Veszprém
Holczer Viktor

....képlékeny lett a vászon, bizonytalan a tér, elszakadt a film és szándékunk ellenére átléptük az időt.... az időt, amely mint sokszor oly kevésnek bizonyult.... kell-e erre több bizonyíték, mint hogy mi most itt vagyunk, de Ő...ŐK.... nincsenek.... nem érezhető, nem mondható, nem érthető, amely létrehozta ezt a szakadást.... a vászon üres, a nézők könnyeznek.... miközben mindent és mindnyájunkat elképzelsz, mi várunk, várunk hogy kérsz egy állványt, egy drapériát, hogy kérsz, hogy mi kérünk tőled....mi várunk....”Idebent pedig az emlékezés.”.... de elképzelsz minket, mi megjelenünk ott és akkor, hozzuk az állványt, kamerát, fényképezőgépet, tollat és várunk....várunk....várunk....várunk
Homonna György
2007. április 23.
LAPUNKBAN MÉG »
„két szép nagy alma
egy sárgarépa
meg néhány banán"
Falcsik Mari
Spanyolnátha, 2010 tél

Holczer Viktor
György H.
Some have H. to gain a marvellous interpretation of themselves, and some have not. Those who do, I do risk, with some facts, we are so many like that, will get on by simple viewing. Contemplation is not temptation — as it could be said, even though such phrases are to tempt the art of H. Less questionably we are determined to respond to art, still it is not necessarily provocative, it leaves its traces on us to have ourselves interpreted, and shows us the method how it has happened so far. The process of artistic creation is aeriform, some sort of body language, movement, a whiff of mind, mixed with the evidence, for it is impalpable, too, often considered to be music, or just like music, just like one of H’s.
The other side depends on us. It’s not in us, though it should be on us, where we place the painting, not of course on, but rather inside. For definitely it is more than a picture, and less than H. Apart from him, it is a POLE of a function, as with the passing of time, turning to be more than H. and less than a picture. Definitely for inside, on course of not, less than he might have wanted to, I focus on one certain spot of his work, though I could concern myself with the whole. That would be typical of me, that is the picture invites me to, so I resist. Dialogues, I am convinced, take shape this way, when each side has the function of the opponent, more like in a match, and less like in contemplation.
To tell a lie, I have to admit that we are about to recognize ourselves in artistic evidence, H-ly, we can do it on our own. In one single spot, H. is mirrored to our eyesight, or at least once he opens the corridor to us, we are immediately invited to walk along it.
Truly, similarly to H-ly, I remember him by a leaf, an artificial evidence of the connection that he was given more than ten years ago. The intention was so incidental, what’s more, kind of dilettantish, but by conserving the intention he dedicated it as an artistic action, therefore I was introduced to art.
There is something between hype and hip that we normally call hope. It is around us, though circumstantially, circulates in the common knowledge, for it is based on the common level of satisfaction, beyond plastic leaves, and above the spot over which we are unable to form words of the experience, where it is not outrageous to contemplate. This is the side of us with which we contribute to the birth of the dialogue. So far, H. has been challenging us for a long time to deal with the dialogue, a kind of an aeriform talk, to talk about the pole where we place art. That, without its dimensions, is not less than creation, too, as it happened to the plastic leaf given to him. The action itself was unwitting, however he knew how everlasting it might be, just by setting it within an artistic discourse. Now that is what shall be called H-ly, the way he does, the process he often occurs together with, truly, the formation of geometrical evidence of us.
By having learnt that one single line is more than the whole, I should draw in (as regarding lines), with the common level of satisfaction that I can gain certain marvellous interpretations of myself by having H.
However, I fancy getting into this discourse with the pictures, with the hope that at least the spot of mine in the action will not be absent from the function, and if still not having H., I might catch sight of the way I interpret myself, H-ly.