Hajnal Németh is preoccupied with the visual, corporeal, and aural chasm opened up by the frequently invisible, dislocated or muted object proper of her works. Music, sounds, noises pour into the exhibition spaces constituting, as Don Ihde terms it, the shape-aspect of things and bodies; ?ashing images exhibit themselves on a stage-like construction as a dismembered narrative; movement caught in stagy frozenness highlights the falsity of performative gestures. The abyss automatically calls for surrogate narratives, identities, and artefacts to defy our ontological insecurity. Németh creates the conditions for this pluralism through a Merleau-Pontian synergy of the tangible and the visible, on the one hand, and by exploiting the conventionally unnoticed sonorous quality of shapes, surfaces, and interiors, evoking Ihde?s aural phenomenology, on the other hand. The aural vacuum turns palpable the way the human body trans?gures into a musical instrument, the faceless musicians can be identi?ed by their body prints (moles or skin imprints) or occasionally by one?s voice as a sonic ??ngerprint.? Németh allures us by the promise of a recreated subjectivity that in?ltrates our social and cultural fabric at the concurrence of the musical, the corporeal, and the ?lmic spheres.


Read more at acta.sapientia.ro