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PROPOSAL "Affected by Bartók" (for Pleu's exhibition in Budapest 2017)

My artistic work is based on a "what I hear" during transWRITing, painting, forming paper objects and doing performances. In a certain and special way, I am "transmitting" art and scientific discourses, world literature, but also everyday communication and music in a "writing process", using wire or putting it on so called "text scins". I am fascinated by the possibility space remains to be explored on another occasion – entering with my voice and my body a new room in which poetic, intellectual, commonplace or political thoughts pass directly into an art event. 


Concerning Pleu’s open call for an exhibition in Budapest, Hungary, in Spring  2017, I would like to engage in a correspondence on an almost "Janus-faced" project: trying to remove the self from my own work and my prejudices (being influenced by those horrifying feelings seeing Kubricks "Shining"), attampting to place Béla Bartók in my "artistic skins" and to deal with my misunderstandig of his so significant work, in which the great Ungarian composer was searching and investigating the paths of the "new music" with a scientifique attitude.


Susan McClary, "In Praise of Contingency: The Powers and Limits of Theory" says in: Music Theory Online (2010), S. 33: "Gradually we are learning to overcome our disciplinary Asperger’s Syndrome, the autistic condition that prevents those afflicted from recognizing evidence of feeling in others. Our greater acquaintence with the „Affektenlehre“, the semiotic work of Raymond Monelle (2000) or Kofi Agawu (1991), and, most recently, the discovery of mirror neurons in the brain have made it increasingly acceptable to deal with affect as a part of the analytic enterprise. For listeners do not grab onto any old emotional type when they hear a passage; they are responding to specific signs."


In this sense I will jump artistically into partitures by listening Béla Bartóc‘s music and reading theoretical analysis to fulfill my mission: to transform affects into paintings by medialization in a specifique "overwriting" process, dealing with ambiguity and difference – in an expressive, colourful, sensitive, and performative way.

For former works with composers see here.

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