Gábor Arion KUDÁSZ

Gábor Arion KUDÁSZ

Contemporary Photography from Hungary 6.


Faur Zsófi Gallery
Budapest, 2010
98 pages , 71 color images
soft cover
ISSN 2060-0119

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Sári Stenczer
Disharmonia Mundi

Day by day we feel the need to surround ourselves in our visually important living spaces with landscapes – be they real or artificial. We have a desire to summon nature – in both its narrower and wider interpretation – to see it represented in our urban environment. All this, of course, is possible in countless other ways besides in a two-dimensional, traditional visual representation: by nurturing potted plants or arranging artificial flowers, with screensaver sunsets or with chirping ringtones.

Over the centuries, man has conquered ever larger spaces from the nature surrounding him, moulding the niches of every species of flora and fauna into “his own image”. He has occupied lands and waters, transformed mountains and valleys, and engendered artificial heights and depths. In parallel with this perpetual transformation, he also increasingly attempted to smuggle nature – perhaps often unconsciously – into his constructed environment. The art field is no exception to this rule: the traditional notion of the landscape long ago discarded its strictly interpreted boundaries and extended to the wider context of man, to every sort of landscape transformed by civilisation and to its manifold formal representations.

The pure landscape, as genre, appeared relatively late in art history. While we are familiar with a few depictions of nature from antiquity, the Western world considers the pictures illustrating the seasons and work in the Book of Hours made by the Limbourg Brothers for the Duc de Berry the first such compositions.1 This case remained an isolated phenomenon for quite some time, as mediaeval man did not so much wish to see or represent his own environment as the Garden of Eden, or other locations relaying metaphysical content and deviating from reality. Here, the landscape appeared as a decorative background and/or frame built up from symbols, as the set for the scenes played out within. All this was chiefly fed by the rigid dissonance between Christianity and the tangible world, which only gradually, as a result of the strengthening of human curiosity and the desire for knowledge, was able to shake its dogmatism. Régis Debray writes that, “Quand une société aime un peu moins Dieu, elle regarde un peu plus les choses et les gens”...