GŐBÖLYÖS LUCA: TESTKÉPPRÓBA
Személyes és Ruhapróba – A társadalom által előírt kánon ellen.
A test, az egyénnek a saját testéhez való viszonya szembeötlő változásokon ment keresztül a kilencvenes években fogyasztói társadalommá váló Magyarországon is. Az ötvenes évek kerekded ideálját a hatvanas évek kislányos testalkata követte, majd a nyolcvanas évekre az izmos női test lett az etalon, melyet a század végére a „dupla nullás” testalkat, az ún. heroinesztétika váltott fel. A kollektív társadalmi nyomás testalkattól függetlenül mindenkinek kötelező normákat diktál, a női test részei összeválogathatóvá, módosíthatóvá, olykor lecserélhetővé váltak, eleget téve a folyamatosan változó igényeknek. A századvég univerzális egészségkultusza fiatal és sovány testet ír elő a nőknek, az elvárt testideál követése pedig minden életkorban etalonként tételeződik.
Gőbölyös Luca, 2002.
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I graduated as a photography major at the Academy of Applied Arts, but I have always thought about photography in a brooder sense than traditionol art and portrait photography, or sociogrophic ond documentary photography, genres that are rich in tradition and very popular in Hungary. Photo technique for me is merely a means to express my thoughts, to represent my concepts and not an aim in itself. Though my first series (Paris, 1987) uses the requisites of classical photography, its viewpoint and composition break away from its canon. With Still-live my series from 1992, I went beyond the borders of photography as a genre by using corrosive materials and colouring parts of the picture. A new period was introduced by my 1994 series of portraits taken of members of Hungarian gay subculture. This choice of subject is still considered taboo, especially if a different approach is taken from the usually contemptuous and distancing attitude of sociogrophic photography. My aim was to make visible a slice of a marginalised culture that was mode accessible to me. The models represented a wide scale of different groups in their community and accordingly, the portraits themselves are also very different in their techniques. I painted many of them with a technique I rediscovered. At the exhibition entitled Art Appreciation, which investigated the presence of eroticism and sexuality in Hungarion art, instead of photos I exhibited objects (Gende! l99 7). I enlarged images of hands, a female nude, a hairy male chest and a male nude, and applied them onto transparent shop window mannequins used for advertising women's lingerie. I hid these in an old bedroom closet lined with pink, in accordance with our attitude towards gender-bending behaviour, which transgresses pure gender categories. Reflecting on the earlier series, these works deal with the body, the social representation of the body, gender roles ond sexual stereotypes. In 1997-1998 I participated in a one-year postgraduate master course in Brighton, U.K. The works I made there were also objects - I used a Iarge variety of photo techniques (photos printed onto tablecloths and pillows, or embedded in gelatine)-, which I presented as installations. Contrary to the traditional representation of the female body in art, the idealised nude, these works are concerned with ageing, the passage of time and death. My recent works are photos of nudes printed on foil, cast into plexigloss and layered on each other. They focus on issues of transparency, and also on the permeability, vulnerability and fluidity of the borders of sexual and gender identity.
Luca Gőbölyös, 2002.
