Das Konzeptualisches Opfer

layed at the feet of the HRI by GZ




1.) Pedestrian and Pedestrina - street play

The performance requires two walking machines set up at a point of great pedestrian traffic. The performers walk on the machines as long as they please, with the pace of a hurried walk. Judging by their clothes (hat-coat, cane-backpack) it is evident that this has nothing to do with a sport event.


2.) Unreachability - street installation

It should be situated at a point of great pedestrian traffic. A tap, beautiful in its simplicity, should be fixed on a wall in a height that is beyond the reach of even the tallest of streching men. Below the tap should the sign be set: DRINKING WATER.


3.) Plein air - steet play and improvised fine art

At a point of great pedestrian traffic, where a picturesque view is avaiable onto a well-known place of interest (for instance the hotel-embankment at Pest would do). Here the artist installs her easel and starts to paint - for example on a picture of the Eiffel-tower. Funds raised by selling the finished artworks go to the artist.


4.) Purist matrices - liguistic and political activity, logospreading propaganda

The matrices are to be placed besides foreign-language sings. They communicate the correct pronounciation of the item, describe their meaning and make proposals for local language alternatives. Whenever possible, the small print known from cigarette boxes calls attention to liguistic history, according to which it is strongly advisable to translate foreign signs and labels. Thus the Institute coquettes with the role of an executive body (q.v. the political aspirations of the HRI), while an opportunity is presented for the propagation of the logo as well.


5.) 24th district of Budapest - artistic realisation effort, street installation

At a point of great pedestrian traffic, a post, beautiful in its simlicity is to be set: it marks a new district of Budapest, the 24th, which has place but no extension, viz. it is constituted by a single point in the mathematical sense. The district is reviewed in a small, colourful leaflet, featuring shots of the post in the direction of the four basic directions and essays praising the unrivaled attributes of the district.
The other objective is that the city legally register the district. In the struggle for the realisation of the project the artists use the full range of intellectual devices. Basic arguments are that adapting the project the city gets a district with no crime, air pollution and poverty: the absolutely exemplary city district. The realisation of the idea - unique(?) even in an international perspective - would be an evident draw for tourists, calling attention to the diversity of Hungarian art life, especially its organic relations with the civil service.
Having said that, the failure of the struggle bears no relation to the failure of the concept: the success of the latter depends solely on the documentation and publication of the former.


6.) The (illegal) vendor

Winter sets in: the snow begins to fall. The artist sets out (at a point of great pedestrian traffic) with a small scale, and sells snow measuring it out into yummy cornets. His fellows help with making considerable fuss about him, gathering around. Funds possibly raised go to the artist.


Observations: lgz@freemail.hu