OSAS - FUGA

OSAS - FUGA
28.03.2018 - 22.05.2O18

Concept Note for the exhibition FUGA
Interface versus Inter Space

In several languages the word fuga has a double meaning although the pronunciations might differ a bit. Fuga, originating from Latin, is often defined as a slot in space, such as the plaster in between two layers of brick, versus a repetitive musical composition technique that is defined in time. They do have a different meaning yet they could be connected visually. The fuga in space is a discontinuity, a transition from one space to another. Fuga does exist, therefore, as a space in between two spaces it separates even if that interface, or rather inter space, is infinitesimal. It is the size of the fuga that defines whether it is an interface or an inter space. In other words, that size defines when a 1 or 2D space becomes a 2 or 3D space, respectively. The exhibition is to identify visual answers to a number of questions. Where is the tipping point in the transition? And what is the relation between the interface / inter space with the spaces it separates from one another? To what extent does the inter space have an esthetical meaning? What is the perception of the inter space? Can the ecotone hypothesis of systems ecology, i.e. it is the interface (the ecotone) between two adjacent ecosytems that determines the dynamics of the two adjacent ecosystems, be extended to visual systems? Certainties and incertitudes of the transition set an imaginary boundary that could be material or just the void itself. This transition has manifold manifestations. It could be a transition within the same space or a transition/mapping of a space into another one with different dimensions, such as for example the mapping of a 3D or higher dimension object onto a 2D space, the plane, by the procedures of projective geometry. Of course, other mappings could also be used. That is what image generation is all about. The image and its image. Color as space vs. space as color. The reality of an image vs. the image of reality. The transition could be continuous or fuzzy vs. hard edge and discrete state. An example to the later is the door that separates two spaces of the same dimension with different conditions may generate different esthetical values. Opening vs. closing. A binary system in principle but with infinite choices when the door is open. Although we move within the same set yet we found ourselves in an entirely different position when we walk over the door. Present becomes past. The door separates yet it connects. What happens when even very small displacements occur in time? What is the result of a series of small displacements, such as in a fugue? When will we recognize that we are in a totally different situation/quality that was not even perceptible in between two subsequent small changes? What happens when space and time are interconnected such as an inter space and a repetitive fugue? And what happens if a space is self-repeating itself on a (fractal) scale? What new esthetical value is being generated? And is that possible at all to measure at all the esthetical value with Max Bense’s information esthetics or we will be confined forever to our subjective judgment?

András Szöllősi-Nagy, 8. February 2018