In The Focus

„In Quarantine” by Mózes Incze was made for the thematic exhibition, Perceptions 3 – evolitio – . The artwork reflects on the roots of the human race, and on the close relationship between human and animal. On the picture there is a chimpanzee, who’s sitting comfortabely in an armchair with srtaight back. His attitude emphasizes his human strains. This could be the reason why he looks threatening to us. In researching the process of evolution, there is always the demand, to alienate ourselves from our animal progenitors. Our state of development rests on the differences, we separate ourselves from the class of monkeys. This portray of a chimpanzee by Mózes Incze obliterates thos differences. The painter sets the animal in the middle of the picture, as if it was a repesentative specimen to unveile the human race. He even surrounds it with a typical motive of his painting, a band. So the monkey is not in a cage, but it is under lock and key. From the dark background hands are leaning to the animal, wearing a pair of green gloves. The key of „In Quarantine” is how we describe the relationship between the monkey and the gloves. My interpretation calls the great philosopher, Walter Benjamin as help. According to him, touching an animal is a dangerous thing, because we can recognize ourselves in them. We have to keep our caveman-selves in secret, hide it, for example with a pair of gloves, which keep us out of touch with animals. But what if this gloves are made of leather? Aren’t we wearing a piece of what we want to desperately be released? On the left side of „In Quarantine” there is a little locked box. From this detail the whole painting can be interpreted as a box, that we use to hide, quarantine our caveman-selves. But is this something to be ashamed of? How does the whole problem look like in the opinion of an animal? The monkey of the painting may would use Nietzsche’s words: „An animal which could speak said: Humanity is a prejudice of which we animals at least are free.”

 

written by: Zsófi Máté
photo: misi

 

Karantenban (100x110 cm, olaj, vaszon, 2015) kicsi

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Mózes Incze: In Quarantine (100×110 cm, oil on canvas, 2015)

In The Focus

„Process” by Mózes Incze is a snapshot. We don’t know anything about the activity happening on the picture. What we see is an endless, mute moment. A man stressing his clothes on himself is leaning his arm into an incorporeal shade. He’s holding a feather with gentle hand position above a sailing loop, which is surrounded by powers in vibrant colors. The man’s face is calm and confident, only his hand, grabbing his own shirt convulsively, tells about his inside tension. He knows the fact, that he is just about to make an important decision. The thick silence, which defines the whole painting by Mózes Incze, is impacting the figure’s inner world. In this process he’s becoming speechless, introverted, as he’s concentrating to only one tiny motion. Slipping the feather would may not cause any change in the world of the painting, and the world of the man, buti t could possibly fall into an other dimension through the loop. Anyway, the feather is somehow the part of the figure. Anything happens to it, it also happens to it’s owner. Just as our actions- which could be interpreted as the projection of ourselves- are reacting to us by necessity. Under the hands of Mózes Incze the limits between external and internal are washed away. Every element of the paintg could be understood as the realization of the precesses happening inside the man. „Process” is a pure dimension, in which decisions, actions and their effects become visible.
photo: misi
written by: Zsófi Máté

 

Folyamat (100x140 cm, olaj, vaszon, 2014)_eng

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Process (100×140 cm, oil on canvas, 2014)

In The Focus

“Prototype” by Mózes Incze represents a transition state, an intermediate substantial. The two sides of the figure’s body on the picture have the attributes of two different spheres. A white shirt is hanging from left shoulder, which can be understood as the symbol of life in this world, work and conventions. On the naked body’s right side, wanting to be released from the shirt, we can see a particular construction. A mechanical angelwing, which is not the organic part of the body. Despite it is an imitation, carries the opportunity of freedom and salvation. Just as the space opening behind the figure, it’s vibrant blue has the feeling, that the tanscend world is available. Mózes Incze vindicates a tense balance between the sphere of human and the shepre above human. The stern, mechanic swithes and wires, and that the figure is holdong his hand like Christ on the cross, his golden skin do not overwrite, but somehowe they supplement eachother on the picture. This is the balance of the composition, which can’t erase the mental incompatibility. It doesn’t want to. Is it possibile to exist is two different worlds at the same time, or get redemption with the help of modern technique? This is the experiment, that is performed by “Prototype” by Mózes Incze.

 

photo: misi

written by: Zsófi Máté

 

Prototipus (100x140 cm, olaj, vaszon, 2014)_eng

 

 

 

 

 

 

 

 

Prototype (100×140 cm, oil on canvas, 2014)

In The Focus / Perceptions 2. …silence……

To Art Salon\Társalgó Gallery is opening the new season with the group exhibition “Perceptions” is a tradition. This year the subject of the exhibition, which was processed by seven artists is silence. Imre Barna Balázs, Róbert Csáki, László Gyémánt, Mózes Incze, Iván Paulikovics, PAF and György Szabó all created their own variation of silence. The curators, Dr. Dóra Ocsovai and Dr. Katalin Kovács circled the question: what is the coherence between art and silence? The evident answer could be of course: painting and sculptures as objects are silent. Although in the domain of aesthetics none of the artworks are mute. But as the opening speech of Katalin Kovács highlighted, silence could be the effect, that artworks trigger. This is prevailing, as we are standing in front the arworks of the exhibition. For example the creatures on the portaits by Róbert Csáki, as they would like to say something, but they stay wordless, they fade into the peaceful background. Then PAF breaks the silence and peace of his pictures with his definite, craggy gestures. And these are just examples of the intellectual and technical variegation, which is united in the exhibition “Perception2…silence…..”

 

written by: Zsófi Máté

photo: Diana Rédai

 

IMG_4459p_eng

In The Focus

„Missed Moment” by Mózes Incze thickens time. Stationarity dominates everything, the sitting figure in the foreground and the stone standing in front of him. The clouds and smoke wreathing behind him, the lifeless grey body, the white feather are floating with ease, but the strained permanence int them doesn’t permits motion. The lights and shadows, the bodies and the fold are stiffen.

The sand-glass in front of the main figure reports the suspicion which encompasses the whole picture: time has been stopped on the painting. Mózes Incze locked temporality into this tiny object. The sand cannot twirl because of the status of the sand-glass.

Windup the passing of time raises a question: what is that missed moment the title refers to? Is it possible to talk about moments, if time doesn’t pass, if the chain of momentary nows is torn?

The sand-glass on a key-holder becomes the actual key to the painting. The lens of the camera, holded by the blindfold figure is also aiming at it. It is laying on a surface, overtopping from the space of the picture, if it would tilt down, passing of time, running of the world, lives of the people in the paiting could start over. Maybe the photographer is waiting for this, he wants to record this inevitable moment. Hope of the shifting of the sand-glass is holded up by tender brushstrokes, but the blindness of the man with the camera is hamstring it. He wouldn’t be able to see the change, he will not have loophole from this closed space. The thick timelessness, weighing on the painting by Mózes Incze is only understandable through the lines of Attila József: „Blue, yellow, red, they flocked my dream,/ smudged images the mind had taken,/ I felt the cosmic order gleam-/ and not a speck of dust was shaken.”

photo: Misi

written by: Zsófi Máté

Missed moments (190×140cm, oil on canvas, 2011)

Kimaradt pillanat (190x140 cm, olaj, vaszon, 2011) eng