Magda Csutak

Approaching Zero

Translated from the original German by Christopher Barber

Here are the most important steps, the stations that indicate how my work has led me to the question of zero,
(I have landed at the edge of the quantum field vacuum).

Matter forms, explains

My interest in material goes back a long way. When I think back to the point at which it unequivocally became acceptable in my work, it carries the title In Honor of the Earth, actually a vertical relief MATTER EARTH, a massive 3×3 m2 work in fireclay weighing tons. The mass modeled in wave forms in 9 elements, square, blocky, GEO-METRICALLY structured. Here this can literally be seen as the intervention of a GEOMETER (and not geometry being called a direction in art).

I don’t feel any affiliation with the geometric artists merely on account of my use of geometric forms. We have definitions (categories), but we often err with regard to their linguistic usage. Here visual language comes to our aid. This is how my work is set in scene in the landscape.1 The high fired elements are set into the ground of the park landscape in such a way as to show ambivalence. They could indicate archaeological objects that have sunk into the earth, or meteorites that have impacted it.
Later, in the 1980s, when I was already in Vienna, I integrated many archeological elements into my work. Thus the unity between the image2 and the image-carrying material (bone china) is accented.
Further on, later, the above-mentioned image-carrying material would be juxtaposed as paper-thin “porcelain papyrus” with Erdély Miklós’ sheets of matzo: for temporal level, temporal dimension, for organic/inorganic, for the body, for the spirit, for structures, for bread. In unequivocalness grows equivocalness, fragility, endurance of injustice, spirituality, Judaism, Christianity, image and visualization.
My interest in material began early, during my studies at university in Cluj-Napoca. I decided to enroll in the ceramics class of the former University of Fine Arts. Here we had teachers whose thinking was very progressive and who had enjoyed an excellent humanist education. Despite the political situation, we were able to practice an analytic way of thinking. Fierce debates followed the expression of our wish for freedom. Every new thing, every new form of expression was liberating in our feeling of isolation. Here I found my own language. The hidden language that rests deep in matter. Hidden universe?  For us, language was never unambiguous. Technical language and individual diversity were to be respected.
We knew exactly how manipulating language can be. Is not the meaning of school to develop the ability to think?! A great sensitivity developed through reacting to circumstances. Proudly I note that Ligeti’s3 conversations, which I would later hear in Vienna, reflected this many-facetedness, the coexistence of many languages that I learned in Cluj-Napoca. We know about so many languages, but the accompanying sensitivity of being able to explain is not in the dictionary. Nonetheless, one must at least make the alphabet one’s own.

How does one find one’s way into the language of matter?

As an employee of the Bucharest Research Institute for Optical Glass and Fine Ceramics, I for the first time had the opportunity to penetrate deep into the structure of matter. As an instrument of DEEPER SIGHT we had the electron microscope. At the center of our research stood optical glass and photosensitive glass. On account of its photosensitivity, this silver-containing mass can be precisely structured activated with light and chemically treated.
Thus light is present in two contrastingly reacting materials – silver and silicon – in an image-making, form-giving function.
Suddenly new dimensions opened. Making visible the invisible was a new and exciting task. Over a rather long path, in many experiences and continuously new experiments, I followed the silicates on a number of levels.
In many respects, I advanced toward the selection of material intuitively, although it was later to pose me many puzzling questions. It often happens that much later, one level or the other takes on the right meaning, or significance, and shows me new paths, new possibilities.4 I had already long been interested in the representation of space and the search for a new form of language.
Clearly, matter always takes a leading role, being actively involved in the recognition of itself, like instruments giving insight into the micro- and macrocosm: microscope and telescope.5 The ACTIVITY OF MATTER is actually the essence of its being. The deeper our insight into the realm of particles, the better we understand the universe as a WHOLE.6 In order to understand the very largest structures of the universe, we must also know its very smallest particles.
We move in the largest space. The particles of the subatomic world are not only active in the sense of fast motion: they are themselves processes!
“EVERYTHING FLOWS” said Heraclitus of Ephesus, as did Lao-tse.

Space and matter

For physicists, space is a system of coordinates.
For artists? – Freedom!
On the basis of this thesis, I created a series of works in Bucharest during the 1970s as a self-assigned visual task.
The three-dimensional porcelain object, combined with positive-negative/negative-positive reproductive elements,7 was intended to give rise playfully to a liberating construction within a space strictly ordered by Cartesian coordinates, something that is actually absurd. [photo]
Our visible world is based on the polar duality of positive and negative principles.
Contradiction is one of the must fundamental bases of life, says the Austrian physicist Herbert Pietschmann.
All in all, my works are also based on contradictions, such as:

Nothing and Something
Motion and Rest
Existence and Nonexistence
Continuity and Discontinuity.

A host of contradictions follow and form my image constructions.

Space and matter in the quantum field

I would like to refer to our quantum-theoretical age as the SILICON AGE. Just like the earlier Ice Age, Stone Age, Bronze Age etc.
Let us name several materials that I allow to act, sublimate.
Silver: Can reflect light. As a mirror, the entire world seen in it (reflecting telescope). Can capture light (photography).
Carbon: Essential to life. Variously determined by lattice structure: soft, opaque, dark in graphite, hard and transparent in diamond.
Quarz (SiO2): In its elemental form it is silicon. Second most common mineral, present in the sun and in other stars, hard and brittle, forms compounds in porcelain (opaque) and glass (transparent). Conductive (electron), storage (electronic storage).8All of them are instruments of DEEPER SIGHT and are fully contradictory.
Whether invisible principles are expressed in the visible world, whose timeless aspect is nature, continues to remain questionable. That the image world is dependent on light is evident. Light, which is always spreading out further and is always penetrating the human being more and more, is well known to us. But that the photon, as the little “building block” of light and as the elementary constructor of the perceivable image, should also be referred to as matter, is something that is not clearly imaginable to us. Using various materials to show their presence, I pursue massless particles, photons, that are racing at the speed of light in SPACE-DISSOLVING interaction.
I selected two ways of capturing images of the phenomenon light in connection with glass.
In one of them, the principle of chance was foregrounded. Thus I named my work Shadow of Chance. [Fig. P. 57] I let jackstraws fall on the glass plate of a Xerox machine a number of times and created images of their various random arrangements (gravitation). Reproduced on transparent film, these images gave me the possibility of creating images of that which had previously been hidden – the shadow – and of putting it on a visible level.
The other image/visualization way involved “disturbing” a light-conducting glass surface with diamond scratches. Here the semiconductor glass shows its conduction of light with shadow effects.
The plaster works that have been made light-sensitive are more ephemeral, more full of mystery than the preceding images. They provide information about the disappearance of light particles.
Yes! – this tiny little photon is path-breaking – it informs us. We must only decipher!
According to the criteria of chemical-physical qualities, I selected two oxides as additives to the raw material in order to color my sheets of “porcelainpapyrus”, which heretofore had been white: reddish iron oxide and green nickel oxide (complementary colors). At first I added arbitrary doses of the two oxides. Strong color contrasts arose, as in the work Even Number, 1992.
These two oxides gave rise to a another color palette in Still Life. The dosage was calculated with increasing exactitude, so that the color is homogeneous; only the tonal differences between the individual sheets are noticeable.
The melting into one another of contrasting complementary colors formulates itself as the simultaneous fusing of fire (1260 °C, the porcelain’s firing temperature). Here the iron-nickel glows together with the porcelain mass like a meteorite or like the cosmic nickel-iron alloy that has been identified on Mars.
(By the way, it was only later that I learned of this cosmic relationship.)
In the key work Subject and Predicate(1997–1999) [Fig. P. 70–71], the cosmic-earthly hybrid, the space-matter-time unity was consciously formed on a plane. This work deviates from classical perspectival representation of space. It is to be interpreted as an illusionistic spatial plane, not in the sense of a Euclidean plane.9 There is an impression of depth, where the perception of space orders itself through color tone, beginning with the wall plane (blank space) and continuing with rectangular oxide porcelain plates (5 in number – prime number) that darken from front to back. This is all an indicator of the commonality of cosmic space, which would be impossible in classical perspectival representation. Here the zero appears for the first time, as blank space, as emptiness in a numerically labeled space.10The vanishing point in the perspectival construction, the origin in the coordinate system, the point of intersection in space, as monad? number? place value? point of intersection in an energy field?……………what is it? this nothing?????

The power of the infinite

We have already known for a long time that our world can be deduced from mathematical principles, and that the laws of nature can be described using mathematics. Mathematicians, scientists, musicians, visual artists, authors use standards and units of measurement to analyze the numeric “patterns” behind natural phenomena.
Matter forms its own history. It shows its structures, presents its complexity, in a measurable system. Then it disappears before our eyes and other sensory organs. For us there remains the task of working endlessly on the endless.
Zero is a strategic element in our continually advancing thought, where we are always suspecting interactions existing off in the distance. In my permanently moving works conceived in the dimensions of particle measurement11 – generally two ellipses that in their proportions are very difficult to differentiate – the zero stands available to the variable in order to set the infinite in scene, to “calculate” it.
My quasi formulas and image constructions are determined by numerical or other transformations. I anticipate approaching the exciting FIELD of the continual matter/light dialog while using a minimum of form and material. Light consists als FIELD.
Seeing and apprehending, in interaction between object and observer, can be understood. In quantum field theory, as Heisenberg said, this means that “what we observe is not nature itself, rather nature that is subjected to our mode of questioning”.12In this sense, artistic work can accompany the balancing, channeling process of knowledge.
It is an ordered freedom, a continually alternating process of emptiness and form.
Is a vacuum in fact a LIVING EMPTINESS?
In closing, instead of the usual literary or poetic quote, I would like to write down the beauty and truth, the truth and beauty of the “most beautiful mathematical formula”:13

1 It is important to note that the location of this Land Art work is the site of important archaeological finds pertaining to the Hamangia Culture in Medgidia, Rumania, in the vicinity of the Danube and the Black Sea.
2 Image of fossilized bird dinosaurs from the Naturhistorisches Museum in Vienna.
3 Ligeti lived in Cluj-Napoca (Romania).
4 Here I would like to quote John Locke: “Nothing is in the intellect that was not first in the senses”. [Nihil est in intellectu, quod non fuerit in sensu.], in: An essay concerning human understanding, 1690). Quoted from: Simonyi, Károly: A fizika kultúrtörténete [Cultural History of Phisics]. Gondolat, Budapest, 1981. p. 248.
5 Magda Csutak, “Grenzen von Bewusstsein” in Peter Weibel (ed.), Jenseits von Kunst, Passagen Verlag, Vienna, 1997, p. 425.
6 In 2006 at KFKI (Central Research Institute for Physics, Atomic Energy Research Institute of the Hungarian Academy of Sciences), while I was preparing my exhibition at the Kiscelli Museum in Budapest, I had an opportunity to see the atomic structure of graphite through the scanning tunneling microscope.
7 Negative forms were originally produced in plaster for molds. But here, instead of plaster, everything was in porcelain. In photo technology the same positive-negative rule applies for image reproduction. (The digitized image world built up on the binary number system.)
8 Optical prisms and lenses, mirrors, fiber optics, fiber optic cables, optical storage devices (CD, USB, etc.)
9 PERSPEKTIVA, PERSPECTIVE, edited by Peternák Miklós and Erőss Nikolett, Műcsarnok/Kunsthalle, C3, Budapest, 2000, pp. 176–177.
10 My first “zero work” in elliptical form was created in 1999.
11 1023 particle seconds = 0.000000000000000000000001.
12 Werner Heisenberg, Physik und Philosophie. Weltperspektiven, Ullstein, Frankfurt am Main, 1973, p. 40.
13 This Eulerian formula was presented and analyzed in 2006/2007 by the Viennese mathematician Rudolf Taschner in a series of 6 lectures on the individual elements.

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Magda Csutak

My Kunstkammer,
Materiality in the Media Art or the activity of the matter.

The phenomenon of our time, the increasing loss of our physical substance through the digitalization as well as the ever growing flood of data and information let us forget and ignore that exactly in the essence of the substance itself, in its activity lies the possibility to make the invisible visible. The substance itself is an actor in the cognitive process.

In my work I made a selection of materials according to the most important criteria of their characteristic, allowing them to act, such as: silicon, carbon, silver, nickel-iron oxid.
I am aware that “Counting with the pencil stroke” is not an utopia anymore. The silicon electronic with graphs (graphic platelets, which have only the size of one atomic layer) could drive the miniaturization to the atomic dimension. This material – already known since the antiquity – the graphite with its atomic grid structure, multiple superimposed honeycombs is becoming soon a functioning reality for quantum computer. Our atomic clock ticks unrecognized.

*The both physicists Andre Geim and Konstantin Novoselov got in 2010 the Nobel Prize in Physics for the creation and analysis of graphs.

In the present work (see detailed image) I intend to show graphite in form of graphs. This work (work in progress), which has the title “My Kunstkammer” for a long time already, is developing in my laboratory, in other words on the wall of my studio. It is quasi a networking diagram of thought-elements generated by me.

It consists of:
4 pieces of Polaroid photographs
astronomical images
wooden sticks
plastic rulers
head shape
porcelain plate, coated by photo emulsion
and tracing paper with graphite tracks.

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Emese Mucsi

Todesangst hin oder her
In der Übersetzung von Zita Ragoncza

„Was das Computer-Horror“ — diese geheimnisvolle Aufschrift ist auf dem 1978 entstandenen Werk der bildenden Künstlerin Magda Csutak (1945, Sepsiszentgyörgy) zu lesen. Obwohl bestimmte Eigenschaften des filigranen Gegenstandes aus
Knochenporzellan, das durch eine einzigartige Herstellungsweise geschaffen wurde, den Merkmalen einer Anstecknadel gleichen – die Anbringung erfolgt auf ähnliche Weise, die Materialqualität ist bedeutungsvoll – wird hier die Form in den Hintergrund gedrängt und die vom Gegenstand getragene und verkündete Nachricht hervorgehoben.

Es handelt sich daher nicht um eine Anstecknadel, sondern um eine Auszeichnung, wie es auch durch den Titel des Werkes bestätigt wird. Das Werk ist nicht gewöhnlich, vielmehr einzigartig. Es kann nur auf der Brust dessen prangen, der sich als würdig erweist. Aber wer verdient wohl eine solche Auszeichnung und wofür? Die Auszeichnung entstand Ende der 70er Jahre im Rahmen eines Kunstprogramms, als die in Wien lebende Magda Csutak entschied, die von ihr angefertigten, individuellen Auszeichnungen an ihre damaligen Freunde, vermehrt Hauptakteure der Undergroundszene der ungarischen Kunst, zu verteilen. Viele haben eine erhalten, unter anderen László Beke, Annamária Szőke, Lóránd Hegyi und Tamás Szentjóby, aber alle durften den Gegenstand mit der begleitenden Bemerkung bzw. symbolischen Geste entgegennehmen, dass diese persönliche Anerkennung auch als eigene Urne interpretiert werden kann.
Die Grundsubstanz der Auszeichnung, die Porzellanmasse, enthielt auch Knochenmehl und die teilweise an die Bedingungen eines Krematoriums erinnernde Herstellung erfolgte in Öfen auf hohen Brenntemperaturen. Das Knochenporzellan ist ursprünglich eine englische Entwicklung, aber auch andernorts wurde mit verschiedenen Beimischungen experimentiert. So auch im Forschungsinstitut für Glas- und Feinkeramik in Bukarest, wo Magda Csutak, deren Werke und Gedanken sich im Grenzbereich zwischen Kunst und Wissenschaft bewegten, zwischen 1974 und 1977 als Formgestalterin angestellt war und das Material sowohl erforschte als auch prüfte (und auch an Versuchen von photosensiblen Gläsern, optischen Gläsern und Lasern teilnahm). Gleichzeitig führte sie als Stipendiatin im Atelier, unter freieren Bedingungen ihre Arbeit am Knochenporzellan fort; dabei erschuf sie unter anderem hauchdünne, zerbrechliche Porzellanoberflächen. Csutak ergänzte ihre Materialkenntnisse und technischen Fertigkeiten nach und nach mit kulturgeschichtlichem Wissen über Gegenstände und Kunstwerke auf Silikatbasis. Über ihr Studium hinausgehende Kenntnisse erwarb sie nach ihrer Tätigkeit in Bukarest in der Zeit in Wien, in der sie als Objektrestauratorin mit historischen, außergewöhnlichen und geheimnisvollen Stücken arbeiten durfte – dadurch wurde ihr Verhältnis zu den Materialien noch reflektierter. Aus ihren Werken um 1977-78 geht ein hauchfeines  Porzellan hervor, das, ähnlich einem Blatt Papier, als Schriftträger fungiert. Diese Herangehensweise ist teils das Resultat der Erkenntnis, dass ein Großteil von historischen Objekten —Tontafeln, eingeritzte Knochenstücke, von Hand beschriftetes und bedrucktes Papier etc. — zur Speicherung von Daten, zur Hinterlassung von Spuren und als Erinnerungsträger dienten. Und dass die Geschichte der Menschheit unter anderem durch diese Gegenstände und die darauf hinterlassenen Spuren, Informationen sowie deren Zusammenhänge ein definierbares, aber ein durchaus fragwürdig definiertes Ganzes ergibt.
Bei den Inschriften auf den Auszeichnungen handelt es sich um Textnachrichten, die Csutak aus zeitgenössischen Wiener Zeitschriften auswählte und sich zu eigen machte; Artikelausschnitte und Worte, die für sie bedeutsam waren. Im Gegensatz zu den auf Tontafeln festgehaltenen Texten, die als ewige Wahrheiten angesehen werden, richtet die Kombination der auserwählten Textteile und des empfindsamen Trägers die Aufmerksamkeit eben auf die Vergänglichkeit und die Kurzlebigkeit des Inhaltes. Was das Computer-Horror – auf die Frage, wieso sie in diesem Fall diese seltsame, einer Frage ähnliche, aus alleinstehenden Worten zusammengesetzte Wortcollage aus der Presse wählte, gibt es viele mögliche Antworten. Die Geschwindigkeit des Informationsflusses nahm eben in diesem Computerzeitalter, das 1975 seinen Anfang fand und bis heute andauert, die Ära des PC-Netzes, zu und zur selben Zeit erweiterte sich die allgemeine Kapazität zur Datenspeicherung, sowie wurde der Vorgang der Datenerfassung erleichtert. Aber nicht nur die Fakten und die Verwendung des Wortes Computer verknüpfen die Auszeichnung mit der Geschichte der Computer, sondern auch das Material des Objektes. Silikate sind nämlich nicht bloß Elemente von Industrieprodukten wie Glas, Fliesen, Ziegel oder Porzellan, sondern fungieren auch als wichtige Bestandteile von Computern – beim Mikrochip oder Siliziumkrümeln. Ein winziges Siliziumplättchen enthält tausende Schaltkreise, diese wiederum speichern Dateien und können in der Sekunde bereits etwa 20 Milliarden Operationen ausführen.
Die tausende Jahre alte Geschichte der Datenspeicherung, das Hinterlassen von Spuren wird so auf einem Plättchen dargestellt, genauer gesagt als ein Porzellanplättchen mit einem kleinen Text. Der „Horror“, also die erhabene, schauerliche Angst vor dem unberechenbaren Terror, bezeichnet einerseits die ständige Bedrohung, die die Aufrechterhaltung und das Weiterbestehen von Informationen bezeichnet, die am Computer oder in der Cloud, für den Verbraucher auf unnachvollziehbare Weise, gespeichert werden. Andererseits macht er unaufhörlich auf die damit verbundene selbstbetrügerische Annahme aufmerksam, die die Illusion verbreitet, durch ein vererbtes Bild oder eine Nachricht nach dem eigenen Tod könne das weltliche Ende des Individuums umgangen oder die Gegenwart künstlich verlängert werden.
In diesem Sinne erinnert die Auszeichnung an die Vergänglichkeit des Lebens wie ein gewöhnliches Vanitas-Objekt. Angesichts des Gegenstandes können sich die ausgezeichneten „Urnenbesitzer“ und das Werk interpretierende Publikum mit ihrer eigenen Verletzlichkeit, Vergänglichkeit konfrontieren. Die gängigsten Vanitas-Symbole sind sogar im Werk enthalten, es muss nur in Stücke geteilt werden. Im Material der Auszeichnung (in den Bestandteilen des Knochenporzellans) sind Sanduhr und Totenkopf verborgen; bedenkt man den Herstellungsvorgang des Gegenstandes (das ehemalige Feuer des Ofens), erinnert es an die erloschene Flamme; der Text an der Oberfläche bietet einen Einblick in das fortwährend digitalisierende und sich ausdehnende Megaarchiv der generellen menschlichen Kultur (Was das Computer-Horror). Die Goldlegierung des Objektes spiegelt wiederum die materiellen Güter und das damit stark verbundene Machtsymbol wider, allerdings fungiert sie auch als Symbol der Sonne und der Erleuchtung, und manchmal funkelt sie als das „festgewordene Licht“ in den Augen, um damit für ganz kurze Zeit einen Beitrag zu leisten, die immerwährende Todesangst der Wahrnehmbarkeit zu entziehen.

ARTMAGAZIN  93 /2017 (HU)

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