HEGEDŰS 2 László

HEGEDŰS 2 László

Contemporary Photography from Hungary 1.


László Hegedűs 2 practises an embarrassingly wide variety of arts, applies a multitude of techniques, amalgamates various styles and, yet, he makes a mix that consistently resembles itself. He belongs to the type of ever-searching artist with an exploratory mind. However, there is something, in fact a paradox, that cements his work and makes an artist`s personality of a searching and researching experimentalist.
How to say it so as not to be misunderstood? Driven by our modern inert approach, we look at artists as creators of worlds and a separate reality, and every time we stumble upon a work of art we try to grasp that reality. Let’s see the artist’s world, his or her separate reality! What we find, nevertheless, in Hegedûs 2’s works are different kinds of reality, “real realities”, that have existed previously and that he considers so excellent that they mustn’t be changed. And what does he do instead? He presents them in shocking combinations. His art consists in the way of representation – namely in what he does or does not represent – and combination.

Sándor Radnóti

As an artist of outstanding importance, László Hegedûs 2 has been on the Hungarian contemporary scene for about thirty years. Using different artistic means, his works, as those of a practitioner of a varied scale of technical media (photography, film, painting, prints and installation), have made a crucial contribution to the renewal of intermediary means and methods.

József Készman

HEGEDÛS 2 As for his style and interpretation, the artist Hegedûs can principally be considered a continuation of Endre Bálint’s slightly grotesque montage technique, but
he also prepares objects and installations, and his photo
remakes apply both hyper-realistic means and postmodern decorative elements. His choice of subject has a strong focus on some recurrent motifs as outward forms of a fixed idea, e.g. buttons (as face equivalents on tableaux), cherries, swallow`s nests, dominoes (used as effects of alienation when placed on a picture or as frames) and books. His montages and collages express some sort of post-surrealistic set of mind (recalling Max Ernst and René Magritte besides Bálint); however, his verbalism that comes forward from time to time denotes the school of conceptual art. To be sure, method is much more typical of his oeuvre than classification – an attentive spectator would notice that his motifs form a loose chain of association. The spots on dominoes link with buttons, buttons with cherries, and the latter ones with the well-known double portraits of women of the School of Fontainebleau, in particular the exposed motif of the ladies` naked nipples.

László Beke

If I knew Latin well, I would call Hegedûs 2’s photo universe a “photographic harmony” after my book’s title “Harmonia Caelestis”, i.e. celestial harmony, and I would say it not out of narcissism but as a simple descriptive statement that, I guess, tells you something about his intricate and figurative relation to photography and harmony. His art is not counter-photography and his world does not sink into chaos. But by no means does he claim that everything’s all right, while, of course, he cannot say anything particular about that “all” and “right”. His photos are not intended to take the moment but to create it. “It’s time…” wrote the present writer some 20 years ago. As if H2 would be in flat opposition to my words – he claims it’s no time. But if there is no time, there is no picture. THERE IS picture.

Péter Esterházy

1ONE: If one was able to exclude all forms of interpretation from one’s mind, brain efforts to decode what means what and what is what and to see what is used for what, then everything would become distinctly visible. I use colours and forms of that visible world.
It’s not the product that carries significance in representation but the means that bring about, and the colours and forms that make up, that end product. For me, for example, a letter or a number means an angular or a curved form rather than a pronounced or mathematical sign. More exactly, 2 is not two but a nice form for me. Colours and forms applied on a picture can form a complex or a simple relation, just like the visual image of a math calculation on the blackboard, e.g. 1 + 1 = 2 or simultaneous equations covering all over the blackboard.
To get 2 as a final result in mathematics, we have infinite variations of solution. I go through the potential versions one by one in a visual and intuitive way, resulting in a picture.
2TWO: Falling upon the present, future fades away in the past. Everything is just colour and form.
1ONE + 2TWO = H2L