2001, egycsatornás videóinstalláció, hang nélkül, DVD 2'40", 5 példány + mastercopy
képkeret, videóvetítés, 200x115cm

• köszönet: Caspar Stracke

Subjective Space, Allgemeiner Konsumverein, Braunschweig 2003
Zoom, Pécs 2003
EIKE 1992-2002, Deák Erika Galéria, Budapest 2002
Golden Cage, Centre Culturel Balavoine, Arques 2001
frames'games, Collegium Hungaricum, Berlin 2001
Territorios Habitables, Abisal Bilbao 2001
Elsewhere, Goethe Intézet, Budapest 2001

Anikó Erdősi
Balkon, Budapest, április 2001

Here, Elsewhere

(...) The projected surface is filled with the bigger than lifesize figure of a dancing man. The dancer is the artist himself, EIKE, who has been living and working in Budapest for ten years. His moving body is permanently touching all sides of the dark frame. The dance is rather slow at the beginning, but the choreography gradually accelerates. The body, depending on its position, stretches vertically or grows wider, sometimes even getting stuck within the frame. Our experience concerning the 3 dimensions of the everyday life does not help, we witness a new dimension, yet unkown to our senses. Is it possible that the virtual space is regulated by different spatial rules? The real spatial presence of the frame is being confronted with the space created only in and by our mind. The importance of the frame is stressed, as the spectacle never exceeds it, and keeps being continuously in touch with it from the inner side. As if the picture did not exist without the frame. Indeed, frames determine the pictures for us, although we rarely notice them, concentrating only on the content. Frame, like a window opening to nature and world, is an ancient topos of art, which has never lost its validity through years of time. Even the new media, television, video and computer have not denied this traditional form. The new, strange dimension, in which EIKE is dancing, opens a window on a yet unknown, májusbe only virtually existing world. In a previous work (Dancing Place) EIKE has already dealt with the problem of the frame; in that case the moving frame adapted itself to the position of the dancer. Now the frame is fixed, as if it wanted to regulate the movement of the body, however, the body, pursued by the desire to express itself, looks for alternative spaces. Dance is not only the most natural way of human expression, but the means of experiencing the space at the same time. The wooden frame mounted on the wall is powerless against this unknown dimension, and the artist can continue his released, extatic dance.