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Rudolf Polanszky - Models for Transaggregate Structures

Category: Portrait 30. May 2011

Polanszky shows that perceptions do not simply happen within us, but in fact are performed by us – producing reciprocal dynamics. Rudolf Polanszky is an artist of Gallery Konzett, Vienna.

“The human being forgets that it was him who produced the images in order to use them to find his bearings. He is unable to decipher them anymore and from then on lives in function of his own images: imagination has turned into hallucination.” (Vilem Flusser)

Polanszky’s works resemble a language und avail themselves of a sequence or composition of signs and symbols, but without directly reverting to concepts and without giving a direction to the relationship between cause and effect, leaving open which one is cause and which one effect. Reality as a principle is replaced by the performance of reality, including our capacities and mechanisms of representation and interpretation.

For Polanszky his art is a research technique for an inquiry into human nature, by exploring the boundaries of potentialities and possible action without determining goals and purposes – hence the disarrangement, the aleatoric connections, or, amounting to the same, contingency and exception, pure turbulence becoming poetry.

Within us, the transformation of the fictional into the real is being triggered, from the moment of the works’ creation up to the present, within a space that becomes physically tangible. The narration continues, but Polanszky adds a moment of void, a blank space. In this way the reception turns into a subjective experience by producing a meaning, the viewer becoming a co-author of this narrative. The fiction is continued within reality, and a reconstruction of the cognitive experience is being made possible.

The relationship between the illusory space of painting and the physical presence of sculpture in Polanszky’s oeuvre, this fortunate uncertainty oscillating between experiment and mastery, between structure and chaos, conveys a presence that is neither defined by one nor the other.

The bricolage of dismantling and reassembling, generating works “in potentiality” which are in a constant process of transformation, the fragmented time, surfaces and images: In all his fragmented oeuvre, Polanszky seems ultimately to investigate on painting and its language, time and again exploring its formal means.

At this point, interpretation or rather translation of the intention becomes fundamental: the reception and spontaneous interpretation of a work of art reveals itself to silent lecture or a mute inner vision. Not individual features, but the entirety of the composition connects to the recipient – by the immediacy of an unrepeatable experience of a nameless aura, continuing to keep its secret and its mysteriousness.

As far as the artist remains the subject, we are but mere visitors of his artistic universe and find out that our cognition is illusory: we stand before an existential emptiness, devoid of transcendence. After this experience of despair and the acceptance of the inevitable doom, we find ourselves in a state of an exhausted presence of mind – perhaps, with some luck, a deafening silence surges in our mind.

No intellect exists without representation; even the blind man visualizes his world in images. Our intellect cannot grasp anything that does not appear before our inner eye, “we only see what we view” (Merleau-Ponty)

The gaze learns while looking, by permanently carrying out comparisons in order to find himself in what he sees – every depiction, every image must therefore remain provisional.

The eye and the intellect are accomplices in the depiction of the seen, while inescapably remaining bound to our earthliness and corporeality. We have no other choice but to resort to our eye and intellect in order to attain at least a partial truth – but when this happens and eye-intellect succeeds in catching a glimpse of reality, the veil is brutally ripped off and the idyll destroyed.

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