ArtReview sent a questionnaire to artists and curators exhibiting in and curating the various national pavilions of the 2024 Venice Biennale, the responses to which will be published daily in the leadup to and during the Venice Biennale, which runs from 20 April to 24 November.
Marton Nemes is representing Hungary; the pavilion is in Giardini.
ArtReview What do you think of when you think of Venice?
Marton Nemes Venice is the city of love – it feels light, fleeting and ethereal. It’s in a transitory position between land and sea, which imparts a delicate balance to the city. Arriving in Venice always uplifts me with its aerial lightness – at least at the beginning. When I spend prolonged periods in Venice, I start to feel unanchored and, being on water, I begin losing my sense of being grounded. While I appreciate the Venetian ambience, I always long to return to land before long, just to ground myself.
AR What can you tell us about your exhibition plans for Venice?
MN There is an undeniable allure to Venice, which is also mirrored in the architecture of the Hungarian pavilion. One of the first pavilions constructed in the Giardini, its Art Nouveau design radiates a sense of transcendence and evokes a sacred atmosphere. The circular motif recurring in the building’s facade and layout suggests a deliberate invitation to circumambulate the space.
‘Techno Zen’ will be a the multimedia installation breaking down light and sound frequencies into various layers, which come together as a unified harmony when standing in the central, open courtyard, the median of the building. The title refers to the juxtaposition of various senses and thus navigates the intersection between visual, auditory and sensory extremities, ultimately building a technologically-fuelled equilibrium through art. The execution of the installation utilised significant technological resources and metalworking procedures that require heavy machinery. Consequently, the artworks bear the immanent traces of industrial labour and repetitive work processes. By transposing the spatial and temporal qualities of factory work into the artwork, a sense of internal peace emerges through rewriting the often mundane, periodic and rhythmic tasks in a factory, allowing meditative contemplation to arise in the visitor.
The quest for finding one’s centre and inner balance is one of the most important undertakings for an individual in the twenty-first century. So I wanted to create an installation where the constituent elements are to be contemplated from the centre – simultaneously an inner and a physical centre. ‘Techno Zen’, virtually a Gesamtkunstwerk, intends to emphasise, stimulate and facilitate the pursuit of one’s own centre, internal focus and self-awareness.
AR Why is the Venice Biennale still important, if at all? And what is the importance of showing there? Is it about visibility, inclusion, acknowledgment?
MN In the realm of art, the Venice Biennale is similar to the Olympics in sports. I see the Venice Biennale as an immensely significant channel and medium for artistic showcase. Unlike institutional solo exhibitions or retrospectives, a national pavilion does not aim to present an artist’s entire oeuvre or a specific series; rather, it offers a distinct format of representation. Participating in the Venice Biennale as an exhibitor affords artists the opportunity to take a stand through art and to articulate their position towards the world in a rich, diverse, and complex manner. It is one of the most frequented artistic platforms globally, which, for the visitor, represents the ultimate destination of cultural pilgrimage. Attracting people worldwide within a specific timeframe to explore an extremely well curated selection of art, few events in the artworld can compete with the prestige of the Venice Biennale, and I am truly grateful for the opportunity to participate in it.
AR When you make artworks do you have a specific audience in mind?
MN I interpret this question on multiple layers. First and foremost, I am – and will always remain – my own audience; I primarily make art for myself. Secondly, I create art for the people I engage with the most on a daily basis – my colleagues, assistants and closest friends. Given that the execution of my plans involves the work of a surprisingly large number of people, we effectively create as a community. In my view, the perception of each person who contributes to the realisation of an artwork adds depth, substance and significance to the artwork itself. This collaborative understanding fuels my creative process as an artist. Simultaneously, I want my work to resonate with the public, reaching as wide an audience as possible. I don’t intend to entertain solely a narrow and professional audience. My core mission is to expand the reach of contemporary art, and to aid appreciation for it, even among those who may have previously felt disaffected by it.
AR Do you think there is such a thing as national art? Or is all art universal? Is there something that defines your nation’s artistic traditions? And what is misunderstood or forgotten about your nation’s art history?
MN There are certain nations where cultural causes, effects and various other historical processes are distinctly palpable. Hungary, situated in the heart of Europe, is a multicultural country where numerous peoples have come and gone throughout its history. Positioned on the threshold of Eastern and Western Europe, Hungary remains an in-between state – a condition to be embraced. Articulating the specificities of its art is somewhat challenging, but the vibrant neo-avant-garde movement which emerged amid the Socialist era, characterised primarily by abstract endeavours, has greatly influenced my practice. My efforts are rooted in the revival, reshaping and reintegration of the traditions of Hungarian art from the second half of the twentieth century. Nevertheless, I do believe that art is universal – and my objective is to create something that can resonate universally, speaking to everyone in one way or another.
AR If someone were to visit your nation, what three things would you recommend they see or read in order to understand it better?
MN Budapest is a truly intriguing city, often described as a jewellery box which, at the turn of the nineteenth and twentieth centuries, was the Paris of Central Europe. It is an inventive, grand and architecturally unique cultural hub mixing Eastern and Western influences. It’s worth noting that, similarly to other neighbouring nations of cultural and political crossroads, Hungarians collectively bear the weight of collective and transgenerational traumas which have significantly influenced their identity and outlook on life. I highly recommend reading Hungarian author Noémi Orvos-Tóth’s insightful work, Örökölt sors – Családi sebek és a gyógyulás útjai (‘Inherited Fate – Family Wounds and Paths to Healing’, 2018).
AR Which other artists have influenced or inspired you?
MN It’s fair to say that I am indebted to the 1970s Hungarian neo-avant-garde group, Iparterv, and its most influential members, Imre Bak, Ilona Keserü and Tamás Hencze. Not only were they my role models, they also became professional mentors and close friends. They embodied decades of twentieth-century Hungarian history as living figures of art history. I am thankful to have had this privilege, learning from their inspiring wisdom and artistic expertise. In addition to the Iparterv group, German contemporaries have had a massive impact on my artistic vision – like Anselm Reyle and Katharina Grosse, whose r bold experimentation fiercely redefined the possibilities of painting. Finally, the Abstract Expressionist giants, such as Mark Rothko and Willem de Kooning, have left an indelible mark on my art.
AR What, other than your own work, are you looking forward to seeing while you are in Venice?
MN The entire lineup is extremely promising. I’m eagerly anticipating Pakui Hardware’s project in the Lithuanian Pavilion. I’m equally excited to see Eddie Martinez’s and Jeffrey Gibson’s contributions. However, in complete honesty, I must admit my excitement to see my own work installed together with the synchronised sound and light pieces, which will fill the rooms with flowing energy. It will be the first time since its conception two years ago that I will physically see my entire creation come together as a cohesive whole.
The 60th Venice Biennale, 20 April – 24 November
