Sári Zsolt (szerk.): Jávor Piroska és Asszonyi Tamás kiállítása (Szentendre, 2011)

of art. By the creation of the "houses" they suspend the concrete space and time in their environment and instinctively, they place themselves into the primordial times, the time of Creation. With the creation of the "house" they mark the axis mundi, the world's axis, the point of reference, the middle of the Ali, which we have lost following Sedlmayr. With every new creation they carry out a rite and so they repeat instinctively the myth of Creation. From this point, their paths branch off, and both continue to build their own myth. Piroska Jávor wishes to come closer to the final truth by painting labyrinths. A labyrinth always has a centre, to which differently constructed paths lead. The "central point" means always a field of force and is laden with tension. The centre of a labyrinth is - like the axis mundi marked by a sacral building - the copy of "the centre"; the copy of the place where the "mysterium tremendum" is at home. Every rite focuses on the importance of reaching the centre, and stresses at the same time the difficulties of the arrival. Either the divine, an unpronounceable secret or God himself resides in the centre - but the same way, we may meet there a monster, a Minotaur as well. If Piroska Jávor won't paint any more labyrinths, this means that she has reached the centre. What she has found there, it should not be shared by the spectator: it is unpronounceable, irrepresentable. May-be this needs somé time; then Time has to be kept as prisoner, locked in a bottle and stopped. She reminds us that everybody has to go through the labyrinth, which might symbolize the course of life, while searching his life's "centre". And for this, sufficient time is needed. Tamás Asszonyi tries to come closer to truth, to the "final reality" with the help of dreams. With his dreams he is approaching the myth of Creation. With his "animals" he evokes the fourth and fifth day of Creation, when God created the animals. He is showing us "never ever existed animals". But he must have seen them - otherwise, he would not be able to show them to us. He is showing us only the copy: he is hiding from us the real Platonist "idea", the originál, because it belongs to him only. I think these animals could be like those existing in primordial times: engineered with geometric elements, with one or two misplaced limbs, while upsetting the order, confirming the order. Artists don't send us messages through important and imperishable works: they only give food for thought. Their characteristics and advantages are the possibility of manifold interpretation. I interpret these works like this. Anybody may interpret them differently. Great works of art. I invite you to interpret them and to continue to teli the tale because it is necessary to teli the tales in order to preserve our identity. When the tale stops, silence starts: the silence of Nothing. With their art Piroska Jávor and Tamás Asszonyi help bringing in motion the exhausted tale. They help us to compensate our knowledge about finiteness with an aesthetic experience. Antal Puhl DLA, Ybl-pricc winncr architcct 1 Nicolai, Hartmann: Esztétika, Budapest, Magvető Kiadó, 1977 2 Szalai András: Az építészeti kritikáról in: Építés - Építészettudomány, 2001 3 Odo, Marquard: Az egyetemes történelem és más mesék in: Odo Marquard: Az egyetemes történelem és más mesék, Budapest, Atlantisz, 2001 4 Odo Marquard: A politeizmus dicsérete, in: Odo Marquard: Az egyetemes történelem és más mesék, Budapest, Atlantisz, 2001 5