{"id":5367,"date":"2006-11-09T00:00:00","date_gmt":"2006-11-08T23:00:00","guid":{"rendered":"http:\/\/gmk.esbe.com.hr\/news\/marjan-molnar-ophod-po-ontolo1kom-rubu\/"},"modified":"2006-11-09T00:00:00","modified_gmt":"2006-11-08T23:00:00","slug":"marjan-molnar-ophod-po-ontolo1kom-rubu","status":"publish","type":"post","link":"https:\/\/g-mk.hr\/en\/news\/marjan-molnar-ophod-po-ontolo1kom-rubu\/","title":{"rendered":"Marijan Molnar: Walking along ontological edge"},"content":{"rendered":"

Inscription on Marjan Molnar <\/strong><\/p>\n

Marijan Molnar is an artist of apersistent, organic and constant growth in the rare exhibitionprojects, in which he asks the questions of deeper, philosophic,ontologic meanings. Art as philosophy or as a warning”screem in sociological mist” has made itself universalin a movement here called “new artistic activity”, thatof the conceptual, analitical prefix in which Molnar acts, led byhis inner call of his mental and sensitive constitution. <\/p>\n

The mystics of symbolicconnotations in primary-functional paradigm bursts out in along-term strategy of the hidden play of the number meanings. <\/p>\n

System of the repetition of thesame elements laid on wall is ended with the number eight,emphasizing in geometrical progression, logical, mathematicalgrowth of almost Greek metrics which is determinated by theirrational and esoteric postulate of numbers 2+2=4, 4+4=8. Two isan eternal dialectic unity of the opposites in existence, spiritsand universe, the ambiguity on which Molnar principally insists;two is the number of crash, the number of threat, the number ofpain, dividing in being from which everything becomes. Yin andYang. The feminine principle. Uncertainty, the change and thefluidity. Two, doubled in four, stands in opposite to symbolicbasement; four is a symbol of the senses, symbol of the tactual,of the firm matter, of the body. The eight will mean the numberof cosmic balance, laid down eight will mean, as we know, thesymbol of eternity. In the game of existential doubleness Molnarexplores the relation of the reality and illusion. <\/p>\n

The spoon – as a common object,for him is the symbol of the food and, at the same time, thesymbol of the body and matter, the symbol of no freedom of choicewhich nature gives us. The spoon, as ready-made object hidden inthe box reflects itself as white negative print, within blackspotted field of nihilistic, informal and action-paintingprovenance. It becomes an illusion of the real spoon. The realitywill become a searching after eros through the hunger, throughwhich the need for every-day pleasures is expressed. At the sametime, Molnar asks a question about relationship between theoriginal and the copy. Copy is a print, lie, an image of thehidden as repressed (told by Freud’s vocabulary). Copy is a trailof the real, in fact, of a revealed one. The object can be hiddenin a box and can be revealed. The object lives revealed as anillusion printed in the octava system. Central motive, as theartist is a relationship between eternity an relation, betweenlife and death on a level with metalanguage substance, written inanagram on the wodden boxes and in a short writing on the most ofprevious works. The reality of life and reality of death arerelated just as dialectic doubleness of the unity of theopposites at last as hard reality towards fantasy of art.Connection of the word and image performed in the most reducedand minimized manner leads us to a lingvistic variation of Dadaand it is functioning on the level of audible and visual, visualand tangible. The level of the senses “consume” theart, while Molnar\\’s ascetic, suppressed works demand more seriousconsideration. Constellation of his painting asks for therelation between the edge and the centre, the question of theedge and centre is the reading of the periphery and the centre ingeographic, cultural, Croatian – European context. Or better, theedge is area of periphery. The frame relates to the centre,within speech about what is inside and within speech what is out.”Space making”, in Molnar\\’s terms, means the procedureof turning over the inside out. In turning over the centre(heart) out (periphery, skin) Molnar finds the meaning of moving,almost existential comfort and unquestionable suppressed joy.Time of passin and “no-time” of eternity, timing, isexactly the meaning of moving. The edge in Molnar\\’s work isalways black. The centre is Whiteness. Acromatic factors of whiteand black live together because of searching itself and necessityof the lightless cromatism which draws attention from the point,not talking about post-utopian idea of transhistoricalconceptualism, for Molnar, very important part of acting. In thatcontext,”quotation” of Marcel Duchamp is a welcomeebackground of the fresh and personal Molnar’s taking over of thatquotation. He’s dealing with the idea of procedure of making upcadre. The first square which is connected with Duchamp’s squarein a sketch for the “Big Glass” is the surface of twosquares, like that one that Molnar uses in “OctaVA” andwhich is transformed in projection, at the same time, minimized20 times and increased 5 times. Further on, the square multiplyitself and repeat itself depending on view (transparent ornontransparent). Thias is poetics of corrected cadre on the foundpiece of glass and with it Molnar continues his artistic waystarted 20 years ago, when he was dealing with land art. <\/p>\n

Marking the surface of the ground,increasing it 1:20:100, in a performance in which he asked forand evidenced the spreading of the body in space, as tactile andvisual phenomena, describing in this way the frontiers of thespace and moving as a procedure of spreading and concentration.
<\/p>\n

Enes Quien<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Inscription on Marjan Molnar Marijan Molnar is an artist of apersistent, organic and constant growth in the rare exhibitionprojects, in which he asks the questions of deeper, philosophic,ontologic meanings. Art as philosophy or as a warning”screem in sociological mist” has made itself universalin a movement here called “new artistic activity”, thatof the conceptual, analitical prefix […]<\/p>\n","protected":false},"author":1,"featured_media":4205,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4],"tags":[],"class_list":["post-5367","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"_links":{"self":[{"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/posts\/5367"}],"collection":[{"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/comments?post=5367"}],"version-history":[{"count":0,"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/posts\/5367\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/media\/4205"}],"wp:attachment":[{"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/media?parent=5367"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/categories?post=5367"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/g-mk.hr\/en\/wp-json\/wp\/v2\/tags?post=5367"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}