Loneliness is like the rain.
It rises from the sea toward evening
and from distant plains moves into sky
where it ever belongs.
And from the sky it falls upon us in the city.
It rains here below in the twilight hours
when alleyways wind toward morning
and when lovers, finding nothing,
leave the failure of each other’s arms,
and when two who loathe each other
must share the same bed:
Then loneliness flows with the rivers…
Die Einsamkeit ist wie ein Regen.
Sie steigt vom Meer den Abenden entgegen;
von Ebenen, die fern sind und entlegen,
geht sie zum Himmel, der sie immer hat.
Und erst vom Himmel fällt sie auf die Stadt.
Regnet hernieder in den Zwitterstunden,
wenn sich nach Morgen wenden alle Gassen
und wenn die Leiber, welche nichts gefunden,
enttäuscht und traurig von einander lassen;
und wenn die Menschen, die einander hassen,
in einem Bett zusammen schlafen müssen:
Rybalka (Fishing) is catching images from the past, intellectual game with intervention in passed times.
The acquisition of meanings and images from the past with the help of old photographs, from the past of these photographs, from the past prisoner in them and on the side of the edges of their cadres.
1. Photographs of films, boxes from them, apparatus, which made pictures, equipment.
2. Comparison in the diptych – the emergence of a new relationship between the images.
3. Immersion, placement in the past, in the context.
The information message – the key – the hook, which would allow the interpretation of the picture, for the viewer who does not know this personal story – a new and unique.
4. The transformation into “I-nowell” – the addition of a protagonist in a separate layer – as a bait for imaginary fish.
Inverted page – a bygone generation – passage of time. Printing from negatives of the grandfather in the lith print technique.
The possibility of co-authorship at the level of selecting photos for printing.
Everyone has his own subjective reality, other than visible through his appearance. This reality can change along time and coexists with its opportunity in a state of the superposition. In between of all these inner realities there is a positive one that contents happiness, the future in bright colors, the life in trust and kindness. This project contains 12 portraits of people in a difficult situation.
When a person has some trauma in the same time this person has something like a mystic line that crossed his life. There is the section marked by a red thread, the border between the rationality and the dark side of the mind. There is the tape of the will and wholeness, that connects past and future – now and here, the line separates our knowledge and hidden piece of our identity. There is a glue, that binds our world, conscience, and existence, the passage of time. Only „now” moment is colorful, a live element of the universe, only “now” has the power, energy, motion, and saturation. “Before” and “After” does not exist.
This project catches a reality which is accepted, although the tragedy weight and the psychological trauma. This feature of self- acceptance opens a way to drive through one’s life. In these portraits, we can see the distance between the common understanding of a person in trouble and their own inner world.
Project TENGRIN UJDL STREET came to live during trips in Kalmykia while looking up „locations of power”. Tengrism, also known as Tengriism or Tengrianism, is a Central Asian religion characterized by shamanism, animism, totemism, poly- and monotheism and ancestor worship. It was the prevailing religion of the Turks, Mongols, Hungarians, Xiongnu and Huns, and the religion of the five ancient Turkic states: Göktürk Khaganate, Western Turkic Khaganate, Great Bulgaria, Bulgarian Empire and Eastern Tourkia (Khazaria). In Irk Bitig, Tengri is mentioned as Türük Tängrisi (God of Turks).
Tengrism has been advocated in intellectual circles of the Turkic nations of Central Asia (including Tatarstan, Buryatia, Kyrgyzstan and Kazakhstan) since the dissolution of the Soviet Union during the 1990s. Still practiced, it is undergoing an organized revival in Sakha, Khakassia, Tuva and other Turkic nations in Siberia. Burkhanism, a movement similar to Tengrism, is concentrated in Altay.
Khukh tengri means “blue sky” in Mongolian, Mongolians still pray to Munkh Khukh Tengri (“Eternal Blue Sky”) and Mongolia is sometimes poetically called the “Land of Eternal Blue Sky” (Munkh Khukh Tengriin Oron) by its inhabitants. In modern Turkey, Tengrism is known as the Göktanrı dini (“Sky God religion”); the Turkish “Gök” (sky) and “Tanrı” (God) correspond to the Mongolian khukh (blue) and Tengri (sky), respectively. According to Hungarian archaeological research, the religion of the Hungarians until the end of the 10th century (before Christianity) was Tengrism.
Tengrists view their existence as sustained by the eternal blue sky (Tengri), the fertile mother-earth spirit (Eje) and a ruler regarded as the holy spirit of the sky. Heaven, earth, spirits of nature and ancestors provide for every need and protect all humans. By living an upright, respectful life, a human will keep his world in balance and perfect his personal (Wind Horse). The Huns of the northern Caucasus reportedly believed in two gods: Tangri Han (or Tengri Khan), considered identical to the Persian Aspandiat and for whom horses were sacrificed, and Kuar (whose victims are struck by lightning). Tengrism is practised in Sakha, Buryatia, Tuva and Mongolia in parallel with Tibetan Buddhism and Burkhanism.
Nestorianism and Tengrism
Tengrism has been called Nestorianism by Christian sources. Turkish Nestorian manuscripts with the same rune-like characters as Old Turkic script have been found in the oasis of Turfan and the fortress of Miran. It is unknown when and by whom the Bible was first translated into Turkish. Most records in pre-Islamic Central Asia are written in the Old Turkic language. Nestorian Christianity had followers among the Uighurs. In the Nestorian sites of Turfan, a fresco depicting Palm Sunday has been discovered.