Mark Young writes on the back cover of the book:
Márton Koppány notes in his introduction: "Lately I've been playing with putting together pieces from distant periods. Some recurring topics are: question marks, clouds, ellipses. They overlap, but ellipses outnumber everything else. Any triad can be considered an ellipsis, and occasionally different (or seemingly different) numbers like 1, 2 and 4 serve the same idea even better, because they are elliptical only elliptically."
His ellipses take many forms — buttons, stones, letters, fish, et al —though I profess my favorite among his ellipses is actually invisible.
I am writing this in a room which used to be a verandah until, before our time here, a cyclone blew the wooden louvers & their surrounds in — out? — & that once open space has since been replaced by windows & fiberboard — three windows, three pieces of fiberboard. Perched at the intersection of the dado rail that runs along two of the walls of the room, there is a signed postcard-sized print of a singular piece of vispo, a lounge chair with only one leg but still remaining perfectly upright.
It is called Ellipsis No. 5, & is, coincidentally, the first piece in "peut-être le Messie." "Perhaps the Messiah" is a wide-ranging title, an ellipsis incorporating the millennia between the canonical gospel of St. Luke & the work of Isidore Isou, a Romanian-born French poet, founder of Lettrisme, author of L'Agrégation d'un nom et d'un messie.
Márton Koppány's book is also wide-ranging — perhaps not temporally, but rather attitudinally. I have previously remarked on the ". . . humor, minimalism, satire, genius, art, politics, its multi-faceted et ceteras" of Koppány's work. This selection of his ellipses evidences every one of those individual characteristics as well as the incredible gestalt when they are combined.
