attila rath geber



en courant / au courant

[ courir, cours, parcours, course, curro, currere, curriculum ;
courant, qui court, qui n’est pas encore dû ; en courant, être en cours de courir… en mouvement ;
au courant, dans le mouvement ;
au cours, occur, occurrent, occurrence … ]






Sculpture in its conventional sense, especially stone sculpture, is out of contemporary artistic tendencies. This could be a good and inevitable argument taking questions opening a vast field to my own research. It is a disposition of emptiness. Above external factors and the practices, the reasons for this neglect may certainly related to the concrete problems of sculpture ... The conventional sculpture is exceedingly closed and his correspondence with his entourage is extremely reduced. I consider that the problem is partially attached to the physical character of the sculpture, the quality of being object and the occupation that this property entails. During the last years, I have formed several concepts while searching solutions for the inconveniences around sculpture. I wanted to reinvent the object sculpture with decomposition of form and the usual considerations regarding the matter, while inevitably confronting the reality that the matter requires the form and any even amorphous form is necessarily expressed by matter. Recognizing that any concept on this topic could be followed even by its contrary, I tend towards a more consequently intuitive attitude, a method rather metaphysical, empirical.

The regard on the surroundings, on the environment, has particular importance in my work. This attention reflects perhaps most evidently in the projects that I realize in situ in nature. This realisations base on the relationship between sculpture and its ultimate, in situ landscape, entailing a comprehensive examination and analysis of the environment and setting. These site-specific works are formed by the environment's direct influence on the creation; the unique, unrepeatable formation and existence of the artwork, which exists solely in that specific location. Recently, realising environmental sculptures, I advanced a more profound and respectful relationship with nature, allowing me to work more complexly in relation with a specific situation requiring an analytical and responsible sensitivity. These realisations characterize more and more my activity.

...

My projects usually consist of realisations using stone and tend to alter the circumstances of the regard on the site of intervention, or even dissolve the visitor by adding new features to the site or insidiously confound sculpture in the landscape to make appearance of another context, a reconsidered place.

The attention on landscape as a particular environment is probably a consequence of my orientation towards the stone. The stone has a very different temporality comparing us and leads into a profoundly meditative reflection, its properties, this treatment, but also the conditions of work with this medium (outside) stimulates a contemplative gaze to the external. Stone is a process of perpetuation of the time.

The art concerns the relation of individual with its environment, habitually rather social, political, cultural; its places of interventions, appearances, his rapports are most generally urban. I re-approach the human context with my exercises and specific experience, reflecting on the human relationship with his off-urban environment. My works are related to nature. The interventions in the landscape are relationship established between sculpture, with other words: the human intervention and landscape. They are indeed definitions of the regard on the environment, and together with the proposed interactions to the viewer as references (model) as well its adaptability are projected on individual social affairs.

The human is part of the landscape, his relationship is marked by cultural, historical economic conditions. Its presence and impact is significant and cause large-scale changes in its global environment, which require effective adaptations, consequently interactions between organisms. The question may be taken, if human society in its dominant position (so rather isolated), could dispose with potential capacities for interaction with its environment, which is a necessary condition of adaptation. In the field of biology, some researchers believe that the Darwinian model focused on the competition (which also represents a Darwinian era current theory on human society) is imperfect and confirm that evolution is driven by the phenomena of cooperation, interaction and mutual dependence between living organisms.

The context of landscape appears to me extremely sensitive in relation to artistic expression. The impact of an artistic intervention is much stronger than in the exhibition room or even in the urban milieu where the incoherencies are much easily dissimilated in its context much more complex and reserved for human society…

attila rath geber - 2013