{"id":161,"date":"2017-05-21T13:46:45","date_gmt":"2017-05-21T11:46:45","guid":{"rendered":"http:\/\/muzeumintermedii.sk\/?p=161"},"modified":"2022-01-29T13:49:27","modified_gmt":"2022-01-29T12:49:27","slug":"kunstvhale-1972-2014","status":"publish","type":"post","link":"https:\/\/muzeumintermedii.sk\/en\/kunstvhale-1972-2014\/","title":{"rendered":"Peter R\u00f3nai – KUNSTvHALE, 1972 – 2014, 1972 \u2013 2014"},"content":{"rendered":"

Peter R\u00f3nai (*1953)
\n<\/strong>KUNSTinHALLE, 1972 \u2013 2014<\/strong><\/p>\n

installation of a\u00a0number of pictures of smaller formats, variable dimensions
\nacquired by purchasing from the author in 2015 (grant of the Ministry of Culture of the Slovak Republic)<\/p>\n

The author’s way of thinking is characterized by intellectual approach and blending of philosophy and fine arts, often together with creating tautologies. Generally, it is not possible to provide a\u00a0formal, thematic, and semantic framework for his work; the author avoids any precise anchoring (description, interpretation) by relativizing, situating himself in a\u00a0borderline position, and resisting conventions (exhibition, curatorial, or those present in the practice of art history).<\/p>\n

To a\u00a0certain extent, KUNSTinHALLE<\/em> is a\u00a0time-lapse project presented as the author’s archive, but not just in the sense of presentation of works or artefacts related to their origin. Approximately one hundred pictures of smaller format reveal the typical trait or R\u00f3nai\u00b4s work \u2013 the penetration of his artistic and individual trajectories into the history of art in terms of the disappearance of art in everyday life. Thus, the format of the presentation defies the author’s perception of the traditional model of writing the history of art. Through the perspective of each particular picture (but also the compound whole) and regardless of their chronological order, however, the piece serves as a\u00a0significant memory trace of his work.<\/p>\n