Scientific and technical diagrams are graphic images that depict a scientific theory or technical invention in a visual way or that convey a message.
Mind maps are similar to these; they group representations of ideas around a central concept with the aid of images and words. The most important ideas may be shown in direct relation to the central concept in the form of a spider’s web or may branch out from it.
In artistic creation, diagrams and mind maps appear in a latent form and can play different roles from one work to another. They may represent mind maps of the process of creation, allowing us to see the conceptual scheme involved in the work of art, or may become part of the work, making their own impact at the emotional or ideatic level alongside its other structural elements.
In the case of the multimedia installation My mother said I never should (2017), the sensorial elements of the videos are shown in a diagram. This schema links the images together, suggesting the relationships and associations between the structural elements of the work.
The multimedia installation Control in training (2018) places two universes face to face: that of the artist with his humanities-based formation and that of the increasingly aggressive challenges posed by the technological environment. The upper part is a vibrating diagram that provides the rhythm for the video projection showing in the lower part. This is a video documentation of the 1997 multimedia performance Control in training. The visual elements of the recording evoke, with the help of the atmosphere of the control room of a pilot test, the empirical motifs of the artistic universe.
Corpus Transit (1998) is a diagram that makes visible the functioning of the human body in the way this is recorded by medical apparatus. In this video installation, the metaphorical image of the body is shown as a segmented virtual tube. The activities of each segment take place in a synchronised fashion on the five monitors. The images of the medical apparatus and the metaphors of artistic imagination together make up the structure of the installation.
The multimedia installation The Desire Machine (2017) is a paraphrase that deals with the symbolic significations of Duchamp’s Large Glass, while changing the context of the original work and analysing its meanings in the digital context of electronic games. Here the installation is so conceived as to deal in a dynamic way with the morphological features and mechanisms of Large Glass.
Alexandru Antik Sándor (born in Reghin in 1950) is regarded as one of Romania’s leading conceptual and performance artists. He has participated at the Venice Biennale, in a number of collective exhibitions at the National Museum of Contemporary Art in Bucharest and the Ludwig Museum in Budapest, and in countless international performance and multimedia festivals.