In 2019 we posed the question: what kind of material is the material of art? Conceptual? Emotional? Corporeal? Dense? Complex? Tangible? How do artists perceive the material of their work? Is it a starting point or a necessary vehicle?
A quarter of a century ago, art historian Gábor Andrási described the phenomenon, also characteristic of Hungarian art, of it once again being important to realize artworks and to return to materialistic works of art in addition to preserving their conceptual nature, as “sensual conceptualism.” Nowadays, thanks to the overwhelming presence of technical images in the digital and virtual worlds, both in everyday life and in the arts, it seems as though we are witnessing an even more marked return. It is as though the past materiality of the works of art becomes even more important, as if that attribute is a token of their authenticity. For the digital generation, this is a very exciting rediscovery, bringing to the forefront analog/manual devices that had disappeared in the sinkhole of history for just a few decades. But has the relationship to the rediscovered analog and material changed for the digital generation of contemporary artists? Do those who have lived through the digital shift have a similar attitude towards it to those of the pre-digital age?
Members of AIRD2019: Balázs Nikolett / Berhidi Mária / Bögös Loránd / Dobokay Máté / Gallai Judit / Gerber Pál / Martin Henrik / Richter Sára / Szentirmai Tamás / Szirtes János / Tasnádi József / Vági János
Art directors: Horányi Attila, Csontó Lajos, Süli-Zakar Szabolcs