Hungarian, b. 1972
Squares, Tokyo II
signed on a label on the reverse
archival inkjet print, edition 1/3 (+1AP), 2009
unframed: 81 by 120cm., 31¾ by 47in.
framed: 84 by 123cm., 33 by 48½in.
This work has been inspected under glass. With the exception of minor chips to the frame, this work appears to be in very good condition and is ready to hang. Presented framed and glazed.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.
From the Squares series.
Adam Magyar’s images are devoid of elements of nature; people in his photos are always depicted in strictly artificial surroundings which at times appear surrealist as his figures are shown in a world devoid of any concrete reference points, featuring at most vague indications at city and urban life.
One of the fundamental aspects of Mangyar’s work is the role of chance. According to the ideals of city management, the city is governed by order and regularity. Chance triggers changes, brings with it encounters and surprising experiences, chance upsets order. Thus, the photos of Magyar are not documents of concrete events but the recordings of chances of the most common kind. For example, the series Urban Flow strives to depict the flow of people in cities. The locations chosen are major metropolises: New York, Hong Kong, Tokyo, London: the larger the city the higher the chance of eventuality. In this drift of city life, people randomly passing by the camera are bound into a single flow of people heading into one direction.
In his Squares series Magyar further developed the poesy of chance in urban co-existence: people are heading in various directions. It is not the standardizing power of city life, but individual ways that stand out. Here photos of people were taken one by one and were subsequently arranged on the square. It is the rhythm of people’s positioning that captivates the eye. Passionately interested in city people and engrossed in the depiction of life situations, the ficticious and the real are blended: although the starting point is always based on real, concrete groups or pedestrians, these people are placed in fictive space. Different moments in time and relation of space are placed next to each other. Persons and objects are real, but the result is entirely fictitious: as in reality we do not possess space and time.