|Intersubjectivity:|| media metaphors, play & provocation
6th international Vilém Flusser symposium
& event series
march 15-19 1997 budapest hungary
Born in 1958. Attended Department of Sculpture of the Hungarian Academy of Fine Art, Budapest from 1979 to 1984. Between 1980 and 1986 he was actively involved in the exhibitions and performances of INDIGO, an interdisciplinary art group, led by Miklós Erdély. János Sugár has participated in national and international exhibitions since 1980 and has also created several performances, films and videos. Between 1990 and 1995 he was one of the board members of the Balázs Béla Film Studio, Budapest. Since 1990 he is a lecturer at the Intermedia Dept. of the Hungarian Academy of Fine Arts, which was established in 1990. In 1992 he exhibited at the documenta IX, Kassel. He completed an Artslink residency at the Clevelend Institut of Art in 1994.
Work for the exhibition "Reflections on Flusser"
selected solo exhibitions:
selected group exhibitions:
- 1985 Adolf Fényes Gallery, Budapest
- 1986 Studio Gallery, Budapest
- 1988 Institut Francais, Budapest
- 1989 Salone Villa Romana, Florence
- 1990 Lajos-street Gallery, Budapest
- 1991 Ujlak Exhibition Space, Budapest
- 1992 Knoll Gallery, Budapest
- 1993 Knoll Gallery, Vienna
- 1996 Studio Gallery, Budapest
- 1980-86 Eighteen exhibitions and happenings with the INDIGO group
- 1988 5th Biennial of European Graphic Art, Heidelberg, FRG
- 1991 21. Biennial of Saő Paolo, Museo de Arte Contemporaneo, SaőPaolo
- Trigon, "8x2 aus 7", Neue Galerie am Landesmuseum, Graz, Austria 1992 "Documenta IX", Kassel, Germany
- 1995 "Ostranenie" Dessau, Germany
- 1996 "The Butterfly Effect", Műcsarnok, Budapest
- "Manifesta 1", Rotterdam, Netherlands
- "jenseits der Kunst", Ludwig Museum, Budapest
- ’Schwerelos’, Linz, Austria
film and videos:
- 1984 "Fast Culture", Kossuth Club, Budapest
- 1987 "The Circle and the Dawn", New York Café, Kassel, FRG
- 1992 "Strecke durch Zeit", Künstlerhaus Bethanien, Berlin
- 1994 "The Moment Before which We Cannot Speak About Physics" Hotel Opera’s garage, Budapest
- 1995 "The Logic Became House", Tranasrt Communication, Nové Zámky,Slovak Rep.
- "The Shortest Labyrinth" Perforium, Int. Perf. Art Meeting, Budapest
- 1996 "Ariadne Unemployed" Gallery KK im Fisch, Braunschweig
- 1983 "This Type of Intention is on the Border of Credibility"16 mm, 7 min. (standard VIDEOS copy: 1989,) BBS production
- 1985 "Persian Walk" color, 16 mm, 50 min.(standard copy: 1989), BBS
- 1987 "Tweedle" (with L. Révész,) BW, 16 mm, 5 min. BBS
- 1988 "The Immortal Culprits" U-matic, 30 min. BBS
- 1991 "Misunderstandings" TV series, 5x28 min. FRIZ production
- 1992 "Camera in Trouble" color, 16 mm, 70 min, BBS
- 1993 "Ambigous Window" BW + colour 16 mm, 17 min, (standard copy: 1996) BBS
- 1994 "Faust Again" BW, 35mm, 110 min, BBS (under production)
- 1996 "Ariadne unemployed", video, 13 min.
"The Limits of Efficiency - The Fate of the Secularised Decisions"
lecture for the Symposium - abstract
According to George F. Kennan, who is also known as the promoter of the Marshall Plan, the Twentieth Century became rotten, particularly in 1894 when, from a diplomatic viewpoint, the Russian-French Treaty provided for totally unreasonable and meaningless obligations. According to his reasoning, this led directly to the First World War, and then the outbreak of the Second World War, then to the Cold War, and to all those perspectives that are described by Samuel F. Huntington, as well.
On the other hand, the Age of Enlightenment exiled the demand of consensus within thought and created the secularised specialisation, providing a background for development. Enlightenment has opened up the way for development within numerous disciplines, which, delivered from ideological pressure (the laborious bureaucracy of the church), were able to self-reflectively concern themselves only with themselves, no longer required to reconcile with other spheres of interest (such as theology). Today the once lifesaving specialisation has become a danger. If it is not necessary to harmonise in an interdisciplinary mode, then more time remains for concentrating on details, and the pressures of solving problematic details defines the direction of the development of civilisation (if there is no better way). The results of scientific, technical and cultural specialisation have become significant elements of everyday life, but due to the lack of cross-references, more and more serious communication crises have arisen (quasi-repressions), such as environmental pollution, wars and economic crises.
We can also say that since the Age of Enlightenment, the number of secularised decisions has increased in overwhelming proportions, and this has led to the dramatic growth of mistaken decisions. The situation is especially problematic because the decision-makers on various levels do not necessarily have the appropriate intellectual background; with regard to specialisation, it is not compulsory to possess a philosophical, religious world concept which would allow them to think over certain questions from a wider, global perspective.
It is not by chance that in the last century there existed a concept, according to which society could be modelled on the image of a machine, in which the various participants are competent as components, taking full responsibility exclusively in their profession, and if everyone were to satisfactorily fulfill his duty, then the whole society would work in perfect order. This conception has not been realised in the Twentieth Century.
||Intersubjectivity: media metaphors, play & provocation|
László Beke, director, Műcsarnok;
Wolfgang Meissner director, Goethe-Institut Budapest;
Matthias Müller-Wieferig, Goethe-Institut Budapest;
Miklós Peternák, chair of the board, C3;
Zoltán Sebôk, theoretician; J.A.Tillmann, theoretician;
Organizers:Suzanne Mészöly, programdirector C3
Ágnes Veronika Kovács , coordinator C3
Adele Eisenstein, koordinátor C3
See the Goethe institute's website on Flusser Symposium: http://www.goethe.de/ms/bud/depsymp.htm