Adam Cuhorka, Peter Langmar, Marton Martos - Training 3 points

7/30/2019 Adam Cuhorka, Peter Langmar, Marton Martos - Training 3 points

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Adam Cuhorka Pter Langmr Mrton Gazs Martos


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3 pointsAdam Cuhorka Pter Langmr Mrton Gazs Martos Curator: Zsuzsanna Kemenesi

Layout: Mrton Gazs Martos,

Adam Cuhorka

Kiminusa Gallery, Budapest 2010.

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The center of the universe can be anywhere we like to imagine it to be we stoppedapproximately somewhere here at this thought with dm Cuhorka and Pter Langmr attheir 1 m exhibition within the European Cultural Capital program.

It's not just 1 m now but 70, not a housewarming but gallerywarming, furthermorethe Kiminusa Gallery embraces works from Tokyo to New York giving a comprehensiveapproach to contemporary art. The sources from the Cork-garden to the World Wine Web,in other words, from Your Pictures throughout Flicker Family history to the Image GooglingFor Art.

It's not about who has more tanks, if the center is not militarypolitical butgeographicaldemographicalsociologicalartistic concept, if the subject is not thequestion of the power or might as well the hierarchy by valuation, if the discussion is notabout confronting cities (...) We simply compress the world for you. The Earth is nowadaysa onedaylong planet as Mrton Gazs Martos stated. The furthest point could bereached within a day or so. Maybe it's only about the distance you accomplished yesterday.Unfortunately the recent past is not canonized yet as a heritage to defend.

We wish to keep a remarkable distance to the ephemeral character of the din ofextremity. Nevertheless, the Kiminusa Gallery welcomes the one, the Je Widenercharacter of the Unknown Rebel who faced the machinery of tanks, as well as the sidewalkthat gives the ground silently for all to happen.

Zsuzsanna Kemenesi

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New York: Red Rush is nothing but a collection of sketches taken in the everchanging Cityduring the period of two months.

In the ostentatious New York, where visuality is everything, I was making notes with theintention to capture the smallest things which this city is about.

Making it as personal as only photography can be.

Titles: Twilight / Crossing Chinatown / Prince Street station / Cofee with Paper / Central Park /

Harlem Underpass / Grand Opening / Bus stop / Parade o the Ox / Red Steps / FDR Drive /

Red rain / Curtain /

Adam Cuhorka New York: Red Rush

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Pter Langmr Cultural Democratization in the Web

Environment; User: the Powerful Actor

A hegemonic high cultural canon exists, this is what is called contemporary art. Is thisacceptable?

The role of the state is to lower the entry barrier of the cultural market to make itcompetitive. With the ideal zero entry barrier all cultures would be able to appear onthe market. It is not the non-marketable products that need to be supported, but morethe entry barrier needs to be lowered to form a democratic environment. Public cultural

institutions should also play an important role in lowering the barrier by hostingnonmarketable popular culture and allowing citizens to participate in the creation.

Much of the content appears as high cultural but can not be scientically veried. Thisquestions its state subvention and its appearance in public institutions like museums,cinemas, theaters, TV and radio stations. This content should be veried on the market.High cultural content is not economically, physically or intellectually accessible to the widepublic. It is only available to the professional scene because it is centralized and its codes,aesthetics and techniques require scientic knowledge in the eld. The high culture, as itis in case of all other scientic elds, should be interpreted in public cultural institutionsand public education. The concept of public cultural institutions from the 18th centuryneeds to be realized. To implement the idea of public cultural institutions and educationwith a widely accessible interpretation of scientically-created high cultural content, newcuratorial, artistic, institutional and communicational forms and practices are needed. In thiscase the role of the state is to support this way of creation because it furthers public good.The high cultural actors should be scientic and in deep cooperation with other disciplinesto reect contemporary issues.

The power to verify is not in the hands of the public. In a democratic system it is not thestate nor monopolies but rather public opinion through the market that should form thecultural canon. The state should decrease its own impact on the hegemony of the existingmonopolies. The cultural market and the hegemonic public actors are not regulated ina competitive and democratic way, so public opinion does not appear in the creation andverication. To keep the market diverse and competitive no monopoly can be allowed.

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Another, more open cultural platform exists. The Web.

The possibility of democratic culture is being oered p artially. However it is bet ter thanin the past, developed by the web and by the widely reachable digital mediums. Thisenvironment has to be developed and regulated to be the perfec t space of cultural access,creation and verication.The changes of the cultural market need to be understood in the complexity of the

whole contemporary cultural market, and not as a separated cultural sphere. The possibilityto be a part of the internet is more and more widely given. Not all people have accessto the Internet, however the number of users is continuously and rapidly increasing. Theearlier hegemonic high culture is losing its p ower, but cultural democracy still has many

weaknesses. Citizens turn to be users, and the net work appears as the framing network.Users have access easily to more content than ever before. Consequently user-generatedcontent has become more inuential. Users are able to create content with digital devicesand are able to share the userfriendly and free web 2.0 sites. Citizen with internetconnection has more cultural capital than ever before and appears as a p owerful actorof the cultural market. This vast access to content has dramatically increased. The mostrevolutionary eect is that the user appears in the web environment as actor both increation and verication. Therefore, usergenerated content based on sites is the platformfor access, creation and verication. Users have the possibility to reach a wide scale ofcontent, are able to add content and they verify with their interest. The users are not theonly new actors of cultural creation, the sites in themselves also have immense inuence onthe cultural market. Computing companies, oering online services, are in the position tochange the cultural market.

The ollowing artworks are statements against cultural hegemony, are critiques o the canon.

Your Picture

This project is supposed to give an overview of the web shared contemporary visualculture. A software was used to download a statistically random selection of web sharedpictures. These pictures are interpreted as art shedding light on the weaknesses of thecanon formation. I argue that these pictures are representing the relevant contemporarydemocratic visual culture.

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What is Relevant?

Search engines are widely used to nd relevant information, also in case of our profession.The results are widely accepted as trustable knowledge which reforms our relationship tocultural content. This project shows what is relevant art and photography for internet users.

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In front of...

Tourist shooting pictures in front of a building gives signicance to it. The socialisticarchitecture of the 60s and 70s is not part of the canon, is not part of the cultural heritage,so these are destroyable without any diculty. As a pseudo tourist I have formed my ownarchitectural canon to show the weaknesses of the demarcation of the cultural heritage.

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The Visitors

With this work I show the place o f the canonized culture on the cultural market. Visitorshave slight connection to the artworks. They are physically there but intellectually theydo not have real access. This shows the weaknesses of the institutional practice, of theinterpretation of art .

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My Private Sphere


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My Private Sphere

This project shows the private sphere through my pseudo amateur vision. I have useda cell phone as the most basic but widely reachable device. The pictures technically andaesthetically do not t into the common criteria of the canon. The representation of theprivate life usually appears in the contemporary art. Many similar stories are shared onthe internet.

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Mrton Gazs Martos Training


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Mrton Gazs Martos Training

Thirty six photos about train service.Not about the hungarian train service, not about the late trains, not about the lth. These

pictures tell the story about trains clasping time and space.These photos aim to show a hypothetical aura around the rails. Among the pregurations

of this essay there are W. Eugene Smith, Balzs Grdi and my rst photographer icon SamAbell. I use Smiths editing principles to build the story, I separate the inner universes likeGrdi, and I share Abells obsession of picturing everyday life.

On one hand I got the aura idea from Walter Benjamin. On the other the thought cameas I watched Robert Howlets portrait of Isambard Kingdom Brunel. That photo pictures

the leading gure of the rst industrial revolution. Its aura originates not only from thearchaic technique and not only from the enormous chains in the background but from thelegends connected to Brunels person.The essence of my essay lies in the legends. In the stories born during trips, in the stories

we hear after a long journey, and in the stories we tell after one. These stories are bestphrased in Egon Erwin Kischs novel wherein his fellow journalists make a joke about himbecause he always tried to get reporter assignments: Kisch buys a train ticket for vecoronas. Where to? asks the tick et clerk. It doesnt matter, responses Kisch, for me thereis something to do everywhere.

On the train we have the t ime to listen to these stories. We hear them from the next seat,we see them, then we tell them after arriving.

We build the aura again and again.

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Documents

Adam Cuhorka, Peter Langmar, Marton Martos - Training 3 points