The exhibition examines the effects of empathy and the sense of feeling responsible for a community on private life and the fragile boundary in between them. The exhibiting artists address the issues of the aesthetized interpretation of a 'home' and the unexcludable outside world in an ironic, satirical way.
'The Asylum' is built on the preassumption of visitors by questioning them or deconstructing their original meaning. Through the visuality attached to a traditional landscape, political symbols and interiors known for well-off societies the show draws attention to the moral values automatically added to 'the aesthetic', the unconscious work of visual triggers and the relativity of being rich. By evoking prejudices with the visual tradition used the artworks on show create tension which provokes self-criticism and with which the visitors are stimulated to get involved.
The title of the show, as well as the visualization of a plot on the gallery floor, reflect on the film entitled 'Dogville' (the Hungarian translation of the title includes 'The Asylum'), with which the exhibition brings in the topic of accepting/rejecting people. These references and the political connotations expand the concept of 'home' and 'outside world'. Inclusiveness appears in the displayed artworks with regard to the private life vs. world problems & homeland vs. surrounding world dualities. Relating to the topic of the Budapest Photo Festival the entire gallery space works as a reinterpreted landscape the artworks on show test the limits of the genre.
Áron Majoros's works made of steel reflecting on urban landscape appears as a fence being in the 'yard' area of the plot and opposite a work which with its visual structure recalls posters first seen in the streets after the fence at the border had been installed. The 'blank' poster by Szarvas raises awareness of the influence of the visual appearance of our surrounding environment and its messages sometimes without being aware of the knowledge. Anna Rubi and Eirini Sourgiadaki's video installation smartly and sarcastically holds a mirror up to the visitors on an individual's lack of empathy towards world problems. The most intimate part of the home hosts prints by Vera AFehér and they question the legitimacy of the positive values attached to anything beautiful by combining these values with the negative meaning people associate porn with.
The transformation of the gallery is a continuous attempt to break the illusion created by an aesthetized home. The white tape acts as an alienating effect and points out again and again that 'home' itself is an arbitrarily constructed concept. The works demonstrate the tension generated by the complexity of the relationship between an individual and the world and maintained by the lack of illusion. The show without offering a solution for the dilemma depicts sarcastically the bad conscience one feels upon not asking themselves: have the problems of the world disappear because I arrived home?
video installation, 2016, ed. 3+1
More info about this work: HERE
digital print, 2019, ed.50
More info about this work: HERE