Hunger for Separation
The Botanical Gardens of the Faculty of Natural Science of Masaryk Univerzity
Monday – Sunday 9-17
Entrance fees to the Greenhouses:
80 Kč/40 Kč
The objects of Hungarian artist Zsofia Keresztes can be understood as commentaries on the oft-quoted esthetics of 20thcentury abstract sculpture or post-modern eclecticism. Through her works, the artist relates herself to the cultural and social change caused by the dominance of digital technologies, stressing the consequences of this condition, i.e. the interconnecting of the corporal and the virtual. She reveals her understanding of the essence of virtuality by means of the process of making sculptural objects: no matter how realistic, solid and lasting her objects seem to be, they are artificial, empty and temporary by their very nature. The artist covers the bodies of her sculptures-avatars with a “skin” in the form of ceramic mosaic – i.e. with a meticulous and markedly materialised surface that is mostly found in lasting sculptural works intended for gardens, parks or streets. The use of this archetypal technique confuses the audience: tet Zsofia Keresztes’ thinking goes strictly against the stereotype of role and function,as well as both stereotype and the sculptural definitive. She abandons the interior of her woks to the polystyrene “vacuum”; she puts her works in interiors or, as in the case of BAO 2019, in the artificial nature of a greenhouse; she distorts traditional and pop-culture ornaments in a similar way, as it is possible to relate oneself to aesthetic motifs randomly found on the Internet. Entities appearing in the digital world as consequences of various algorithms or perhaps completely by chance are materialised by Zsofia Keresztes in the physical world, and even given the identity of a cyborg.
Zsofia Keresztes’ objects are located in the greenhouses of the botanical garden, becoming a part of something like a tropical plant “protected reserve” hidden inside the urban setting and traffic noise. This organised and artificial organicity is a propitious environment for the artist’s objects for two reasons: First because they manifest similarity with organic forms, or rather with abstract sculpture to which those starting points use to be attributed; second because of the shared principle of decontextualization: like a small tropical forest existing in the centre of a Central European city is an incongruous implant of an “exotic culture”, the objects of Zsofia Keresztes have been extracted from virtuality into the reality that we persist in perceiving as the authentic one. Zsofia Keresztes draws our attention to the chimeric character of such a presumption.