Sándor Vály All Rights Reserved
We are here not for your entertainment. If you are here for entertainment, go home. We are offering you the cathartic experience of pain, the one needed for every creation, for every piece made by humans.
”Young Dionysos” is about authority, madness, breaking the boundaries, unpredictability, scandals, depth, ecstasy, and sexuality. In this concert it comes out as sound, noise and music. This concert is part of a bigger audiovisual production that combines music, painting, dance and performance.
Young Dionysos Part IV-V. Mad House, Helsinki 2016. with Sunny Seppä _ Foto: Saara Autere
Young Dionysos [ work-diary extracts ] DeepL translator
098 We are dealing with reality in art. We no longer need the dream. If we deprive art of the dream, we are confronted with reality. We are confronted with life, with the ongoing events that are the basis of art.
099 Christian mythology was a dream of a world that had little to do with reality. It dreamed dreams about man that it could not live up to, because man was a stronger reality. He wanted to see himself as something other than what he was. He repressed his sexuality which became a neurotic perversion, imbued with a deep fear of death, – which eventually became imbued with a deep fear of life.
116 Human wanted to suppress two big issues within himself. Sexuality and death. Both came back as neuroses. The downgraded, forbidden energies are only capable of self-destruction. They are anti-human, anti-natural. Repression leads to fear of death.
156 All manifestations of life arise from instinct. Art is a spiritual expression of the instincts that come from the structure of the body. Art is the desire for orgasm, to experience and live wholeness.
187 The reality of prehistoric art still appealed to all the senses. It invited the recipient to a total experience. Then the arts diverged and became detached from reality. It was no longer about experience, but about representation.
189 Prehistoric art was still based on synaesthesia. The fusion of the senses without boundaries. Synaesthesia is a memory of primitive art, of the senses speaking at the same time before the world.
231 We must die in every act, we must die in every creation, so that through it we can be reborn each time.
242 We cannot avoid the sublime drama of life, nor death. Life is short, and I wish to fill that shortness with my own freedom, so that it may have meaning and value.
288 In creation, human is “naked”.
289 “Nakedness” is the highest degree of freedom that goes hand in hand with the freedom to create.
foto:Nea Lindgrén
304 The piano is one of the most perfect instruments. That is why I need this instrument to express what I have to say. Decay is only an illusion. The destruction of an object but not of its idea. With every stroke, sounds are created. Sounds born of life energies, which come together to form noises, sounds, music.
326 An instrument without a human being is a dead object, only human beings can endow it with transcendence through themselves. The energies flowing through the instrument take form and meaning through human beings.
355 Each stroke is a breaking of taboos, a pulling together of a healthy life beyond division. If we want to understand nature, we have to get rid of our divisions. We can only cross borders in unity, and only by crossing them will we be able to communicate with nature. If we go beyond the limits of our own division, the quality of our questions will be different, we will ask them differently. We will no longer be alone, we will no longer feel lonely.
358 Nature is in a constant state of flux. In my work the piano is a symbol of nature in a cycle of birth – death – rebirth.
Young Dionysos_Exhibition_Palazzo Lucarini, Italy 2021
foto:Nea Lindgrén
401 For the performances: incorporating theatre and poetry into the music. The drama, the total performance of the theatre. Total emotional involvement of the spectator in the performance, pushing the limits of perception. To plunge into the depths of the dormant reality of human nature. To shake and pull the audience along, to take them to the limits of life and death, pain and pleasure. To pull you into ecstasy. To invite one to a dramatic meditation on the reality of oneself and one’s presence.
419 The aim is to stimulate the layers above and below linguistic rationality. The evocation of the forces of creation and destruction that act on us and on the world, which I intend to integrate in the performance. My aim is the balancing of creation and destruction without and beyond signs.
456 For the Young Dionysus painting. “Act”. The act is the union of bodies, the rite of the wild assault and the wedding of the sexes. The “act” is an imprint of this rite. They are erotic imprints of the wild vitality of life. The intense experience of the hunger for life. The penetration of the painting. An intrusion into the deepest spheres of man, a free outpouring of the energies that choke him from within, without morality.
484 Art is a direct drawing from nature, between which there is nothing to regulate this relationship. Just as nature does not require any law outside itself, neither does art.
(Titanik Gallery, Turku. 2016)
Young Dionysos, film (part II) 18:55 min 2015 dancer Salla-Maria Santos
Young Dionysos is a growing work that combines sound, form and movement. Young Dionysos is a story of the intensive and cathartic experience of existence without which nothing man.made would exist. Young Dionysos is a one-night even that I experienced at the Dionysus festival in Greece when I was 15 years old. Young Dionysos is a critique of Christian mythology. Young Dionysos is an orgy of vitalism. Young Dionysos is a feast.
Young Dionysos, film (part II) 18:55 min 2015 dancer Salla-Maria Santos
foto:Nea Lindgrén
Otteita työpäiväkirjasta.
098 Taiteessa olemme tekemisissä todellisuuden kanssa. Emme tarvitse enää unennäköä. Jos poistamme taiteelta unen ominaisuudet, kohtaamme todellisuuden. Seisomme vastakkain elämän tapahtumien jatkumon kanssa, mikä on taiteen perusta.
099 Kristillinen mytologia on punonut maailmasta unikuvia, joilla ei ole paljonkaan tekemistä todellisuuden kanssa. Se on halunnut antaa ihmisestä toisenlaisen kuvan kuin millainen hän oikeastaan on. Tästä seurauksena ihminen on tukahduttanut seksuaalisuutensa, muuttanut sen neuroottiseksi perversioksi, joka on syvän kuolemanpelon kyllästämä – ja lopulta myös syvän elämänpelon kyllästämä.
116 Ihminen on halunnut tukahduttaa kaksi suurta aluetta itsessään. Seksuaalisuuden ja kuoleman. Kumpikin niistä on iskenyt takaisin neuroosin muodossa. Poljetut, kielletyt energiat ovat taipuvaisia itsetuhoon. Ne ovat ihmistä vastaan, ne ovat luontoa vastaan. Tukahduttaminen johtaa kuolemanpelkoon.
156 Jokainen elämän ilmentymä kumpuaa vaistojen maailmasta. Taide on ruumiinrakenteesta syntyvien vaistojen sielullista ilmaisua. Taide on orgasminkaipuuta, täydellisyyden kokemisen kaipuuta.
foto:Nea Lindgrén
187 Muinaisaikojen taiteen todellisuus puhutteli maailmaa ottaen huomioon kaikki tuntemukset. Se kutsui vastaanottajansa totaaliseen kokemukseen. Myöhemmin taide on jakautunut ja sen eri alueet ovat etääntyneet todellisuudesta. Se ei kerro enää kokemisesta vaan kuvaamisesta.
189 Muinaisaikojen taide perustui synestesiaan. Aistien yhteensulautumiseen ilman rajoja. Synestesia on muisto muinaisaikojen taiteesta, samanaikaisesti soivista aisteista maailman näyn edessä.
231 Meidän on kuoltava jokaiseen aktiin, kuoltava jokaiseen luomukseen, voidaksemme syntyä joka kerran uudelleen.
242 Emme voi välttää elämän ylevää draamaa, kuten emme voi välttää kuolemaakaan. Elämä on lyhyt, ja sen lyhyyden haluan omalla vapaudellani täyttää siten, että se saa merkityksen ja arvon.
246 Täyttää elämä – ohjata luova energiamme työhön. Tehdä työtä, tunnistaa, koskettaa… murtautua ulos elämää tukahduttavista raameista, kaikki energiat vapauttaen ja ottamalla ne totaalisesti käyttöön. Vapauttaa, uudelleenjärjestää, johdattaa taiteen kielellä takaisin ruumiin, sielun ja hengen yhtenäisyys.
288 Luodessaan ihminen on alaston.
289 Alastomuus merkitsee sen kursailemattomuuden ylintä astetta, joka kulkee käsi kädessä luomisenvapauden kanssa.
foto:Nea Lindgrén
304 Piano on yksi täydellisimmistä soittimista. Juuri siksi tarvitsen tätä soitinta sanottavani ilmaisemiseen. Tuhoutuminen on vain näennäistä. Esineen tuhoutuminen ei ole sen idean tuhoa. Jokaisella koskettimen lyönnillä syntyy ääniä. Elämänenergian synnyttämiä ääniä, joista muodostuu musiikkia.
326 Ilman ihmistä soitin on kuollut esine, vain ihminen voi itsensä kautta antaa sille transsendentaalisuuden. Virtaamaan saatetut energiat saavat muodon ja merkityksen ihmisen kautta.
355 Jokainen koskettimen lyönti on tabujen repimistä rieka-leiksi, kahtiareväistyneisyyden ylittävän terveen elämän yhteenliittämistä. Jos haluamme ymmärtää luontoa, meidän on vapauduttava tästä rikkonaisuuden tunteesta. Vain eheinä pystymme ylittämään rajan, sen yli astuessamme meistä tulee kykeneviä kommunikoimaan luonnon kanssa. Kun astumme oman kahtiareväistyneisyytemme rajan yli, kysymystemme laatu muuttuu toiseksi, asettelemme ne toisella tavalla. Emme ole enää yksin, emme tunne enää yksinäisyyttä.
foto:Nea Lindgrén
YOUNG DIONYSOS PART VII / Act I-VII / Films and paintings
Details from the film (Young Dionysos/ act IV)
Details from the film (Young Dionysos/ act III)
Details from the film (Young Dionysos/ act IV)
Young Dionysos/ act III film, 2015
Young Dionysos/ act I, 2015, 270 x 250 cm
Young Dionysos/ act II, 2015, 270 x 250 cm
Young Dionysos/ act III, 2015, 270 x 250 cm
Young Dionysos/ act IV, 2015, 270 x 250 cm
Young Dionysos_Exhibition_Palazzo Lucarini, Italy 2021
Young Dionysos/ act IV, film, 2015
CELLO SUITES
Dionysos Suite No 5, performance, italy 2018
Dionysos Suite No 4, performance, italy 17:56 min, 2018
The cello graphics are experimental work.
The work deals with the problem of control, which explores the tension between two different creative processes at the same time.
I added graphite to the extended end of a cello bow and used it to draw on a canvas while playing music. The drawing follows the music as it is played, but at the same time the process alternately becomes uncontrollable. It is impossible to control both the music and the drawing at the same time.
Dionysos Suite No 1, film 16 min 2017
Dionysos Suite No 1 210 x 190 cm 2017
Dionysos Suite No 2, film 05:14 min 2017
Dionysos Suite No 2 210 x 190 cm 2017
L’Après-midi d’un satyre
Experiments on balancing sexual and creative energies.
L’Aprés-midi ou d’un satyre no. XII. 2017, 110 x 80 cm
L’Aprés-midi ou d’un satyre no. XI. 2017, 110 x 80 cmm
L’Aprés-midi ou d’un satyre no. VIII. 2017, 110 x 80 cmm
L’Aprés-midi ou d’un satyre no. V. 2017, 110 x 80 cm
Retrospectiv / Selected Works
Protest against overproduction and repetition.
I burned forty of my paintings and put their ashes in urns. On the urns, I marked the names of the paintings, their dates of birth and destruction.
Since the recipient can no longer see the painting, he can only rely on the title of the painting on the urn – through which he can construct, according to his own intellect, an alternative to the original painting, using his imagination. Thus, although the painting has been destroyed, a new image can be created in itself by each recipient. In effect, the destroyed painting can be replaced by as many images as there are people who have seen the urns.
Retrospektív_Selected Works_ Exhibition_Palazzo Lucarini, Italy 2021
Retrospektív_Selected Works_ Exhibition_Palazzo Lucarini, Italy 2021