Gaál József: Phantasma - Transhuman Fetish

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An exhibition revived from Godot Gallery's original WordPress archive.

Full exhibition text

an excerpt from a piece of the Transhuman Fetish series

wood, metal, variable size, 2012

In larger size

The Godot Gallery cordially invites you and your esteemed partner to visit.

GAÁL JÓZSEF

Phantasma – Transhuman Fetish

for the opening of the exhibition titled ...

Opening: 2012. June 6 at 20

He introduces: the artist (Théâtre impossible).

Viewable until July 7

the works of the Transhuman Fetish series in the studio, 2012

Larger size

From dead objects and crumbling remnants nothing can be summoned to life – that is what the materialists say. The opening into cyberspace is widening ever more – another belief, another mirage. The summoning of fresh magic, in some form, provides a space for the unshakable feelings – a conduit. Having grown accustomed to machines, they will sense a pseudo‑divine being through them – in the roar, the hiss, the repeated clicking, the rustle: the universal father‑and‑mother’s warm rumble is already audible. The stacked mechanical rhythms whisper endlessly, creating a new metaphysics. While fate was once lived through myths, now the virtual fate variations flicker at one another and extinguish each other. Monsters roiled within now live outside. Nothing remains inside, only variants. The human monster has turned into an external game; the more intense the effect, the more absurd the mutant soul’s monstrous nature. The lifeless, wavering existence that must be lost in a lifetime has to be merged into the transhuman fetish‑utopia. The boundless deformation of the body seems to evoke the mythical realm, infiltrating powerless lives, permeating and alienating the unconscious interior. Concealed, it becomes an assortment of external life‑recipes and twisted fragments of aesthetic legacy.

Phantasma III.

36 x 29 x 19, wood, iron, angles, skin, 2011

In a larger scale

As Greek tragedies once had criticised, degraded carpets, so do they have now. Everybody watches his or her solitary theatre, thinking that by pressing buttons he can mould his swooping tragic‑comedy before a flickering screen. He believes that he can be an active participant in the Freedom Global Authority. The inner beauty, the invisible virtues and the richness of emotion that lie behind a broken, slicked‑down exterior arise from the very essence of tragedy. Happiness was brought by the Beautiful – they thought – and the fight for beauty brought destruction. As if there were no Fate and Destiny, the destructive mission again begins with the false images of Beauty; again everyone will fight to restore the world’s order, its strained harmony. An everlasting PEACE WAR – we are beautiful, but having destroyed the vile Evil, finally the Canaan, the Final Harmony, arrives. The hibernated perfection. If there is no tragedy, then there is no collapse, no sorrowful insight, no sacrifice, no dissolution – there is no Beginning and End. All this may remain for the Andromeda fog’s androgyne mutants, for the single essence of the ancient fantazmagóriák. Only the monotonous harmony, the machine‑like building‑and‑destroy dialectic persists – the welfare of the vegetative consumer is guaranteed in the thousand‑one truth’s fairytale world.

Phantasma II.

46 x 22 x 26, wood, iron, angles, leather, 2011

In a larger size.

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