Translation of the texts from the invitation:
Kamilla day invitation
to Artpool P60 (1061 Budapest, Paulay u. 60.)
Tuesday, 28 December 2004, 6 pm

ME-mories of re-ME-mbrance.
“ME-rhizome”
What might be the “inculturation” of faith in art?
Miklós Erdély (1994–2004) – videoshots and websites

“A faith which has not become inculturated is a faith which has not been fully received, which has not been completely thought through, which has not been faithfully lived” These words of John Paul II [...] show clearly the importance of the inculturation of faith. [...] the inculturation of faith cannot ignore the encounter with religions, which should take place above all through interreligious dialogue.
(source: Documents of the International Theological Commission, 1997, Chapter 19. Christianity and the World Religions, 26.)

“The first time it occurred to me that art was good for more than what it was being used for – that it was more than decoration or material for collecting, and just creating works – was in 1956. […] I heard on the radio that someone shot a bullet into a shop window and a shoe was wounded -- then the shooter put a 10-forint coin under the shoe, which is still there. […] That was the important part, the new part. […] Now this was really the application of artistic thinking in a given situation; if enthusiasm suddenly establishes a new moral phenomenon, the artist must recognize this. This really must be emphasized, because it is the artist’s task.” (Miklós Peternák, Conversation with Miklós Erdély. Árgus II.5, September–October 1991, p. 77. Translated by Jim Tucker)

In a country where clinging to the old is endowed with the moral force of a proud loyalty and is consequently honor-bound  to constantly resist change, it is not only possible but imperative to thoroughly examine phenomena whose assessment may elsewhere be neglected for lack of resistance. [...]

Disloyalty to a praiseworthy cause is indeed repulsive, and true art has forever been a good cause. [...] Over the past century, rejection of the new has proved wrong, time and time again, but has persisted nonetheless. at a time of accelerating change, the crisis has become more acute.

Miklós Erdély: Hűség [Loyalty], 1979

illustration:
Miklós Erdély: Hűség [Loyalty] 1979
(white stick/blind man’s stick propped against carbon paper)

[…] A recurring element of Deleuze’s theory is the co-ordination of two opposite poles. He describes this thought pattern as a rhizome. The rhizome is a set in which every element is linked with every other element. Hence, there is no hierarchy in the rhizome and no distinct points since every element is interchangeable with any other. The rhizome is a set of images, things, words, meanings, conveyors of meaning as well as political and biological representations, where it makes no sense to talk about the opposition of two elements since there is a connection between any two points and there is no distinction between the external and the internal either since nothing changes if the rhizome is turned inside out. […]

[back to the original invitation]