Issue #24, 2006
Gallery

Double 1
Ovekk_Finn

Ovekk_Finn

Péter Szabó: born in 1978, Tîrgu-Mureș, Romania

Csaba Csiki: born in 1977, Reghin, Romania

Co-founders of Vizeg Group (1997), and Alergische Platze (2001)

Founded in 2004, Ovekk_Finn intend to create an audio experience using consistently experimental and un-classified noises. The two members, Péter Szabó and Csaba Csiki are visual artists as well. Their approach is basically an analytical one, creating electro-acoustic soundscapes, exploiting cracks, glitches and vibrations of sound. They use the old and new technologies at the same time: Csaba is working on laptop, combining softwares, Peter is using ampified objects and guitar-pedals and other low-tech electronics. Before the Ovekk_Finn project, Péter and Csaba ran a four member trans-post-punk-jazz group, called Alergische Platze, which had a few concerts and audio-visual nights between 2000 and 2003. Csaba Csiki has his own solo project. His artist name is Raphael Lostak.

Ovekk_Finn concerts:

2006 Indirect Speech, Kunsthalle Fridericianum, Kassel; Simultan 2, Timișoara; Ultrahang Night, Trafó, Budapest; BildMusic, M12, Berlin; Alapfok, Artpool, Budapest. 2005 Gigazone, Millenáris, Budapest; In Between, Dealu Frumos, Romania; AVmotiona 02 Festival, Cluj; Simultan Festival, Timișoara; Ultrahang Festival, Budapest. 2004 Display, Protokoll Gallery, Cluj.

Selected exhibitions together:

2006 Rezonancia, Ludwig Museum, Budapest. 2005 Producer: Fuzzomat, Dinamo, Artist Runned Space, Budapest; Voyage-Voyage, Atelier 169, Cluj; Gallery by Night, Studio Gallery, Budapest. 2003 Gravitation, Moszkva square, international public-art exhibition, Budapest. 2002 Positionen: In focus Romania, Museumquartier, Vienna; Track, New Gallery, Bucharest. 2001 Tab, Sindan Finn Cultural Center, Tranzit House, AtașGallery, Cluj. 2000 Site Specific Works, Hungarian Cultural Center, Bucharest; 70 Hours, Vizeg Group and Honey&Honey happening and environment, Protokoll Gallery, Cluj. 1999 Closing Time, within the Alternative Film Festival in Tîrgu-Mureș. 1998 Silicon Air, Vizeg Group, Paris Street Studio, Cluj.

 

The Ovekk_Finn duo, established in 2004 by the artists Csaba Csiki and Péter Szabó – founding members of the former band Alergische Platze, performing, in the early 2000s “the trans-post-punk-jazz style” –, is already known for its experimental musical performance actions. What they propose here is the Double 1 piece, a distinctive Ovekk_Finn exercise of musical experimentation, a voluntary and assumed act, uncompromising with regard to its sui-generis stylistic purity.

The artists’ favorite working material is the noise, purposely produced (and, at the same time, ingeniously exploited), both through recent soft technologies and through unconventional means. The effect of their sound compositions and decompositions reflects, nevertheless, outside the acoustic experience: the mixes, the markers (the sound markers) and the composition of sound objects signify into a syncretic, holistic experience field. While the vehicle of the proposal comes from the sound domain, its form emulates, not without some ironic accents, a production characteristic to the musical industry and also a product of it: the album; the fact that it is a niche one, respectively belonging to the underground music, only turns the question of imitating this convention into an acute one. Thus, the performance of Csiki and Szabó’s work consists in fact of its being at the interface between the production of artistic forms (including the visual ones) and the mundane (and, at the same time, fashionable ones) reference evoked by the underground (culture) style.

Through a complex solution of putting into act (the architecture created using the acoustic information, including the enciphering the idea of duo/pair, is doubled by a no less calculated staging), the experiment of the twosome relates its biographical sources (detectable, for example, in the titles of some of the tracks and in other suggestions freely enciphered) to an end which clearly overpasses the self-referential play. It is exactly the decomposition, led to obliteration, of the signification of the environment and clubbing music that opens up the significations of the experiment to a solid reflection bearing the status of a playful and ironic “sociology”. The re-mark, in this key, of the cliché disposes it of all its apparently recognizable elements. For example, the images within the current project show the two artists in different hypo­stases of framing a suggestion of “subculture” (whatever its particular specification, however, understandable as transgressive, thus vaguely scandalous). Ultimately, by introducing these completely iconic sequences, only indefinitely delayed, they cleverly forestall prejudices belonging simultaneously to high and underground culture, clearing with ease the way for their own discourse. (IDEA arts + society, translated by Alex Moldovan)