Attila Csorgo (b 1965) is one of the most prominent and individual younger artists practising in Hungary today. He represented Hungary at the Venice Biennale in 1999 and, most recently, in Istanbul. Using lights and photography, pulleys and strings, his works are immediately entertaining but raise profound questions about how we construct our vision of the world.-> -> read more
In his works AttilaCsorgoexplores the relationship between a plane and space. He often immerses himself for months in intricate problems of mathematics, physics or projective geometry, creating works that demonstrate possible solutions to these problems. At other times, he constructs special cameras to capture reality on pictures never seen before. He is engaged in optical illusions generated by the interaction of light and movement, in those surprising and unexpected physical phenomena that shatter the viewer’s belief in apparently evident physical laws. Through different simulacra of objects or forms, the virtual products of his unusual devices, allows a glance into an underlying reality that normally goes unnoticed, due to the routine ways of our superficial everyday perception. Precise calculation and the certainty of engineering are combined in mechanical constructions pieced together from simple materials and in his mobile structures the thrill of discovery and a sense of uncertainty arise from the limitations of human perception. His poetical works with often playful and facile solutions reveal a humorous as well as a philosophical mindset. The partial technical solutions and the finish of his artworks are consciously and deliberately incidental. He does not attempt to aestheticize his mechanical constructions. By reducing the process of execution to a functional minimum, he manages to direct the viewers’ attention to the essential elements of the geometrical concept or the physical phenomenon represented by the operating mechanism. The three-dimensional animation based on unbelievably intricate and complex calculations, which is generated in front of our eyes from within an apparent yet all the more purposeful chaos of sticks, strings, pulleys, and weights, would doubtlessly be easier to model on a computer. Something, however, would then inevitably vanish from it: the purifiedimmediacy of thought and invention.