THE INTEGRATION OF THE ABSURD IN CONTEMPORARY POPULAR CULTURE AS A TOOL TO GENERATE SENSE AND TO COPE WITH THE NEW FORMS OF IDENTITY CRISES FACED BY YOUNGER GENERATIONS (Y,Z).
Istvan Hutter
ridiculously unreasonable,
unsound, or incongruous
the state or condition
in which
human beings exist in an irrational and meaningless universe
and in which
human life has no ultimate meaning
lacking order or value
-Merriam-Webster
Absurd
Abstract
This document showcases the utilisation of my association-based working process in conducting artistic research. I examine the multifaceted dimensions of generational anxiety experienced by millennials and subsequent generations and propose absurdism as a potential coping mechanism. By investigating the historical background of the absurd and its resurgence in today's mass and popular media, I focus on the integration of the absurd in contemporary popular culture, and its oxymoronic ability to make sense through nonsense in an increasingly complex world that results in realities that cannot be explained by absolute truths. My research ultimately aims to elaborate on contemporary societal issues and to demonstrate the potential of absurdism as an artistic tool for navigating the intricacies of the modern world.
Introduction
As part of my research document, I delve into the intricate philosophical concept of the absurd, a notion that has intriguingly infiltrated popular and mass media, specifically resonating with younger generations. My investigation is centred around the multifaceted social, economic, and political factors that are instrumental in shaping the novel form of identity crisis that has been noticeably experienced by both generation X and Y. My exploration uncovers the distinctive ways in which the absurd, as a unique manifestation of humour, functions as a tool for individuals to not only grapple with this identity crisis but also to decipher and make sense of it. As a member of this very generation, I find myself personally resonating with the pervasive, deeply-embedded sense of despair that is distinctive to our age group. This widespread feeling of despair is commonly linked to, among other things, the unpredictable and often chaotic political and economic developments that have become a staple of our era. Adding to this is the delayed attainment of significant economic milestones, such as marriage and having children, the gradual fading of external sources of meaning, such as religion and spirituality, the environmental consequences of the neglect of previous generations, and the incessant merger of virtual and physical life. While these sentiments may not always be consciously acknowledged, they have been, and often still are, addressed through the lens of absurdity and dark humour. This is a trend that has been evident throughout my own artistic practice too.
This research document demonstrates how I approached and arrived at the thesis subject through my own, association-based working process. As a part of my working method I use unfiltered images, thoughts and ideas to generate unexpected meanings and contexts. From the beginning with random sketches and text fragments, I am constantly looking for new relations, new meanings, and new interpretations within my work. The absurdity in and of this process lies in the fact that the actions I make are frequently circumventing traditional pathways logic and common sense. Throughout this exercise, I further examine my work through the lenses of various theoretical frameworks within socio-economics, media and culture, and psychology to provide a deeper understanding of the causes and effects of the generational anxieties. I highlight the connection between common mental illnesses such as anxiety, depression, and burnout and the drive for performance maximisation, profit extraction and self-exploitation as structural problems in late-capitalist societies. I argue that the commodification of almost every aspect of life creates a consciousness of relative deprivation, leading to a combination of anxiety, anomie, alienation, and anger. I also examine the role of media and culture in exacerbating mental health issues. In the contemporary digital era, imagery has become an omnipresent aspect of daily life, and its pervasive influence is more profound than ever before. This reality contributes significantly to the development and propagation of mental health issues. More specifically, I embark on an exploration of the impact of the instantaneous and incessant flow of information, as well as the accelerated pace of media consumption, on the state of mental health. The primary objective of my research is to reflect on my own personal struggles while contextualising them within the broader generational milieu in which they exist. I seek to draw a coherent picture of the forces that shape this generation. Additionally, I endeavour to offer a viable method of coping with and understanding this societal reality through the use of absurdity.
Free association as working method/ visual experiments
Text
At the outset of my research, I made an experiment utilising automatic, free-associative writing techniques as a continuation of my prior works, wherein I solely employed such techniques for the purpose of generating visual imagery. As an integral part of my creative process, I engage in a practice that involves embracing unfiltered images, thoughts, and ideas to uncover unexpected meanings and contexts. This iterative and playful approach frequently leads to surprising discoveries and insights. Commencing with random sketches and fragments of text, I consistently seek out new connections, interpretations, and significance within my work. This often entails exploring the convergence of seemingly unrelated concepts and visuals, allowing for unforeseen connections and associations to emerge.
The written compositions resembled my prior automatic drawings, which had been a focus of my creative efforts for the previous two years. These texts contained elements pertaining to my childhood experiences, such as memories, emotions, impressions, and moods. Additionally, they were reflective of commonplace situations from my day-to-day existence and personal challenges.
Image constellation
I worked on a collection of drawings and texts related to childhood memories, feelings, desire, and discomfort, which I presented in a cloud-like installation on the wall of my studio. I attached the texts and images to the wall and also to each other so that they created a fragile chain of thoughts.
I used free association to explore a personal and affective realm of meaning related to a semi- or sub-conscious state. I attempted to slowly work towards a more spatial setting to showcase my work.
As I worked on this project, I experimented with incorporating physical elements into the installation. For example, I added a projection of my passport headshot, a dented head cushion, white veils on the floor, and a dark phallic drum. These elements were meant to suggest a state of mind just before falling asleep, the way they complement the drawings and texts, making them more personal and affective.
Through this project, I found myself challenged by the need to balance improvisation and conscious decision-making. I wanted to translate my personal stories into a comprehensive meaning that would resonate with others and by doing so also be able to map my genuine personal interests.
An intriguing aspect of the installation to me was the presence of the banal, the extremely ordinary. The mundane acts of e.g., visiting your general practitioner, buying groceries and pet supplies, paying taxes online, or wearing a watch, are often dismissed as inconsequential. However, these seemingly banal moments can serve as vital frameworks and artefacts of contemporary society. While they may go unnoticed and seamlessly blend into the fabric of daily life, these quotidian activities offer a unique insight into the current "modern" era.
Video and narrative - Letter to a ghost
Labour and Condition
Through the series of images presented in my first installation, I sought to uncover the underlying framework of sociocultural conditions that shape my position and self-image in my current living environment. One of the most important of these was my relationship to work.
The societal value that we attribute to human labour is currently experiencing a state of flux, engendering a crisis for those individuals who depend on it as their primary source of income. Individuals who find themselves unable to sell their labour in the marketplace are often categorised as redundant or superfluous, leading to a deep-seated existential crisis. In a society that is fundamentally designed around the concept of labour, it becomes crucial to introspect on the multifaceted forces that mould our relationship with work and the subsequent impact it has on our lives.
Being a part of a working-class family in a post-socialist nation where labour was accorded high value, I was conditioned right from my childhood to prepare myself for entry into the labour market. The focus was squarely on education and skill development to contribute towards the commonwealth of the country and to exchange my labour for an optimal salary, rather than pursuing self-development with the intent of evolving into a higher functioning human being. In the present times, I often catch myself grappling with guilt when I make life decisions that do not contribute to enhancing my perceived "market worth" or do not augment my "efficiency."
My personal experiences can be situated within the broader context of the ongoing crisis surrounding the societal value of human labour. In the 'Manifesto Against Labour' (1999), the German Marxist collective known as Krisis provides a critique of the significance of work and labour as a source of social value. Simultaneously, economist Guy Standing, in his book 'The Precariat', delves into the emergence of a new precarious class of workers, referred to as the precariat.
The 'Manifesto Against Labour' calls into question the importance of work and labour as a source of societal value. It posits that the capitalist system has transitioned from an industrial production model to one that hinges on financial speculation. This shift has resulted in the erosion of the traditional working class, paving the way for the emergence of a new class of precarious workers, known as the precariat. Guy Standing, in his economic analysis, further explores the precariat as a distinct class characterised by unique aspects in terms of production, distribution, and state relations. Defined by unstable labour conditions, absence of occupational identity, and dependence on money wages devoid of non-wage benefits, the precariat grapples with chronic economic uncertainty and unsustainable debt. They lack access to state benefits and private insurance plans and are frequently denied full citizenship rights. Both the Krisis manifesto and Standing's analysis underscore the detrimental impacts of the market's insatiable demand for ceaseless growth and profit, which starkly contrasts with the needs and desires of human beings. Work, once a source of fulfilment and liberation, has now metamorphosed into a tool of alienation and exploitation. The commodification of labour has reduced human beings to mere commodities, valued solely for their ability to produce goods and services. Consequently, work has come to dominate all aspects of life, leaving little space for leisure, creativity, or the nurturing of meaningful relationships.
The precariat, devoid of self-esteem and social worth within their work environment, are compelled to seek these elsewhere. However, their capacity to develop long-term self-esteem is undermined, and they run the risk of feeling isolated amidst a seemingly lonely crowd. They are subjected to the stress of time, labour intensification, and escalating demands on their time, resulting in decreased productivity and a pervasive sense of disconnection.
SIDE NOTES
''Dancing Baby'', ''The Oogachacka Baby''
- Michael Girard and Robert Lurye - 1996
The Dancing Baby, also referred to as Baby Cha-Cha and Oogachacka Baby, is a 3D animation of an infant dancing to the intro of "Hooked on a Feeling" by the Swedish rock group Blue Swede. This video is known for being one of the earliest instances of a viral sensation on the internet and was spread worldwide through email chains in 1996. -knowyourmeme.com
Examples of absurd in popular culture
Banality of everyday life was a common topic in photorealist painting in the ex-Soviet bloc as well and was used as a political allegory.
Photorealism, as an artistic movement, took root in the United States and Western Europe during the early 1960s. With a focus on replicating photographic imagery on canvas, photorealists often critiqued the shortcomings of consumer society. As the movement spread to Eastern Europe in the late 1960s and early 1970s, it evolved into a political allegory that underscored the absurdities and banality of daily life and debunked the fabricated utopia presented by communist countries (Feher, 2012).
A good example and one of my personal favourites of this approach is the painting "Lukewarm Water (1970)" by Hungarian artist Laszlo Mehes.
Mehes typically chose models in favour of poorly composed, banal amateur photographs with oversaturated colours. By amplifying these elements, they achieved an ironic and detached outcome that stood in stark contrast to the highly idealised depictions characteristic of Soviet propaganda art. His painting, for instance, features a group of working-class people, adorned in the era's most fashionable attire and sunglasses, contentedly lounging in a public bath. They appear to accept the corrupt, violent, and hypocritical nature of socialism, as if to say, "There are problems around us, but at least the water isn't completely cold."
Beside incorporating the banality of everyday life, figurative elements and storytelling I also employ satire and exaggeration to shape my artistic narratives.
Banal?
The video ‘’I will see you soon’’ is a result of a silent night walk exercise that we performed during one of our seminars with the art collective Expodium.
The walk took place in an industrial district of Utrecht that used to be inhabited among others by immigrant factory workers. I embarked on a journey to capture intuitively chosen elements of the area through photographs. These captured images became the building blocks of my narrative, which was formed using free associations as a tool to write a cohesive story around them.
In the final video, I recite a letter in a voice that is slightly pitched. It is written from the perspective of an immigrant factory worker, who is addressing his lost lover. Despite the often ironic image associations the use of visual and literary techniques convey a strong sense of longing, nostalgia and decay. The letter's content was shaped by drawing on my own memories, which were intertwined with those of the fictional labourer. I endeavored to explore intricate emotions and sentiments, such as loss, death, grief, love, nostalgia, and suicide, by presenting them through the lens of everyday banality. By examining these profound feelings in a seemingly mundane context, I aimed to capture their nuances and complexities in a relatable and accessible manner.
Dishwasher - Photograph
During my bachelor studies, I had to work part-time in order to be eligible for Dutch student finance, which I relied on. This meant working three days a week alongside my studies. After three years, I found that the repetitive nature of my job was taking a greater toll on me physically and mentally than my academic coursework. I decided to explore ways to incorporate my dishwashing job into my art practice.
To do this, I began to photograph recurring compositions and patterns on the conveyor belt, aiming to reflect on the repetitiveness and inhumanity of the working environment. This environment was characterised by noise, steam, heat, toxicity, and an unpleasant smell. By incorporating my work into my art practice, I was able to give meaning to the repetitive, monotonous aspects of my job. Through the photographs, I was able to capture the essence of the environment and create a commentary on the dehumanising nature of such work. This allowed me to channel my frustrations into a creative outlet, and also gave me a sense of purpose and meaning in my work.
I investigated ways to continue working on my photographs. With the following website I created an infinite surface for the images.
My research approach involves the use of photographic images that are juxtaposed to create a sense of overwhelming and traumatic emotion. These images when projected on a large scale, create an immersive experience that emphasises the depressing nature of the content.
In my second experiment, I utilised computer-generated images to reflect on the trend of automating manual labour. This process is used to generate new photos from existing images, extending the manual labour process without human intervention. This technique highlights the alienation that results from the use of artificial intelligence in labour, as well as the impact of algorithmic technology on nowadays concept of humanity.
Furthermore, the generative images that are produced through this process are becoming less and less realistic, emphasising the non-human and alienating qualities. The use of modern technology in this process can lead to feelings of incomprehension and anxiety.
I converted the images into patterns and the patterns into screen print. The images are printed as reproductions, which presents an interesting paradox, as it brings the work back to manual labour.
While working around the concept of labour my attention began to shift towards the notion of the "pressure of performance". Byung- Chul Han South Korea-born philosopher and cultural theorist says in his book ‘’Burnout Society (2015)’’ that the most common mental illnesses in our society are caused by the pressure to maximise performance without constraints, resulting in self-exploitation and a sense of paradoxical freedom. The overload of information and the amplification of workload in our modern world invariably lead to a necessity for multitasking. This, however, has negative repercussions on our cognitive abilities, affecting our attention span and altering our perception of time and our surrounding environment. The ceaseless pursuit of productivity, which has been elevated to the status of the ultimate aim of societal existence, invariably leads to a lack of closure and persistent feelings of guilt and inadequacy. Human relationships are also commodified, exacerbating the deterioration of interpersonal bonds. Han suggests a new form of life and time narrative that emphasises the importance of "break times" and contemplation, allowing for manifestations of intense, gratuitous, and overflowing life.
Performance and Pressure
Taking inspiration from Han's call for a new life and time narrative that prioritises "break times" and contemplation, I incorporated these themes into my artistic explorations. I experimented with a 360-degree virtual reality space that evokes an ambient, static and abstract atmosphere based on automatically written text fragments and their visualisation mentioned before. This virtual space represents a place for free contemplation, that is disconnected from the pressures of reality.
I also created an augmented reality performance that allows the audience to become the performers instead of me. The work was created in the context of my evaluation presentation. This performance enabled some of the members of the audience to serve as performers themselves, by walking around within an unadorned physical space while observing the virtual presentation individually through the screens of their mobile devices. Meanwhile, the remaining audience members were left to observe the activities of their peers, uncertain of the nature of their presentation being witnessed.
In the following visual experiment, I incorporated the aspect of media usage as a significant factor that perpetuates pressure on individuals. The effects of instant and constant information and accelerated media consumption are also common sources of mental illness as digital imagery influences our life on a daily basis more than ever in history. They manufacture new desires and aspirations and interpret the world for us in simple narratives, hence it is inevitable to consider it as a key factor when talking about generational anxiety.
In the following experiment, I utilised the concept of accelerated media consumption and content creation, which served as the basis for the images produced. I paired my brief automatic writings with illustrations generated by the DALL-E v1 public neural network. These illustrations depict how an artificial intelligence system interprets my written work.
My intention was to create a concise publication titled "1 Minute Generations," which refers to the duration spent by both the DALL-E and myself working on our content. Additionally, the title reflects the accelerated media consumption and creation habits of our contemporary "swipe and scroll generation." )
Media and Pressure
At this point of the research, I have chosen to revisit the original project featuring the installation of image constellations. As a non-hierarchical assemblage of fragmented ideas, it provides fertile ground for reflecting upon the multiple factors that underlie the pervasive anxiety experienced by our generation without disproportionately emphasising only one aspect.
My primary goal here was to find a more resonant presentation and visual style that also addresses the theme of media consumption, which was not yet considered in the previous version where I only exposed static images on the wall.
Through experimentation, I discovered that the digitally created images can be transformed into time-lapse animations and played after one another in random orders. The rapidly but gradually changing images and topics closely mirrored the mode of content consumption on social media platforms (swiping-and-scrolling, random images and news, huge load of (banal) information, fast content, Instagram reel, TikTok).
Social media, as a powerful medium generating new social trends, is intrinsically tied to performance anxiety. In addition to rapid image and information transitions, I sought to establish a deeper connection between my own images and those populating the landscape of social media. My drawings, which mainly revolve around themes related to the three fundamental human instincts—reproduction, social belonging, and self-preservation—explore the unconscious nature of these instincts. These elements of the primordial mind significantly influence the mechanisms and content of social media platforms.
Drawing from the evolutionary psychology perspective, it becomes clear that despite technological advances, humans still possess the ingrained mentality of Stone Age hunter-gatherers. In her article, "Evolutionary Psychology and Mass Media," Gayle discusses the relationship between mass media and evolutionary psychology. She posits that the media has played a critical role in human evolution, shaping human behaviour and accelerating our cognitive development by passing on tools and knowledge between generations. However, our brains have not had enough time to adapt to the accelerated media consumption of modern times and continue to function as if mediated stimuli were real. Gayle's article also explores the potential for media to improve human survival, its impact on sexual behaviour, and chances of reproduction. She concludes that media consumption is a form of play, allowing us to practise interpersonal and social situations, while our fantasy interactions with media personas serve as a type of prosocial relationship. Consequently, evolutionary psychology suggests that our species has not yet adapted to modern mass media, and the Stone Age hunter-gatherer mentality still resonates with social media users.
Inspired by this exploration, I have created new videos that focus on the themes of reproduction, social belonging, and self-preservation, reflecting how they are commonly portrayed on social media platforms.
Animation the technical umbrella
When the visual complexity of my animated scenes heightened, I discerned notable resemblances between the artistic styles of two esteemed figures whom I held in high regard during my studies in animation in Hungary: Gyorgy Kovasznai (1934-1983) and William Kentridge (born 1955).
William Kentridge is a South-African artist whose work blends the boundaries of drawing and film. Instead of using multiple drawings like traditional animation, he also modifies a single drawing while capturing the changes through stop-motion camera work.
https://hkudoc.hotglue.me/?dishwash/
Absurd the conceptual ubrella
The concept of absurdity, which was once predominantly explored within the realm of philosophical discussions in previous centuries, has expanded its reach over the past 50 years, becoming more accessible to a broader spectrum of audiences. It has made consistent appearances across various mediums including literature, fine arts, and theatre. In recent times, the absurd has become an integral part of popular culture, serving as a core element in much of today's humour. While it wasn't a conscious decision on my part, the increasing influence of absurdity in today's media mirrors the storytelling techniques I've used in both my recent and older works. As I move forward with my video installation, I employ absurdity as an umbrella concept to guide my work.
For centuries, the absurd has been debated in philosophy, to describe situations that seem irrational or disconnected from reality. This idea has helped people cope with the gap between our search for meaning and a seemingly meaningless world. Absurdism is linked to the existential challenges of the 20th century, such as the devastating world wars and the collapse of traditional social structures. The absurd played a significant role in science, art, and literature, challenging formal logic and movements like existentialism, dadaism and surrealism. In media philosophy, the concept of absurdity is influenced by social changes and identity crises. It impacts the relationship between the real and virtual worlds, making the absurd a defining feature of today's society. Using the absurd to connect different ideas is essential for understanding meaning in the modern world(Knysheva, 2018). As our understanding of the world deepens, outdated and simplistic views are no longer enough. The absurd can help people navigate the uncertainty and complexity of modern life as they search for meaning in a chaotic and unpredictable world.
In the multifaceted media landscape of today, television shows have increasingly begun to embrace elements of the absurd. This trend is typified by a pervasive sense of existential dread, surrealistic settings, non-linear narratives, and humour that often veers into the realm of the bizarre. This distinct narrative approach is reflective of the intricacies and uncertainties of our contemporary society, which is itself frequently characterised by unpredictability and disarray. Renowned television series like "Rick and Morty" and "BoJack Horseman" are prominent examples of this prevailing trend. These shows captivate their audiences with extraordinary, sometimes ludicrous scenarios and surreal visuals, interlaced with a brand of humour that is as outlandish as it is compelling. These shows deftly navigate the precipice between reality and absurdity, crafting a viewing experience that challenges traditional storytelling norms and stimulates intellectual curiosity. Notably, these shows do not hesitate to confront existential quandaries and delve deep into the human psyche. Utilising their unique narrative structures and bold storytelling, they present alternative perspectives on the complexities of modern existence. They boldly engage with subjects often deemed controversial or taboo, employing humour and absurdity as vehicles to illuminate these sensitive topics (Aroesti, 2019). The embrace of the absurd extends beyond television, permeating the domain of social media content and memes. Memes, through their widespread circulation and relatability, often function as cultural touchstones, enabling us to find humour in the world's absurdity while concurrently acknowledging its omnipresence in our everyday lives. Prominent social media platforms such as TikTok, Twitter, and Instagram also circulate content that effectively combines surreal visuals, unpredictable narrative arcs, and a distinct form of dark humour, however the inherent absurdity stems from the power to twist our perception of reality. What is disseminated across different platforms frequently presents a distorted, inaccurate depiction of actuality. Besides, social media also blurs the boundaries between our physical and virtual life. Rather than directly engaging with experiences, it's often more convenient to peruse through social media, witnessing experiences we aspire to have. In his seminal work, The Society of the Spectacle (1967), Guy Debord describes Debord elaborates on how images and economic dynamics have supplanted authentic experiences. Debord argues that technological advancements, such as television, have fundamentally altered our social interactions, resulting in a "social relation among people, mediated by images". Our interpersonal connections and interactions are now influenced by the images we consume on television or other forms of media, which subsequently foster superficial and inauthentic experiences, which he refers to as the Spectacle.(Penner, 2019) Debord's arguments resonate with the views of evolutionary psychologists, who assert that the human brain has yet to adapt fully to the media's pervasive influence. They suggest that our cognitive apparatus is currently ill-equipped to distinguish effectively between genuine and mediated experiences. (Stever, 2020)
Randomly appearing tryptichs from my instagram feed
memes
fashion
tv comedy
Selfie Self-portrait at Work with Angela
Used instagram filter ''Angela Merkel'' by strong_fil
Lukewarm Water (1970) by Laszlo Mehes
Aroesti, Rachel. “‘Horrifyingly Absurd’: How Did Millennial Comedy Get so Surreal?” The Guardian, The Guardian, 13 Aug. 2019,
www.theguardian.com/tv-and-radio/2019/aug/13/how-did-millennial-comedy-get-so-surreal.
Feher, David. “The Beginnings of Photorealism in Hungary.” East of Eden, Versions of Reality, 2012, pp. 14–39.
Exhibition Cat., Ludwig Museum,.
Graf, Stefaine. “Mierle Laderman Ukeles’ Maintenance Art in 4 Works.” TheCollector, 12 Apr. 2023,
www.thecollector.com/mierle-laderman-ukeles-maintenance-art/. Accessed 02 May 2023.
Han, Byung-Chul. The Burnout Society. Stanford Briefs, An Imprint Of Stanford University Press, 2015.
Knysheva, Alexandra. “The Absurd as a Sense Generating Model in Contemporary Media.” St. Petersburg University, 2018.
Krisis. “Manifesto against Labour.” Krisis, Norbert Trenkle, 31 Dec. 1999, www.krisis.org/1999/manifesto-against-labour/.
Accessed 8 May 2023.
Penner, Devin. Rethinking the Spectacle. UBC Press, 2019.
S. Stever , Geyle. “Evolutionary Psychology and Mass Media.” The Sage Handbook of Evolutionary Psychology,
Sage Publications, 2020, p. Chapter 20.
Sasvari, Edit. “Ki Volt Kovásznai György?” Hvg.hu, 6 July 2010, hvg.hu/kultura/20100706_muerto_kovasznai_gyorgy.
Accessed 10 May 2023.
Standing, Guy. The Precariat: The New Dangerous Class. Bloomsbury Academic, 2011.
Zsak, Judit. “An Improper Text of a Poet Laureate Cult and Literary Politics in the Success of Attila József’s „Free Associations”.”
Veera Rautavuoma, Urpo Kovala, Eeva Haverinen (Eds.): Cult, Community, Identity, 2009.
In conclusion, my exploration of absurdity as a narrative device, both in contemporary media and in my personal works, emphasizes its critical function in assisting us in navigating an increasingly complex world. The notion of the absurd has proven invaluable in investigating the multifaceted social, economic, and political anxieties faced by younger generations. The sense of despair, often stemming from an evolving socio-economic climate, the erosion of traditional belief systems, environmental issues, and the merging of digital and physical realities, may often go unacknowledged but profoundly impacts our collective psyche.
Throughout my research, I've noticed a transition in my artistic practice from an unconscious to conscious application of absurdity, allowing for a more concentrated exploration of this subject. I also find it particularly interesting of how much my personal background, particularly my working-class roots, inadvertently influences my work, infusing it with an empathetic perspective towards similar social groups. While initially unintended, this class perspective has emerged as a significant part of the research document. While not directly addressing in terms of visualization and taste it is represented in my final animations.
Ultimately, the conscious use of absurdity, coupled with the influences of my personal background, has not only shaped my artistic practice but also served as a bridge to a deeper understanding of the intricate societal realities we face.
My core experience with automatic writing relates to the Hungarian poet, Attila József (1905 – 1937). His posthumous publication, "Szabad-ötletek jegyzéke két ülésben" (A Registry of Free Associations in Two Sessions, 1936), was officially published in its full-text version for the first time in Hungary in 1990, 53 years after the poet's death. The publication is highly controversial as it is originally a clinical document, is the outcome of a psychoanalytic process that includes the poet's auto-therapeutic confessions written for his therapist using free association-based writing (Zsak, 2009).
examples from the text translated into English by Judit Zsak and me:
‘’The unfortunate one who wrote these lines longs immeasurably for love, so that love can hold him back from committing the deeds he fears. He is the one who was beaten for something he would never have done. He is the child who was not loved and was beaten for it, simply because others found it unbearable not to be loved.''
‘’Now this fool goes and falls in love with his therapist just because he hopes that she won’t offend him.’’
‘’I am here / and I’m not here, only others see me”
Theatrical performance of the text
Performed by Tamás Jordán
Directed by György Fehér
1993
Hungarian painter, animator and screenwriter Gyorgy Kovasznai, while intrigued by contemporary media, remains devoted to painting an inherently conservative medium, infusing it with an exceptionally communicative form through his animations. Kovásznai's college experiences brought him closer to the part of society that was not engaged in dialogue with power early on. As a result, his provocative and anti-elitist language served to counteract the communication deficit of the artistic canon of the era, characterised by a language inaccessible to a wider audience (Sasvari, 2010).
In his comedic documentary series ''All in the Best Possible Taste'' Grayson Perry (1960) English contemporary artist, writer and broadcaster explores the taste of various social classes.
Sisyphus - Jankovics Marcell, 1974, movie clip
Throughout numerous visual explorations, I chose to adopt the triptych format, as it not only fosters an associative mode of interpretation but also establishes a framework, as the begining of this project strated with 3 drawing in tryptich arrangment in the very first installation on the wall.
Wrap
Bibliography
Performance artist Mierle Laderman Ukeles, known for her Manifesto for Maintenance Art (1969), brought attention to the typically unseen realm of maintenance work in her live performances. One such act was the Hartford Wash: Washing/Tracks/Maintenance: Outside and Inside, performed in 1973.
Through this and similar performances, Ukeles spotlighted the often-overlooked work necessary to keep museums and other art institutions operational. Her work served as an institutional critique, raising awareness about the essential, yet frequently undervalued, behind-the-scenes efforts required for these institutions' proper functioning (Graf, 2023).
Detail from ''Dishwaser Zine'' by Pete Jordan (1966).
Pete Jordan, known as Dishwasher Pete, authored the Dishwasher zine and a book of the same name, chronicling his quest to wash dishes in every American state. Jordan's work, initially dismissed but later praised by critics, explores American subculture with humor and sensitivity. - wikipedia
While I did not make a separate chapter for the walking exercises with Expodium in the FRD. These experiences can be interpreted in relation to the ideas Byung- Chul Han brings forth, and see walking as an activity that serve no productive purpose but to provide entertainment and space for contemplation.
By clicking on the Expodium logo the relating part in my general research document will be opened.
GRD
Link to my general research document
''Strike at Werkspoor Utrecht continues. Workers play football outside the factory '' (1969)
''Office girls from Stork, Amsterdam-Noord, strike for an hour in solidarity with Werkspoor in Utrecht'' (1970)
photos - nationaalarchief.nl
Everyday - with Meshkat Talebi
Visual experiments throughout the working process