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NO S EK

pa r asc ie n c e me t a t a p h y s ik a

elec t r ic me a t


N OS EK

paras ci e n ce me ta ta physika

electric meat

lรกszlรณ nagyvรกri nosek, yesod scholessinger


Shield Pajzs (guarded conception) (védett fogantatás)

Shield Pajzs (conception) (fogantatás)

acrylic, marker, silicon rubber, gold leaf on wooden board

ink, ballpoint pen, guache on craft paper (page of a burned book, Fire / Water)


Gnosis, is by definition a matter of knowing and not of believing. It is about enlightenment, not faith.

“History is ending because the dominator cul-

ture has led the human species into a blind alley, and as the inevitable chaostrophie approaches, people look for metaphors and answers. Every time a culture gets into trouble it casts itself back into the past looking for the last sane moment it ever knew. And the last sane moment we ever knew was on the plains of Africa 15,000 years ago rocked in the cradle of the Great Horned Mushroom Goddess before history, before standing armies, before slavery and property, before warfare and phonetic alphabets and monotheism.�

Terence McKenna

Shield Pajzs (ouroboros) found object, resin and ostrich egg


Accidental College

Véletlen Kurzus

For the unaware all unexpected events seem like accidents. In gnostic reality, they are not random, but specifically designed lessons. If we are ready to see the lesson, these random events are the opportunities for learning.

A tudatlannak minden váratlan esemény véletlennek tűnik. A gnosztikus valóságképben ezek nem véletlenek, hanem személyreszabott leckék. Ha készen állunk a feladat meglátására, ezek a véletlenek a tanulás nagy lehetőségei.

ink on paper tape and waxed paper, wood


A Gnózis, definíciója szerint a tudásról szól és nem a hiedelmekről. A megvilágosodásról szól, nem vallásos hitről.

“A történelem befejeződik mert a domináns

kultúra az emberiséget vakvágányra vezette, és a kikerülhetetlen káosz-trófa felé közeledünk. Az emberek új metafórákat és válaszokat keresnek. Minden alkalommal ha egy kultúra bajba kerül, visszavetíti magát a múltba az utolsó józan pillanatot keresve amit valaha ismert. És az utolsó épelméjü pillanat amit valaha ismertünk az Afrika síkságain volt 15,000 éve, a Nagy Szarvakkal ellátott Gombaistennő bölcsőjében ringatózva. A történelem előtt, az állandó hadseregek előtt, a személyi tulajdon és a rabszolgaság előtt, a háborúzások, a fonetikus ábécé és a monoteizmus előtt”

Most of the time the lesson is simple: just let it go.

Legtöbbször a lecke egyszerű: csak el kell engedni.

Some are more complex, so we should arm ourselves with various spiritual weapons, consciousness and equanimity.

Mások bonyolultabbak, fel kell tehát fegyverkeznünk különféle spirituális fegyverekkel, tudatossággal és egykedvű nyugalommal.

Terence McKenna


Spiritual Weapons

Travel Kit

The first generally accepted piece of prehistoric art assumed to be the Venus of Willendorf (c, 30,000 BC) Clearly the female reproductive anatomy has been exagerrated and therefore believed to be a fertility symbol carried by the male hunter / gatherer as the reminder of his mate back.

Utazó Felszerelés Az első általánosan elfogadott prehisztórikus műtárgy a Willendorfi Vénusz (kb. i.e. 30,000) A nyilvánvalóan eltúlzott női reproduktív anatómiai formák következtében azt hisszük hogy egy termékenység szimbólum amit a vadászó/gyüjtögető férfi magával vitt emlékeztetőül hátrahagyott társára.

Level (worker)

Szintező (munkás)

Hindu doctrine describes the three fundamental states of human spirit as Sattva, which is the loftiness of spirit, Rajas - manifestation, struggle; and Tamas, or obscurity and brute instinct. These three states are located on three vertical levels.

Hindu doktrina szerint az emberi léleknek három alap állapota van, úgymint Sattva, ami a lélek emelkedett állapota, Rajas - megnyilvánulás, küzdelem; és Tamas, vagyis sötétség és brutális ösztön. Ez a három állapot három vertikális síkon helyezkedik el.

found objects, strings, clay Venus (by Mimma Nosek),

painted wood, plastic, metal and felt in

wax, cork and plastic foam in wooden box

wooden box


Spirituális Fegyverek

Fascia (move from 8 to 9)

(elmozdulás 8 ról 9 re)

‫ ח‬8 Cheth

‫ ט‬9 Teth

Enclosure, Field, Universe, Saturn, Lead, Ash, Cypress, Skeleton, Limitation, Karma

mimosa twigs, leather, felt in wooden box

Serpent, Scorpio, Kundalini, Cactus, Genitalia, Creativity, Intelligence of Probation

Impertinence (numerology coincidences)

Arcátlanság (numerológiai egybeesések)

Part of creation as process is interpretation.

A teremtés folyamatának része az interpretáció. A Kozmosz Nárcisszuszként jelenik meg, és önmaga tükörképét látja az emberi tudatban.

The Cosmos appears as Narcissus, regarding his own reflection in the human consciousness.

silicon rubber on paperboard and xerox marked with pencil, felt in wooden box


Spiritual Weapons Syringe (dope)

Fecskendő (drog)

Lingam

Lingam

A scroll of xerography containing 8 times the artist’s name and title of his video-art piece from 1988 “Star Over the Empire State Building” in Japanese. This image has been copied from the Japanese Infermental 8 catalogue, an art-video collection presented in media savvy places around the world. (Museum of the Moving Image, New York, Institute of Contemporary Art, Boston, Centre Pompidou, Paris, Infermental 8 Video Art Collection, Tokyo, Japan.)

A xerox tekercsen a művész neve és video munkájának címe “Csillag az Empire State Building fölött” 1988-ból, szerepel 8-szor japánul. Ez az anyag a Japán Infermental 8 katalógusból való, ami egy art-video kollekció és amit bemutattak sok médiakedvelő helyen a föld körül. (Museum of the Moving Image, New York, Institute of Contemporary Art, Boston, Centre Pompidou, Paris, Infermental 8 Video Art Collection, Tokyo, Japan.)

The lingam is not only a sign for the phallus but the integration of both sexes, Shiva and Shakti, symbolizing the generative power of the Universe. The hole, yoni on the spiritual level stands for the opening of this world as a gateway to the other world, on which the soul has to cross in order to be released from the cycle of karma.

A lingam nemcsak a fallosz jele, de a két szex egyesítése is, Shiva és Shakti, az Univerzum teremtő erejének a szimbóluma.

xerox, metal spring, willow grass, silicon rubber, felt

driftwood painted with flourescent acrylic

in wooden box

paint, felt in wooden box

A lyuk, a yoni spirituálisan azt a nyílást jelenti a földön ami egy kapu a másik világra amin a léleknek keresztül kell mennie hogy megszabaduljon a karma körforgásából.


Spirituális Fegyverek Limp Knife (phurbu)

Puha Kés (phurbu)

Batón (public punishment)

Bot (nyilvános büntetés)

In Tibetan buddhism a talisman with triangular blade, a phallus and stylized thunderbolt (dorje) adorning it’s handle is called Phurbu. This sacred object is meant to protect from evil spirits and larger versions are used for excorsism. This is the domestic version.

A tibeti buddhizmus egyik talizmánja a Phurbu, egy háromszögletű pengéjű kés aminek egy fallosz és stilizált villámlás (dorje) dísziti a markolatát. Ez a szent tárgy a gonosz szellemek elleni védelmet szolgálja és a nagyobb változataival ördögűzést eszközölnek. Ez a háztartási változat.

Wands in the Tarot relate to the mind, the world of ideas and deep thought, intellectual strenght, range and purposefulness.

A Tarot kártyában a Pálca szín az elmére vonatkozik, az ideák és mély gondolatok világára, az intellektuális erőre, hatótávolságra és céltudatosságra.

This club has been used for ritual performances called “Public Punishment”, a flagellation performance where the artists body has been painted red with seven numbers representing the 7 chakras and hit with the stick on each number. The punishment was sentenced for the vanity of creating the performance.

Ez a dorong a “Nyilvános Büntetés” címü rituális performanszokon volt használva. Ezen a flagellció performanszon a művész teste vörösre volt festve és hét számjeggyel jelölve amik a 7 csakrát reprezentálták. A számok az előadás folyamán ezzel a bottal lettek megütve. A büntetés a performansz létrehozásának hiúságáért lett kimérve.

wood, acrylic paint, felt and cork in wooden box

wood, acrylic paint, felt and cork in wooden box


Weapons and Pranic Generators

Though the work for his show is painting, drawing, and sculpture, the title conveys the more nebulous and ritual function of many of the pieces. The symbols portrayed through the techniques the artist employs are born from a commingling of ancient philosophy and modern conventions of representation, tempered by the immediacy of the experienced moment. Art is a form of meditation for Nosek, a revelatory process to which the finished pieces bear witness. The works have dual values in this way: they are simultaneously the focus of the meditation and the vehicle for it. Many of the pieces in the exhibition are sequential, documenting a spiritual journey informed by the outside world, like a tapestry of thought processes reflecting the past and inflecting the future. Nosek has been called a teacher but feels more like student – not only of life itself, but more specifically, of humanity’s myriad interpretations and representations of life. Immersing himself in the study of Western and Eastern modes of cultural representation and philosophies, Nosek resurrects the ancient arts of describing reality. Symbolical lexicons developed in each cultural episode reflect that society’s attempts to reconcile belief, expectation and experience. In this view, science is a pervasive but spiritually bankrupt attempt at explaining the complex relationship between faith, religious and social doctrine, law and socalled accidents or coincidences. The ancient mystical science of Alchemy is employed in the literal creation of many of his ritual objects and it becomes an important metaphor of physical transformation for the spiritual journey undertaken in the service of art. Nosek also uses numerological elements in his pieces, referring to the specific date the piece was made and thus implicating the astrological confluences of the moment of creation, lending each moment its distinct character and relevance for the individual. This practice bespeaks

a desire to be always fully linked to or firmly rooted in the real experience of life. In addition, the treatment of Kabbalistic theory holds a dual importance in his work, incorporating both the beautiful formulas of organic growth, the tree of life, and the startling relationship to contemporary scientific “discovery”. The confluence of knowledge between seemingly disparate fields of inquiry demonstrates the ultimate and literal interconnectedness of all things. Characters from the Hebrew alphabet which appear in Nosek’s work reflect this mode of philosophical investigation, providing one more set of referents to inform the work. Jewish mysticism’s struggle with the millennium and its emphasis on “reading the signs” when searching for insight into humanity’s identity and future, strike particularly compelling chords in these last days of this millennium. The meditative stillness of Buddhism , with its emphasis on the searching for answers within, is another model for inquiry which informs Nosek’s approach. Buddhism bespeaks a reliance on the capacity for man to comprehend his own destiny, the essential link between the eclectic grouping of symbols and significances from across the globe and throughout history. What all these elements ultimately share is what Nosek calls an unquenchable need to describe reality. Shana Nys Dambrot for “half a dozen rose” press release


Fegyverek és Prána Generátorok

Bár a munkák a kiállításon festmények, rajzok, és objektek, a kiállítás címe egy homályosabb rituális funkciót is tulajdonít a kiállított tárgyaknak. A művész által különféle technikákkal előadott szimbólikus művek ősi filozófiák és modern reprezentációs konvenciók keveredései és a közvetlen tapasztalat pillanatának kikristályosodásai. Nosek számára a művészet a meditáció egyik formája, egy kinyilatkoztató folyamat aminek a befejezett mű a tanubizonysága. A műveknek kettős értékük van így: egyszerre a meditáció fókuszai de eszközei is. Sok darab a kiállításon sorozat jellegű, dokumentumai egy külvilág által informált spirituális útnak, mint godolatfolyamatok kárpitja ahogy a múlt reflexiói ragozzák a jövőt. Nevezték tanárnak, de Nosek inkább tanítványnak érzi magát – nemcsak magának az életnek, de specifikusan az élet számtalan értelmezésének és ábrázolásának az emberiség által. A nyugati és keleti kulturális reprezentáció és filozófia módjainak tanulmányozásába mélyedten Nosek feleleveníti a valóság leírásának ősi mesterségét. A különböző kulturális epizódok során kialakult szimbólikus lexikonok a társadalom igényét tükrözik hogy megbékéljen hiedelmet, elvárást és tapasztalatot. Igy nézve, a tudomány egy átható de spirituálisan csődbe jutott próbálkozás hogy megmagyarázza a hit, a vallásos és társadalmi doktrinák összetett viszonyait, a törvényeket és az úgynevezett véletleneket és egybeeséseket. Alkimia –az ősi misztikus tudomány– került szó szerint alkalmazásra a művész sok rituális tárgya készítésekor és ez a fizikai átalakulás egy fontos metafórájává válik a művészet szolgálatában megtett spirituális útnak. Nosek a numerológia elemeit is használja munkáin, utalva arra az egyedi időpontra amikor a darab készült, és így hozza összefüggésbe az alkotás pillanatának az asztrológiai kereszteződését, minden pillanatnak megkülönböztetett karaktert adva és külön jelentőséget az készítő egyénnek. Ez

a gyakorlat a valósághoz való teljes kapcsolódásról és abban mélyen gyökerező valódi élet tapasztalásának a vágyáról árulkodik. Ezen kívül, a kabbalista teória bevonása is kettős fontosságot ölt munkáiban, magába foglalva az organikus növekedés és a teremtés gyönyörű képletét az életfát, és annak ijesztő viszonyát a korszerű tudományos “fel­fedezésekhez”. Az ismeretek kereszteződése látszólag egymástól teljesen eltérő vizsgálati területeken demonstrálják a valóság szinguláris összefonódását. A héber ábécé betűi Nosek munkáin is egy ilyen filozófiai kutatásra utalnak, még egy újabb referencia pontot nyújtva munkái értelmezésének. A zsidó miszticizmus küzdelme a milleniummal és a “jelek olvasásának” hangsúlya miközben az emberiség mivoltába és jövőjébe próbálunk bepillantani, különösen kényszerítő hangot ütnek a milleneum utolsó napjaiban. A buddhizmus meditáló csendje, a belső válaszok keresésén való hangsúllyal egy másik kutatási modell ami meghatározó Nosek megközelítésében. A buddhizmus elvárja az embertől hogy saját sorsának értőjeként egy lényeges láncszem legyen a szimbólumok eklektikus csoportulása és jelentőségük a földön és a történelmi múltban. Amiben mindezek az elemek végülis közösek amit Nosek úgy nevez hogy olthatatlan vágy a valóság leírására. Shana Nys Dambrot “half a dozen rose” galéria sajtóközleménye


Spine series

Gerinc sorozat

Three meditating Central Nervous Systems Három meditáló Központi Idegrendszer found image silkscreen prints on linen

“Nosek, a Hungarian-born artist, can be best understood as a metaphysician. With the intriguingly titled exhibition “Weapons and Pranic Generators,” Nosek created a new category of ritual object which he presented among a powerful collection of boxed sculptures, painted scrolls, costumes and other relics from a performance. The “pranic generators” are devices for the amplification of spiritual energies.

“Nosek, a magyar születésű művész, leginkáb metafizikusként értelmezhető. A fondorlatosan címzett “Fegyverek és Prána Generátorok” kiállításával Nosek a rituális tárgy új kategóriáját teremtette meg amikor erőteljes gyüjteményét bemutatta amelyek dobozokba zárt objektumokból, festett papírtekercsekből és performanszhoz használt jelmezekből állt. A “prána generátorok” a spirituális energia felerősítésére szolgáló készülékek.

While the artist as shaman is not a new metaphor for the practice of art, Nosek undertakes his role as intercessor with a palpable conviction, impressive craftsmanship and a lack of pretension that is refreshing and persuasive.

Bár a művész mint sámán nem egy új metafóra a művészi gyakorlatban, Nosek közvetítő szerepét nyilvánvaló hittel, megnyerő szakmai tudással és önhittség nélkül teszi, ami friss és meggyőző.

Like Beuys, Nosek is interested in evocative materials. While accepting influences from many sources, he has a special ability to transform the ordinary fabric of life and the passivity of art viewing into a transcendental experience.”

Beuys-hoz hasonlóan, Nosek is kedveli a jelentéssel átitatott anyagokat. Miközben elfogad hatásokat sokféle forrásból, különös képességgel bír a mindennapi élet átformálására és a műélvezet passzivítását átalakítani egy transzcendentális élménnyé.”

(Tobey Crockett, excerpt from article in Art in America)

(Tobey Crockett az Art in America-ban megjelent cikkéböl)


Spine series

< Seven Central Nervous Systems

Gerinc sorozat

HĂŠt KĂśzponti Idegrendszer silkscreen prints, xerox, rice paper on felt

Spine Fish

Gerinchal > xerox, ink on craft paper

Spine Fish

Gerinchal >

silkscreen print, ink on rice paper, balsa wood construction


Sin = Fear xerox, silicon rubber, acrylic and spraypaint on canvas

detail

Bűn = Félelem


Exousia spiritual power silicon rubber on paper mounted on wood


Patience Türelem

Tar – Semen – Tax

Kátrány – Sperma - Adó

art book spread művész-könyv oldalpár mixed media on paper

guache, tar, semen on paper


Mineola Mineola

Headheavyness

art book spread művész-könyv oldalpár ink, iron dust, marker on paper

ballpoint pen, ink and aquarelle on paper


Monsters

Szörnyek

The word Monster originates from the ancient Latin monstrum, meaning “omen”, from the root of monere (“to warn”) and also meaning “prodigy” or “miracle”.

A Monster, a latin monstrum szóból ered, “ómen, jel” jelentéssel, a monere (“figyelmeztetés”) szógyökből ami “csodálatos képességet” vagy “csodát” is jelent.

The term monster refers to a being that is a gross exception to the norms of some human ecosystem. The word monster connotes something wrong or evil, a monstrous being morally objectionable, physically or psychologically hideous, or a freak of nature.

A monster (szörnyeteg) kifejezés egy olyan lényre utal aki/ami egy durva kivételt képez a normális emberi ökoszisztámához képest. A szörnyeteg szó valami rosszat és gonoszat jelent, vagy egy morálisan kifogásolható, fizikailag és pszichológiailag undorító lényt – a természet szörnyszülöttjét.

The fear from the unknown or the “other” also a fear of knowledge. Fear is the biggest Sin. All fear is lack of faith, so consequently all fear is Sin, the opposite of Trust. Theologically speaking it is also a fear of sin. Just like the fearful serpent represents the original Sin and the Fall of Man from the grace of God and henceforth Man has been expelled from the Garden of Eden.

Félelem az ismeretlentől, a “másiktól”, a tudástól való félelem. Félelem a legnagyobb Bűn. Minden félelem a hit hiányából fakad, tehát félelem az Bűn, az isteni Bizalom ellentéte. Teológialag mondhatjuk hogy félelem a Bűntől. Ahogyan a félelmetes kígyó reprezentálja az eredeti Bűnt, az ember kiesését Isten kegyelméből és következésképp kiűzetését az Édenkertből.

“Fear is the swoon of freedom. Fear is an alien, external force which takes possession of the individual; he cannot tear himself away from its power because he is afraid; what we fear, we at the same time desire” (Kierkegaard)

“A félelem a szabadság ájult állapota. A félelem egy idegen külső erő ami birtokba veszi az egyént; aki nem tudja magát kiszabadítani annak markából mert fél; de amitöl félünk, arra ugyanakkor vágyunk is” (Kierkegaard)

This is the root of the fascination with the monsters weather they represent the “other” unknown entity or if it is our fear of own destruction, the fear of Death.

Ez a megigézettségünk gyökere a szörnyekkel akik vagy az ismeretlen“másikat” reprezentálják, vagy saját félelmünket pusztulásunktól, félelmünket a Haláltól.

“People see death as terrible, as tragic. Because they want to live, they see death as the enemy of life and therefore deny death, which then becomes even more fearful and monstrous. Beneath this fear of death lies the ultimate fear . . . the fear of looking into ourselves.”

“Az emberek a halált szörnyűnek és tragikusnak látják. Mert élni akarnak, a halált az élet ellenfelének látják, tehát megtagadják a halált, ami ettől még félelmetesebbé és szörnyűbbé válik. Emögött a halálfélelem mögött relik a legnagyobb félelem . . félelem az önmagunkba nézéstől.”


Monsters series

digital prints on paper


The Fool Tarot card meaning deals with that youthful exuberance we feel when starting out on a new adventure or taking a journey of faith. The Fool makes no plans, or gives no thought to possible complications along the way. Happy to be doing something different, the Fool blindly sets out where all else may fear to tread.


A Bolond Tarot kártya jelentése azt a fiatalos lendületet mutatja amit érzünk amikor egy új kalandra indulunk, vagy sorsunkra bízzuk magunkat. A Bolond nem tervez, vagy akár gondol az utazás lehetséges komplikációira. Boldog hogy valami mást csinálhat, a Bolond vakon idul arra amerre más félne elindulni.


The hole, yoni on the spiritual level stands for the opening of this world as a gateway to the other world, on which the soul has to cross in order to be released from the cycle of karma.


A lyuk, a yoni spirituálisan azt a nyílást jelenti a földön ami egy kapu a másik világra amin a léleknek keresztül kell mennie hogy megszabaduljon a karma körforgásából.


Plants Gnostic wisdom suggests that the “true” God of the universe is manifested in the pursuit of a consciousness associated with wisdom, peace, and love, and also on Earth by Mother Nature or ‘Sophia’.


King and Queen The anima and animus are described by Jung as elements of the collective unconscious, a domain of the unconscious that transcends the personal psyche. In the unconscious of the male, this archetype finds expression as a feminine inner personality: anima; equivalently, in the unconscious of the female it is expressed as a masculine inner personality: animus. In simplest terms, the King and Queen represent the raw materials of our experience - our thoughts and feelings - with which the alchemist works. The King symbolizes the power of thought, ultimately the One Mind of the highest spirit (Logos). The Queen stands for the influence of uncontrollable feelings and emotions (Sophia Pistis). The Alchemic marriage of the King and Queen produces a state of consciousness best described as a feeling intellect, which can be raised and purified to produce a state of perfect intuition, a direct Gnosis of reality.


Király és Királynő Az anima és animus a kollektív tudatalatti elemei, a tudatalatti olyan tartománya amely túlhaladja a személyes pszichét Jung megfogalmazásában. A férfi tudattalanban az anima mint feminin belső személyiség talál kifejezést – megfelelőképpen, a nöi tudattalanban az animus fejezi ki a férfias belső személyiséget. Egyszerüen fogalmazva, a Király és Királynő reprezentálja tapasztalataink nyersanyagát - gondolatainkat és érzéseinket - amikkel az alkimisták dolgoznak. A Király a gondolat erejének szimbóluma, voltaképp a legmagasabb szellem Elméje (Logos). A Királynő a kontrollálhatatlan érzelmek és emóciók hatását képviseli (Sophia Pistis). A Király és Királynő alkímiai házzassága egy olyan tudatállapotot produkál amit érző intellektusként lehetne leginkább nevezni, amit azután tovább lehet emelni és tisztítani hogy a tökéletes intuíció állapotát produkálja, a valóság közvetlen Gnózisát.


Craven Acquiescence of Delusional Optimism A Téveszmés Optimizmus Gyáva Belenyugvása


Craven Acquiescence of Delusional Optimism A Téveszmés Optimizmus Gyáva Belenyugvása


Arcadia Forum Romanum, Rome, Italy photographs, pencil and oil on paper, mounted on wooden board


El Dorado Machu Picchu, Peru photographs, oil on paper, gold leaf mounted on wooden board


Anagliph Triptichon Conspirators

Összeesküvők

Hommage Duchamp

Underground

Földalatti

Hommage Warhol

Strugglers Erölködők Hommage Kosuth/Wittgenstein

silkscreen prints on stretched canvas


Identification Panopticon Azonosítási Panoptikum I-XII. silkscreen on blotting paper

The Panopticon is a type of institutional building designed by English philosopher and social theorist Jeremy Bentham in the late eighteenth century. Bentham conceived the basic plan as being equally applicable to hospitals, schools, sanatoriums, daycares, and asylums, but he devoted most of his efforts to developing a design for a Panopticon prison, and it is his prison which is most widely understood by the term. Bentham himself described the Panopticon as “a new mode of obtaining power of mind over mind, in a quantity hitherto without example.”

A panoptikum, híres emberek viaszfiguráinak vagy bizarr látvá­ nyosságok gyűjteménye. Eredetileg egy olyan börtönépületet jelentett, ahonnan a körben elhelyezett cellákat mind szemmel lehetett tartani, amelyet Jeremy Bentham angol filozófus és társadalomtudós talált ki a késő XVIII. században. A magyarba a latinizált alakból való német Panoptikum szó közvetítette.


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Performances • Mesterséges Légzés – I-Ching, (Hegel: Filozófia Történet) Artificial Respiration – I-Ching (Hegel: History of Philosophy)

Rózsa presszó, Budapest (1979)

• Worker (with Beatrix Aruna Pasztor and Gabor Szitányi) Danceteria, New York (1984) Munkás • Mercury (with André Kovacs) Pratt Institute, New York (1987) Higany • Public Punishment (with André Kovacs) Nyilvános büntetés

ABRA Loft, Brooklyn, New York (1989)

• Three Part Lecture Series on the Physical and the Spiritual Body (with Andras Wahorn) Három részes előadássorozat a fizikai és a spirituális testről • Adam Kadmon • Public Punishment • Intuition

half a dozen rose Gallery, Venice, California (1995)

• Three Sons of Viracocha (with Sylvia Simmons) Viracocha három fia

half a dozen rose Gallery, Venice, California (1996)


ADAM KADMON This is my mortal body...it is made of Earth, Water, Fire and Air This body is the dwelling place of God I am Adam Kadmon, the body of God - the microcosm The performance took place in two separate locations with live closed circuit video feed. In the main gallery an elevated stage was built where the text of the lecture was delivered by the artist in full body paint with the ten sefira marked with flourescent paint on his body. On the back wall the Tree of Life diagram was painted also in flourescent paint and ten candles were placed on the stage floor in the same formation. Across from the performer a large video screen showed live video images of a heterosexual couple having intercourse in the galleryâ&#x20AC;&#x2122;s bathroom.

Adam Kadmon is a metaphysical concept that attempts to define the spiritual characteristics of the deity and identify them with the material characteristics of man. Etz Hayim, the tree of life, is a composit glyph - in symbol this represents both Adam Kadmon - the heavenly man - the macrocosmos - and material man - the microcosmos thus, the tree of life can be seen as a magical-religious system of correspondences that identifies the human with the divine. This is the light first issued by God when he created the Universe. Beyond Kether, the first sephira, there are three veils of negative existence: Ain, Ain Soph, and Ain Soph Aur representing the unmanifested, the unknowable, and the absolute. The tree of life is composed of spheres, called the sephiroth, sephira being the singular form of the word. The spheres are interconnected by 22 lines, called paths, which represent the 22 letters of the Hebrew alphabet. The 10 sephiroth and the 22 letters are known as the 32 paths of wisdom. Although the sephiroth represent the different manifestations of the cosmic force, and thus, of evolution, the paths are phases of subjective consciousness by means of which the soul becomes aware of cosmic manifestations. The sephiroth known as numerical eminations, represent the abstract forms of the numbers 1 through 10. Each sephiroth symbolizes a quality characteristic of God as well as of man. Each of the paths symbolizes the particular state of consciousness that must be reached in order to acquire a divine characteristic. These states of consciousness are represented by the 22 Hebrew letters.


The 10 sephiroth are divided into 3 columns or pillars, known as the Right-Hand Pillar, Middle Pillar, and the Left-Hand Pillar. • The Right-Hand Pillar represents the male-active-positive principle and has positivemale characteristics. (FIRE) • The Left-Hand Pillar represents the female-passive-negative principle and has negativefemale characteristics. (WATER) • The Middle Pillar represents Harmony, Mildness, Equilibrium, and is the balancing factor between the other two. (AIR) It has both male and female qualities, as it is a depository and transmitter of the other two pillars. The 10 Sephiroth represent the following spiritual qualities and physical characteristics of the body: KETHER: THE CROWN Jung - the divine self Symbol - the Point, the Swastika Virtue - Attainment Astrology - ruled by Neptune Archangel - Metraton

(top of the head)

HOKHMAH: WISDOM Jung - the active intellect - the animus - the father Symbol - Phallus, staight line Virtue - Devotion Astrology -Ruled by Uranus Archangel - Ratziel

(right side of face)

YESOD: FOUNDATION Jung - the Ego Identity, the Mind - the Shadow Symbol - Perfumes Virtue - Independence Astrology - ruled by the Moon Archangel - Gabriel

(left leg)

(organs of generation)

MALKHUT: KINGDOM (the feet) Jung - Body - Central Nervous System - Id -Nefesh - the Subconscious (this is where all energies are condensed; this is the Magician himself) Symbol - Equal Cross Virtue - Discrimination Astrology - This is the Earth Archangel- Sandalphon The Sephiroth act in pairs, the one on the right hand pillar working with its opposite on the left, and then synthesizing their powers thruogh the Spehira that stands between them on the Middle Pillar.

Connecting path is the divine spirit, transpersonal consciousness BINAH: UNDERSTANDING Jung - the passive intellect - the anima - the Mother Symbol - Cup, Female sex organs Virtue - Silence Astrology - ruled by Saturn Archangel - Zaphkiel

HOD: GLORY Jung - passive action - the Mortido Symbol - Names, versicles and apron Virtue - Truthfulness Astrology - ruled by Mercury Archangel- Michael

(left shoulder)

One always should keep in mind that the concentrated energies on one particular Sephira throws the whole system out of balance and will then experience some physical manifestations of a negative type. The diagram is of great importance to the Kabbalist, because it lets him identify at the glance, the combinations of elements that form each aspect of the Absolute. • The first triad being ruled by the element of Air • The second Triad is ruled by the element of Fire


HESED: MERCY or LOVE Jung - the active emotion - the ego ideal - the reward Symbol - Orb, Tetrahedron Virtue - Obedience Astrology - ruled by Jupiter Archangel- Tzadkiel

(left arm)

• The third by Water Malkuth, the 10th Spehira, is ruled by the element of Earth, in spite of the fact that it stands in the Middle Pillar which is ruled by the element of Air. The is because the other spheres are only states of consciousness and are not yet manifested in matter. Malkuth, the depository of their combined forces, is the one that can transmit these forces to the physical world. Yesod, Foundation, is a combination of Water and Fire; standing in the Middle Pillar is a synthesis of all othe forces. This is the realm of the Mind, the union of forces, the Mogen Dóvid. Y

Connecting path is the soul, the conscience Somewhere around the place of the heart there is DAAT, the hidden Sephira, representing the higher knowledge – it is the center of the first Triad, ruled by Pluto. We will talk about this later. GEVURAH: JUSTICE or SEVERITY (right arm) Jung - the passive emotion - the super ego - the punishment Symbol - Pentagon, Sword Virtue - Courage Astrology - ruled by Mars Archangel- Khamael Connecting path to TIFERET is the soul, also the passive-emotional complexes. TIFERET: BEAUTY Jung - this is the self of individuality Symbol - Cube Virtue - Devotion to the Great Work Astrology - ruled by the Sun Archangel- Raphael

(the solar plexus)

NEZAH: VICTORY Jung - the active action - the libido Symbol - Rose Virtue - Unselfishness Astrology - ruled by Venus Archangel- Haniel

(right leg)

Tiferet is the self of the Individuality Composite of Fire and Air- this is the Seat of the Soul. Kether is a combination of the element of Air within itself, and thus it is said to be Air of Air. Daat, the invisible sphere and the center of the first triad. This sphere is one of the greatest mysteries of the Kabbala. It’s name is Knowledge. In the biblical narrative, we find subtle reference to the sexual act as a man knowing a woman. This act of Knowing is the secret of Daath. The Female principle of God, known as Matrona, hovers overs the marital bed during sexual intercourse. One of her names is also Shekinah. She is often identified with the great archangel Metraton, who stands in Kether, the Sephira. Shekinah or Metraton projects the powers of God’s Female Principle into the hidden sphere of Daath. The first Triad of spheres is the Superconsciousness. In order to reach this realm, the student of the Kabbalah has to cross on his ascent, the line of the Abyss, the veil of the supernals. The adept who will pass through will get lost in the womb of the Universe. He has to be reborn, but first, he has to give up all his material comforts and pleasures..... Spiritually naked and materially desolated....... After emergence, his life will take a completely different direction that will inevitably lead him to his final aim of uniting his soul with God’s. __________________________________________________________________

This is the Liminal Threshold between the individual unconscious and the personal consciousness. This is the line of the Awakening.

This is my mortal body... it is made of Earth, Water, Fire and Air. This body is the dwelling place of God. I am Adam Kadmon, the body of God - the microcosmos. The End dr.Nosek © 1995


PUBLIC PUNISHMENT In Mahayana Buddhism, the 6 paramitas (highest conditions) practiced by Bodhisativas are: generosity, moral conduct, patience, courage, meditation, and wisdom. MY SINS ARE: THE BLOWS: - aggression 1 MULADHARA - fear 2 SVADISHTANA In the main gallery on the elevated stage a Black & Decker workbench served as gallows for the flagellation ritual. The artist in full body paint and marked with seven numbers on his back kneeling on the work bench recited the text of the lecture first and repeating his sins seven times was hit with a stick seven times by the gallery director Sabine Gebser. From the gallery’s bathroom live video showed a lesbian couple in a sadomasochistic action.

- greed 3 MANIPURA - intolerance 4 ANAHATA - vanity

- and breaking the silence of AIN - SOPH - AUR, the ultimate, unmanifested potential

5 VISHUDDHA 6 AYNA 7 SAHASRARA

The numbers are representations of the 7 chakra centers of the human body according to the Kundalini system. All things are made out of particles vibrating in various frequencies. Our reality is a resonating symphony of wave forms; a continuous interconnected field. A hologram, holomovement, MAYA. According to Dr. Kenneth Ring (1980), psychologist, University of Connecticut, near-death experiences could be explained by the holographic model of the universe. He is the president of the International Association for Near-Death Studies, believes such experience as well as death itself, are really nothing more than the shifting of a person’s consciuosness from one level of the hologram of reality to another. In his book, entitled “Synchronicity: The Bridge Between Matter & Mind”, (1987) Dr. F. David Peat. a physicist at Queen’s University in Canada, explained that synchronicities can be explained by the holographic model. Peat believes such coincidences are actually, “flaws in the fabric of reality”. They reveal that our thought processes are intimately connected to the physical world.

7 6 5 4 3 2 1


David Bohm, physicist at the University of London, in his book, “Wholeness and the Implicate Order” (1980) introduced the notion of the implicate order in which any element contains enfolded within itself the totality of the universe. His concept of totality includes both matter and consciousness. All things are made out of particles vibrating in various frequencies, the shorter the wavelength gets, there is more energy stored. Every cubic centimeter of empty space contains more energy than the total energy of all the matter in the known universe. This infinite ocean of energy is the empty space. What we think is empty is full: This is AIN SOPH AUR, the Ultimate Unmanifested Potential. This is the ground for the existence of everything. •

WE ARE CREATING OUR OWN REALITY

IT IS FEAR THAT PREVENTS YOU TO FULFILL YOUR POTENTIAL.

OUT OF VANITY, I AM CREATING THIS PERFORMANCE TONIGHT.

• I AM DISTURBING THE SILENCE OF AIN SOPH AUR, THE ULTIMATE, UNMANIFESTED POTENTIAL. • HUMAN ACTION CREATES MISERY. THE ULTIMATE MORAL IS THE NON-DOING, NON-ACTION. YOU SHOULD CALM YOUR BODY AND STILL YOUR MIND TO CONNECT WITH THE STILL OCEAN OF EMPTINESS. • I AM CREATING THIS PERFORMANCE TO PUNISH MYSELF, BECAUSE I HAVE CREATED THIS PERFORMANCE. Dr. Nosek ©1995


In the gallery stage area an enclosure was created by semi-transparent mirror foil and it had the word “Intuition” written on it. A sequence of slides were projected from outside making the the interior disappear and reappear between slides. Behind this curtain sat the performer and a Buddhist image of two dancing skeletons were painted behind with fluorescent paint and lit with ultraviolet light and in front an “all seeing eye” was lit by a slow-blinking strobe light. While the artist was reading his lecture, from the bathroom live video showed two gay man kissing on the monitors.


All men brave out of fear except philosophers: they are lovers of Sophia (Sophia being the female aspect of Logos, the Gnostic Knowledge of God) The audacious soul inclines toward the body because it does not realize that this body to which it is subjecting itself, is none other than its own reflection in the mirror of matter.

INTUITION PSYCHO - MIRROR: INCOMPLETENESS “ The unrelated human being lacks wholeness, for he can achieve wholeness through the Soul. The psyche proves to be a half bodily, half spiritual substance “Anima Media Natura”, as the alchemists call it; a hermaphroditic being, capable of uniting the opposites, though who is never complete in the individual, unless related to another individual.” Carl Gustav Jung The Cabalistic teachings of medieval Jews as well as Gnostic Christian writings of the 2nd Century describe the act of Word Made Flesh as androgynous. God created man - ADAM to his own image androgynous. The removal of the feminine into another form symbolizes the beginning of the fall from perfection into duality.

“The union of opposites through the middle path is the most fundamental item of inward experience” Buddha on his journey to enlightenment abandoned asceticism as he must have realized that practicing it one rejects part of oneself and consequently wholeness cannot be attained. Instead he adopted and later taught the middle way. The truth, the absolute, which is inexpressible, can only comprehended in rising above any kind of exclusiveness. The conflict produced by reason and contending positions can be resolved by attaining a higher standpoint -- That is, by the awareness of the total rather than the separate parts. Intuition is the non-dual knowledge, the knowledge of the absolute. “In intuition a content presents itself whole and complete, without our being able to explain or discover how this content came into existence. Rudolf Steiner, German scholar, theosophist and mystic, founder of the Waldorf school system describes four levels of apprehensions corresponding to four levels of human nature. While the first level, sense perception is not knowledge itself, the 3 remaining levels are progressively higher stages of knowledge, as follows:

1 Sensory Perception ----Physical Body

2 Imaginative Knowledge --- Etheric Body

“To man I am Hermes to woman I appear as Aphrodite”

3 Inspirational Knowledge --- Astral or soul Body

Boddhisattva is androgynous.

4 Intuitive Knowledge --- Spirit Body

From the tantric point of view each being contains the whole Universe. The collective Unconscious is the realm of the psyche where non-duality prevails. The fundamental concept of Tantra is recognition of polarity. Integration of polarity is the core of Tantric practice: the union of male and female energies, matter and spirit, active and passive principles, wisdom and compassion, the unifying principle personified by Avalokiteshvara (the Buddha of Compassion).

From our ordinary, commonsense vantage point, we might assume that the higher states of knowledge are progressively more vague and obscure. Predictably, Steiner claims the reverse. Sensory knowledge (or sense perception, which is technically not knowledge at all) is only clear to the extent that we illuminate the material world by the cognitive capacities of imagination, inspiration and intuition. We can only understand our own self if we ascend to the level of intuition which is the highest form of intelligence. We know our own self only if we see the physical body as an expression of the etheric, the ethericbody as an expression of the astral, and the astral and an expression of the spirit.

The principle of opposites is equally of primary importance in Jung’s psychology. For Jung, opposition is inherent in the structure of the psyche, as it is in the Cosmos. On the psychological level, the significance of the principle of opposites lies in the fact that the psyche is a dynamic unity, a self regulating system in which Consciousness and the Unconscious are complementary to each other. To deny one or the other results in one-sidedness, disequilibrum and hence loss of wholeness. “ It is a fundamental mistake to imagine that when we see the non-value in a value or the untruth in the truth, the value or the truth ceases to exist. It has only become relative. Everything human is relative, because everything rests on an inner polarity...” wrote Carl Gustav Jung.

Three members have to be distinguished in the soul as in the body. Sentiment Soul, Intellectual Soul, and Consciousness Soul. And just as the body works from below upwards with a limiting effect on the soul, so the spiritual works from above downwards into it, expanding it. For the more the soul fills itself with the true and the good, the wider and the more comprehensive becomes the eternal in it. The physical body, as the coarsest structure lies within outer structures and mutually interpenetrate each other. The ether-body fills the physical body as a life-form; extending beyond this on all sides is to be perceived the soul-body (astral form) and beyond this extends the sentient soul, then the


intellectual soul which grows larger the more it receives into itself of the true and the good. These formations in the midst of which the psychical body appears as is in a cloud, may be called the human aura. The spiritual skin which separates the spirit - man from the homogeneous spirit - world makes him an independent being within it. This spiritual skin expands continually with advancing human evolution, so the spiritual individuality of man ( his auric sheath) is capable of enlargement to an unlimited extent. “ At some unspecified point in the 3rd millennium, man would, by its own efforts and the strength of his powers of thought be able to transcend himself, escape the material age and enter a new evolutionary phase of vastly greater spirituality and sensibility.” wrote Rudolf Steiner. Some other sources say that for humanity a prerequisite to cross this threshold, is the opening of the heart-chakra. This is energy center called Anahatha in Sanskrit exhibits twelve spokes of lotus petals and glows a golden color it is said that purity resides here. This level in the kundalini yoga system a threshold a transcending force in the realm of worldly existence. The individual with an awakened Anahatha or Heart chakra can directly perceive the workings of karma and free himself of it. A number of paranormal abilities result from the awakening of the Anahatha chakra. The ability to control air (vayu) is acquired. Non - individualistic, cosmic love is awakened. The practitioner of kundalini yoga becomes eloquent, and poetic genius develops. He also acquires the power to free himself and have his wishes fulfilled, by the capacity of direct perception of the workings of the earthly karma. The Anahatha controls the sense of touch. When it is awakened, one’s sense of touch becomes increasingly subtle, and even astral matter can be felt and this sensation can then be communicated to others. Powers of psychic healing also develops. Prana is a life-force energy, more vital than air for out existence. Prana exist as an energy field connected so closely with spirit that spirit can not exist without it. We take prana in through the top of our head and also with our breath. Prana can be transmitted through the palms of the hand and directed to the diseased area of other person’s body. Psychokinetic powers also develop when Anahatha is awakened. Rudolf Steiner’s “unspecified point in the 3rd millennium” might as well be the Mayan date of AD 2012. The Mayan, were obsessed with time, and the movements of celestial bodies. The Mayan Great Cycle similarly to the Euro-Indian astrologers use of the rough figure of 2000 years predicts a physical change and psychological and spiritual shift of consciousness around the Millennium. Already we are in the beginning of our transition to the coming era of Anahata Consciousness the Intuition Consciousness. Dr. Nosek ©1995

Epilogue: We are more uncomfortably aware of the statistical predictions that with the rate of our increasing population, our wasteful destruction of land resources, our pollution of rivers, lakes and oceans and the very air itself - the world will become untenable between the years 2000 and 2020. Economic and social values are being discarded. Orthodox religions systems in rampage - new beliefs, new sects are springing up by the dozens. Since 1987 the number and complexity of crop circles vastly increased and many esoteric secrets are being revealed. The great Mayan cycle coincides with the end of the Great precessions period concluding with the end of the present age of Pisces. Our planet is moving into the age of Aquarius and the greater liberation of our souls.


Exhibits

Performances:

2010

Erotica, Gallery Godo, Glendale, California

2009

Monsters, Le Garage L., Forcalquier, France

2007 1996

Lamy Avery Gallery International, Claremont, California Weapons and Pranic generators, Half a Dozen Rose Gallery, Venice, California

1995

Stage Left, Glendale, California

1993

Gate 12 Hungarian Consulate, New York Ernst Museum, Budapest

1992

Left Bank Gallery, Brooklyn, New York

1991

PS 122 Gallery, New York, New York

1989

ABRA Loft, Brooklyn Magic Scene in Art, Lajos Utca Gallery, Budapest

1987

Merce Cunningham Dance Studio, New York, New York

1985

Galleria En El Bohio, New York Obuda Gallery, Budapest King Stephen Museum, Székesfehérvár, Hungary

1984

Danceteria, New York Situation, Miskolc Gallery, Miskolc, Hungary cca515253kb, Pécsi Galéria, Pécs

1996

Three Sons of Viracocha at Half a Dozen Rose Gallery, Venice, California

1995

Trilogy with Wahorn at Half a Dozen Rose Gallery, Venice, California

1989

Public Punishment, ABRA Loft, Brooklyn, New York

1987

Mercury, Pratt Institute, Brooklyn, New York

1984

Worker, Danceteria, New York, New York

1979

I Ching, Rózsa Presso, Budapest

Videowork Shown: 1989

Museum of the Moving Image, New York, New York

1988

Infermental 8 Video Art Collection, Tokyo, Japan

1984

Infermental 3 Video Art Collection, Filmfestspiele, Berlin Arsenal 2, Germany Centre Pompidou, Paris, France Western Front Video and Art Gallery, Vancouver, Canada Institute of Contemporary Art, Boston Videonale, Bonn, Germany Manifestation du Video Internationale, Montbeliard, France Frankfurter Buchmesse, Frankfurt, Germany Sphinxx Project, Cologne, Germany



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