BALÁZS KICSINY


The Checkered Doubt 2012


Black and white digital print on 12 sheet of paper,
each 21 x 29.5 cm


Kicsiny’s work crosses Time and Space, between 16th Century England and 20th Century Hungary. It is a chain of arbitrary interpretation, where coincidence has importance: a few hundred meters from Westminster Abbey, can be found the Grosvenor Estate with it’s checkered universe built in 1930s in London. Also becoming part of this paradoxical narrative the fact that former communist leader János Kádár’s had a passion for playing chess, as well as Gabriel Orozco’s checkered skull, which in Kicsiny’s artistic association relates to Kadar’s stolen skull from his tomb in 2006. The recent identity crises of the Hungarian political life is also juxtaposed with the Louis Vuitton’s fashion collection for the year 2013, where the checkered pattern will dominate.


I.

Four hundred and fifteen years ago died the first victim of the chequered doubt; baron C. His dead body is preserved by the chequered sarcophagus. No representation of the deceased is found on the tomb. What is the reason of this worrying absence, this reverential abnormality? Maybe the sarcophagus is able to provide the answer to these questions, as to who baron C. was (black?) or who he was not (white?). Even Baron C. knew that this question is unanswerable and escaped from it into death.



 
II.

Three hundred and forty eight years later the second victim of this strange disease died; L. the architect. He designed chequered houses. His master work, the G. estate, is by P. V. and R. Street.
 
 
III.

Forty five years after the death of L. the destiny over K is about to be full-filled, the third victim of the chequered doubt. To hide his illness he pretended to be a chess player. Thus he met his death, while he gazed into the distant black and white wasteland.

  

IV.
Hardely eight years had passed, when the skeleton of K. was stolen from his tomb.The offender was G. the artist, the fourth vicitm of the chequered doubt. G. could not have known that the disease was infectious even after death. His illness coupled with his compulsive artistic activity. G. painted everything chequered which came to his fingertips. Even the skull of K. could not escape from this pathological manifestation of his artistic drive.


V.
Two thousand meters from the tomb of K. sentence is passed on the fifth victim O. the convict. His prison is a chequered car, here he is unable to depart or to arrive. The solitude of O. is complete and definite, like the loneliness of the darkened lighthouse at the shore of personality disorder.



Epilogue

The sixth victim V, the fashion dictator displays next year’s new collection.





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