It has no beginning. It has no end. We all are in line, our lines cross – how will it ever make circularity? At Ferenc Forrai’s exhibition everything is possible and possible is everything. Having won the audience’s award “Exhibition of the Year” at the 2019 Design Week, the typographer brings condensed literature and essential visual art to his audience year by year; now he presents the most elementary model of being.
This is how we live, no need to overstate it: “life is a huge flat you own” (Gábor Képes) and you sometimes flow down to the street, from one dimension to the fourth – or from the fourth floor to the level of the Earth, almost all the same.
We proceed in the footsteps of Lajos Kassák: “I am going on in the opposite direction of my home. And yet I arrive home. I reckon I wasn’t anywhere in the first place.”
Master Forrai balances on the borderline of real and virtual at his exhibition, which is the maquette of an exhibition – and the related online guided tours also constitute parts of the Forrai matrix.
Could it even have been like this? – the Line is also a question mark in a year when everything ended up differently from the way it could be planned. Is it possible to plan at all? Planning is the only thing possible, says Forrai conscientiously, then we notice a secret message somewhere below the line.
What does it say, we wonder. It is a question of viewpoint. Multiple changes in the heavy steadiness – it teaches us self-knowledge at each other’s intersection points. This is what this Line is like – let’s just be careful not to lose track: our life of a carousel swing hangs by a single wire in the infinity, in dependent independence, but it is fine the way it is because we like risks. Ferenc Forrai is still his old self even in the these days – because he is brand new: infinitely accurate.