u00e1rt, hanem az \u00e9rtelmez\u00e9s meg\u00faj\u00edt\u00e1s\u00e1t. A kort\u00e1rs m\u0171v\u00e9szet nyelvezet\u00e9re t\u00e1maszkodik, szimb\u00f3lumokon \u00e9s mai vizualit\u00e1son kereszt\u00fcl sz\u00f3l n\u00e9z\u0151j\u00e9hez, hogy \u00fajra felfedeztesse a Megv\u00e1lt\u00f3 jelent\u0151s\u00e9g\u00e9t \u00e9s tan\u00edt\u00e1sainak \u00f6r\u00f6k \u00e9rv\u00e9nyess\u00e9g\u00e9t. L\u00e9trehoz\u00f3j\u00e1nak c\u00e9lja a m\u0171vek min\u00e9l t\u00f6bb helysz\u00ednen val\u00f3 ki\u00e1ll\u00edt\u00e1sa \u00e9s megismertet\u00e9se, hogy az alkot\u00e1sok seg\u00edts\u00e9g\u00e9vel haz\u00e1nkban \u00e9s k\u00fclf\u00f6ld\u00f6n is min\u00e9l t\u00f6bben osztozhassanak e kezdem\u00e9nyez\u00e9s eredm\u00e9nyeiben \u00e9s el\u0151remutat\u00f3 tartalm\u00e1ban.<\/p>\n\n\n\n

Petr\u00e1nyi Zsolt,
az Evang\u00e9lium 21 gy\u0171jtem\u00e9ny \u00e9s ki\u00e1ll\u00edt\u00e1s kur\u00e1tora<\/p>\n<\/div>\n\n\n\n

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The mysticism and spirituality of contemporary art is a common theme in contemporary art. In the turbulent 21st century, the most important dilemma for artists and audiences who treat the concept either abstractly or as a world religion is the relevance of the perception of mysticism in art today. Indeed, if the representation of it in the work is universal, to what can reference be made to any supra-worldly entity? Or, conversely, is there not enough wrong in the world to require art to provide a specific remedy or method of processing the phenomena that affect our everyday lives?<\/em>
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The answer to these questions is usually an accepting one; that is to say, that however contradictory the world may be, art can still provide solace if it is not concerned with climate change, terrorism or poverty, the threat of viruses or social or individual tensions, but with an analytical approach, such as spirituality. To express this, the avant-garde movements of the twentieth century have created a language on which the artist of the twenty-first century can draw: whether we think of the work of Mark Rothko1 or Richard Long or others, the expression of art’s attraction to spiritual content through abstraction carries the possibility of generalisation.<\/em><\/p>\n\n\n\n

But the question arises: if the artist wants to process the symbolism of a particular religion through the codified documents of an ideological system, how should he proceed if he wants to create non-illustrative works? This question is more difficult to answer, because the evocation of specific stories, teachings and their characters in art can be addressed to a much narrower audience today, when the popularity of religions and the number of active believers – and thus of people who understand works that refer to religions – are declining worldwide for various reasons.<\/em>
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The aim of the collection initiated by Levente Kov\u00e1cs is to find a form of artistic expression of the Gospel in the 21st century that integrates aspects of the life of Jesus into the complex and problematic life of the present in both language and visual expression.The 12 Hungarian artists invited to participate in the project all come from different backgrounds and have different artistic visions, but they are united by the fact that they all have excellent references in the Hungarian art scene, have participated in major exhibitions and have contributed a lot to the overall artistic landscape of Hungarian contemporary art.They do not belong to the same generation, just as the medium in which they work is different: there are those who are fans of traditional techniques, but also those who use mixed or intermediate methods to work on broad themes of the Gospel. Sometimes they use installations, light or moving images to convey their ideas, breaking away from the strict narrative thread.<\/em><\/p>\n\n\n\n

The preparation of the work was based on theological foundations. The totality of events described in the four Gospels forms a system that encompasses all the stories and teachings related to Jesus’ life. Grouping these resulted in a new structuring of Jesus’ life and work. Based on this, each unit could be thematically named according to the scenes that could be included in that unit. This led to the development of a division consisting of 12 parts, which served as the basis for inviting artists.<\/em><\/p>\n\n\n\n

The theological-based compilation of themes and division of the Gospels into units partly facilitated and partly complicated the selection of artists. The assumption played a role in approaching the creators, who could align their working methods with others and „fit into” a particular section of the story, and work with their chosen symbolism in representing the selected unit.<\/em><\/p>\n\n\n\n

In contemporary Hungarian art, the mediation of mysticism or Judeo-Christian tradition through works, while not common, is accepted: we often encounter direct and indirect references among the artworks, the presentation of which has been embraced by several institutions – the expression of all these permeates the art of the twentieth century. However, among today’s interpretations, we must mention the exhibition program of the Benedictine Archabbey of Pannonhalma, where, based on the curatorial concept of J\u00f3zsef M\u00e9lyi, the group exhibition titled „Reconciliation” was organized in 2018, and according to the idea of Nikolett Er\u0151s, the exhibition titled „Silence” was held in 2019. These selections featured artists for whom Christian mysticism was a relevant artistic content. The list of these creators, as well as the spirit of their works, helped in selecting the artists for the Evangelium 21 project. Although we reached out to other artists during the selection process, the examples mentioned above confirmed the significance of the theme in Hungarian art.<\/em><\/p>\n\n\n\n

The openness of artists in choosing Christian content often stems from commitment, but not always. Some consider religious sentiment a private matter and do not see its „discourse” as an inherent topic in art. If one possible aim of art is to express human relationships, emotions, conflicts, a reference to a specific religion can narrow the circle of understanding viewers, as the symbolism of a religion is not always clear to everyone. Perhaps this is precisely why art seeks the general validity of references, messages that may rely on a specific reference but articulate general\/global thoughts.<\/em><\/p>\n\n\n\n

It was precisely this duality that drove the selection of artists for the Evangelium 21 project. Although the commission was for the representation of a particular biblical passage, it was important for the envisioned works in the collection to be timeless and to speak the language of contemporary art, even if this meant that the works would depart from literal illustration.<\/em><\/p>\n\n\n\n

There were two criteria for selecting artists: one was that their interest in the theme could be supported by their work, and the other was that, through their character and working methods, the works of the artists involved in the project could engage in dialogue with each other. The overall picture and unity of the future collection had to be considered in the selection, as it was obvious that the project’s message could only be effectively conveyed if both the exhibition and the content published in book format had a cohesive and consistent vision. Of course, now that the reader holds this publication in their hands, it seems self-evident, but at the beginning of the work, it was only „desirable.”<\/em><\/p>\n\n\n\n

Since dialogue among artists was a key issue, their invitation happened in several rounds. First, we approached those who perhaps were closest to expressing this binding content, those who had previously directly referenced the Bible or the lives of saints in their work. Thus, the involvement of artists like Mariann Imre, Erik M\u00e1trai, Ilona Lovas, M\u00e1rta Feh\u00e9r, or Lell\u00e9 Szelley could provide a basis for considering the next round of invited artists together, weighing possible resonances and stylistic similarities.<\/em><\/p>\n\n\n\n

In the second round of invitations, the artists also made suggestions, reinforcing the security of the choice. Thus, the invitation of Viola F\u00e1tyol, Zsolt Asztalos, Lajos Csont\u00f3, S\u00e1ra Richter, Imre Bukta, P\u00e1l Gerber, and Mikl\u00f3s Erhardt to the project was based on our consultations.<\/em><\/p>\n\n\n\n

The first round of discussions among participants was about selecting the themes. Regarding the personalization of depicting the parts, it should be mentioned that, initially, artists less preferred scenes more commonly found in art historical representations because they follow visual conventions that are difficult to circumvent. We could say that if someone radically departs from a familiar depiction, they risk its recognizability and the expressiveness of their own individual message. The end result, such as the meeting of Mary and Elizabeth, the Garden of Gethsemane, the Last Supper, the crucifixion, or the resurrection, ultimately appearing in the project, are good examples of how contemporary art can renew these most frequently cited scenes. However, for the other units, the opposite was very attractive \u2013 that the artists could freely condense the essence of a scene or story segment in their works, either through their chosen symbols or through associations that could lead to an interpretation of the Bible in the direction of today’s, 21st-century context. Let’s see how the artists of Evangelium 21 represent this line of thought, how they process the selected messages of the first four books of the New Testament.<\/em><\/p>\n\n\n\n

Imre Mariann’s installation depicting the meeting of Mary and Elizabeth is about imprints. The imprint of the embrace on the clothing or the pattern of fallen petals „sewn” into the concrete pavement emphasizes the eternity of the moment. Imre Mariann highlights the systematic work, the attention, and patience required for sewing and embroidery, elevating its character when she creates the imprint of the embrace on translucent fabric by weaving the patterns of thousands of her own hairs into the fabric, or embroidering colorful petals into the hard concrete slab using her unique technique. Her installation – like many works in the material – tells its message through absence, not portraying the figures, only the garments and the handprint left on them. She seeks the symbols not in the characters’ personalities but in the props that made the encounter significant – turning it into one of the starting stories of the New Testament.<\/em><\/p>\n\n\n\n

Viola F\u00e1tyol’s photo series connects the moments of encounter, birth, and baptism with the message that symbolic, pivotal stories unfold in everyday life, in that mundane environment that can be so ordinary that it may remain unnoticed. She highlights or symbolizes details in her images that have a well-known biblical meaning but appear as elements of a distant, mythical time in Scripture: such as water, sky, earth, or even bread. By using the medium of photography, the significance of her staged images can be captured in the parallels between historical and contemporary reality. For Viola F\u00e1tyol, the goal is the transfiguration of the environment, the transformation of natural and figurative images: sometimes through minor or major interventions, by staging scenes, she elevates the character of the photograph into a sublime, elevated dimension.<\/em><\/p>\n\n\n\n

Csont\u00f3 Lajos’s series of images is about calling, about the selection of disciples. For him, the motif of this selection is the most defining, the moment when the gaze of the chosen and the chooser first meet. Csont\u00f3 used photographs of groups of people, where upon enlarging the image, it becomes visible that someone looked into the camera at the moment of exposure. Highlighting the faces, the artist created 12 portraits, which he printed on glossy black surfaces so that viewers, looking at the images, could also see themselves – as chosen ones – on the picture surface. His series of images, placed at eye level and made mirror-like, is complemented by video animation, showing the approach, the selection of portraits on the surface of the original photos.<\/em><\/p>\n\n\n\n

Asztalos Zsolt’s approach is about abstracting events. He examines the topic of teachings from the aspect of their impact on us. His work, consisting of 12 human-scale wooden beams bent in 12 carpentry workshops, with the documentation of the bending, claims that biblical texts affect us, change us, modify our personalities. Similar to woodworking interventions, we undergo a transformation that may initially demand sacrifice, but for the sake of improvement, we subject ourselves to changing our behavior. Asztalos Zsolt communicates this idea with the language of contemporary art, as he does not envision the arrangement of the beams in a static way; we see an arrangement expanded with the elements of unpacking and assembly. We discover the beams laid on foil on the ground, some connected by clamps, but all this offers the possibility of new meanings and complex associations beyond his initial thought.<\/em><\/p>\n\n\n\n

Bukta Imre selected three parables: these were the subjects of three mixed-technique paintings. Guided by his painting methodology, he chose the more problematic stories, the surreal scenes, which he placed in the rural, agricultural environment he knows and often depicts. Among the symbolic stories of the withered fig tree, the murderous vineyard workers, and the good shepherd, the visual and intellectual processing of the first two is not an easy task even for today’s readers. The images offer interpretations of the stories – Bukta Imre highlights elements from the Scriptures that interest and provoke him as an artist, such as the exaltation of the withered fig tree or the motif of the cornerstone. In the third, more easily digestible story, the artist captures the aspect of community building, belonging, with the main character being the contemporary figure of the Shepherd, where even a tattoo, characteristic of our time, can be discerned.<\/em><\/p>\n\n\n\n

M\u00e1rta Feh\u00e9r sees the essence of transfiguration, transformation in the Miracles. Based on her theological reflections, she created five cohesive, abstract pairs of images that evoke Jesus’ miracles with their colors. She made the images following the traditions of icon painting, where technical details carry significant meanings. She worked with watercolor sketches, then took blurred, moving photographs of them. She carefully printed these on primed wooden panels, which she finally corrected with additional painting. The process of creating the works is a miracle in itself for her, the practical path of transfiguration, which not only conveys the chosen scenes but also the mechanisms of expectation and fulfillment.<\/em><\/p>\n\n\n\n

S\u00e1ra Richter’s monumental textile installation, embroidered and painted on both sides, focuses on healing. Processing personal involvement, she created nearly three times five meters of graphic representations of sickness stigmata and the processes of healing with sewing and painting. One of the main elements of her work, which also uses texts, is repetition, emphasizing messages following the logic of prayer. The work also shows the process of creation: on one side, clear visual elements; on the back, due to protruding threads, it shows a different aesthetic quality and receives different comments. Illness and healing are processes that accompany and haunt us throughout our lives, and living with them can only be done by processing and accepting them. The work thus becomes a timeless symbol of bodily changes, transience, and regeneration.<\/em><\/p>\n\n\n\n

Ilona Lovas’s installation deals with two moments of the Last Supper. The washing of the feet symbolizes humility, depicted in a series of four images: the artist herself washing the foot, the foot being the limb of the artist’s closest relative. Ilona Lovas portrays the scene succinctly, analyzing the gesture of touching the hand and the foot. As in many of her other works, she covers the images with animal membrane, emphasizing the symbolism and life-relatedness of the representation. Another element of her ensemble is the table of the Last Supper, with only one chair in front of it, where the invited viewer sits. The tabletop is densely inscribed with Bible verses, providing the viewer with reading material that serves meditation and transfiguration. The central, circular, indented part of the table is filled with the sacramental host, symbolically urging participation in the Eucharist with the inclusion of the common circular bread symbol in the liturgy.<\/em><\/p>\n\n\n\n

Erhardt Mikl\u00f3s tackles the scene of the Garden of Gethsemane, the last night before Jesus’ condemnation, in his film shot on 16mm black and white film. The symbolic series of events focuses on the moment when Jesus prays in the night and finds his disciples asleep. In the film, played out with only four characters, the main character wakes the others twice, but on the third attempt, he accepts, resignedly, that they have fallen asleep again. This alteration places exhaustion and solitude at the center of the Garden of Gethsemane’s night. By shooting all this in a residential park during the day with amateur actors, and appearing as an extra in the film, Erhardt Mikl\u00f3s emphasizes the timeliness of the biblical situation, making audible in the first part of the film the instructions for shooting as a radio play.<\/em><\/p>\n\n\n\n

In the exhibition and the material, the trial before Pilate is represented by a sentence chosen by the initiator of the project, which condenses the moment of Jesus’ condemnation as an inscription connecting the works. Legal-historical research still analyzes the living question of the Pilate trial: in what way can the guilt of the Savior be grasped? The answer to this dilemma today is a single sentence, „You said it,” which recalls the moment when Jesus does not emphasize his status as Savior in response to the high priest’s question but refers to the statement made by the questioner. Salvation is a predetermined fact and not a chosen mission, interpreted by believers as blasphemy in a blind environment. In the exhibition, the viewer encounters this sentence painted by Gerber P\u00e1l as a painted inscription.<\/em><\/p>\n\n\n\n

Gerber P\u00e1l’s chosen theme is the subsequent torture and crucifixion. The long series of events is a favorite subject in art history: the details of Jesus’ passion story have been processed by many artists. Gerber’s solution is to condense all the tools of the events into a single iconic image, avoiding human representation, but listing all the tools used during the last hours side by side with appliqu\u00e9d, carved objects. His solution also refers to the disproportionality of folk religious representations, including the wooden cross, the spear, the sponge, the nails, and even the row of money used for betrayal in the composition. Gerber P\u00e1l’s work becomes an altar-like composition that assumes knowledge of the story: for those familiar with the events of Jesus’ life, it provides an overview, a succession of references capable of summarizing the significant moments of the events. The work is complemented by two inscriptions painted by Gerber, where the viewer sees indications on both sides. The abbreviation I.N.R.I. (Iesus Nazarenus Rex Iudeorum – Jesus of Nazareth, King of the Jews), according to tradition, was nailed above Christ’s head on the cross; IHS (Iesus Hominum Salvator), whose most common interpretation – Jesus, the savior of men – clarifies the meaning of the image set.<\/em><\/p>\n\n\n\n

Szelley Lelle’s iconostasis dealing with the period between the crucifixion and resurrection draws formal inspiration from the symbolism and image arrangement of Orthodox Christianity. The closely juxtaposed images of five by five lying collages refer to the practice of iconostases separating the altar from the community space. The number of framed panels and their symmetrical arrangement designate symbolic points within the ensemble, with the intersection of the axes of the images, where the symbolic representation of the Holy Spirit is placed, taking a prominent position. Szelley Lelle used everyday packaging materials in her work, shiny papers that signify solemnity beyond connecting the sacred with the mundane. The collages also include cut-out texts, serving as references to the personal interpretations of biblical texts and subjective highlights, resulting in each reader attributing different meanings to the essence of the text, depending on their life situation or age.<\/em><\/p>\n\n\n\n

M\u00e1trai Erik’s works provide the framework for the themes covered by the Evangelium 21 collection. He created the portraits of the four evangelists, which follow traditional representation schemes based on their later function as patron saints. The portrait of Matthew, as the patron saint of bankers, is made from shredded banknotes; Luke, as the patron saint of doctors and painters, is depicted using M\u00e1trai’s poorly executed paintings from his youth; Mark’s connection to wheat blessings is represented by wheat grains, while John, the patron saint of writers and teachers, is formed from a network of the letters A, B, and C.<\/em><\/p>\n\n\n\n

However, M\u00e1trai Erik also depicted the closing scene of the collection, the resurrection, in his light installation. The chrome-plated, eight-rayed monstrance statue, human-sized, is illuminated by four colors: the blue of water, the red of blood, the yellow symbolizing bread, and the white symbolizing purity, resulting in a space-filling, colorful play of light due to reflections. The mixtures of colors illustrate the overlaps of the historical meanings of the symbols, while the overall effect of the light-based artwork, as discovered by the viewer’s circumnavigation of the statue, recalls the miracle of the resurrection. The plastic solution of the traditional, baroque-inspired form of the monstrance provides contemporary meaning to the language of art history, emphasizing the contemporary validity of tradition.<\/em><\/p>\n\n\n\n

The words described in the Bible convey a text that defines daily thoughts, encourages contemplation, but its expression is archaic, analyzing a series of events that are almost two thousand years old. Throughout the history of visual arts, every era has sought to convey this material to its contemporary audience to bridge the temporal distance and demonstrate the relevance of its content. The Renaissance emphasized mysticism with its symbolic system, the Baroque highlighted emotions and ecstasy, while Classicism emphasized purity. Twentieth-century art movements seemed to depart from biblical narratives to seek a new visual language in a dramatically changing technological age. In recent decades, if there has been an emphasis on non-religious art, it has undoubtedly been in contemplation, immersion, and meditation.<\/em><\/p>\n\n\n\n

The 21st century presents new challenges in expressing religious content, with perhaps the most important being forgetfulness. The new communication practices of emerging generations, an entirely new arsenal of technology, obscure traditional values and content, such as the Gospel, as rapid changes leave less time for contemporary people to seek the renewed interpretation of stories that evoke historical eras. However, as the scenes, the complex symbolism of Jesus’ life is eternal, his teachings universal, so the New Testament can continually provide explanations of behavioral patterns.<\/em><\/p>\n\n\n\n

Therefore, the mission of the Evangelium 21 project is to update the stories and main themes of the Gospels through contemporary visual art. Its approach is open; it does not expect illustration from artists but seeks to renew interpretation. It relies on the language of contemporary art, speaking to its audience through symbols and modern visuals to rediscover the significance of the Savior and the eternal validity of his teachings. The creator’s goal is to exhibit the works in as many locations as possible and to introduce them so that as many people as possible, both in Hungary and abroad, can share in the results and forward-looking content of this initiative.<\/em><\/p>\n\n\n\n

Petr\u00e1nyi Zsolt, curator of the Gospel 21 collection and exhibition<\/em><\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

A kort\u00e1rs m\u0171v\u00e9szet miszticizmusa, spiritualit\u00e1sa gyakori k\u00e9rd\u00e9s a mai k\u00e9pz\u0151m\u0171v\u00e9szetben. A 21. sz\u00e1zad felbolydult \u00e9rt\u00e9krendj\u00e9ben a legfontosabb dilemma a fogalmat ak\u00e1r absztraktan kezel\u0151, ak\u00e1r valamelyik vil\u00e1gvall\u00e1shoz k\u00f6t\u0151 m\u0171v\u00e9szek \u00e9s a k\u00f6z\u00f6ns\u00e9g r\u00e9sz\u00e9r\u0151l az, hogy ma mennyiben relev\u00e1ns a misztika \u00e9rz\u00e9keltet\u00e9se a m\u0171v\u00e9szetben. Egy\u00e1ltal\u00e1n, ha \u00e1ltal\u00e1nos \u00e9rv\u00e9ny\u0171 a m\u0171ben ennek megjelen\u00edt\u00e9se, mire utalva lehet b\u00e1rmilyen vil\u00e1g … <\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_editorskit_title_hidden":true,"_editorskit_reading_time":11,"_editorskit_is_block_options_detached":false,"_editorskit_block_options_position":"{}","ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-232","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/evangelium21.hu\/index.php\/wp-json\/wp\/v2\/pages\/232","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/evangelium21.hu\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/evangelium21.hu\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/evangelium21.hu\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/evangelium21.hu\/index.php\/wp-json\/wp\/v2\/comments?post=232"}],"version-history":[{"count":3,"href":"https:\/\/evangelium21.hu\/index.php\/wp-json\/wp\/v2\/pages\/232\/revisions"}],"predecessor-version":[{"id":1121,"href":"https:\/\/evangelium21.hu\/index.php\/wp-json\/wp\/v2\/pages\/232\/revisions\/1121"}],"wp:attachment":[{"href":"https:\/\/evangelium21.hu\/index.php\/wp-json\/wp\/v2\/media?parent=232"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}