Maybe the most unique button on a TV Remote Control is the mute. With the help of this button we can realize, comprehend new definitions of commercial moving images and also see that they are enjoyable without sound.

The audio-visual dramaturgy is so well designed for a perceptional overkill that we can understand the basic content just from the images. We can read the moving image instead of being immersed in the total audio-visual experience.

The staged debates of a country's top political contenders are in the focus of public attention: every little detail or aspect is precisely analyzed beforehand - and after. For a short time two persons who represent opposing arguments, who never meet, are in the same space at the same time. Their body language functions directly; their interactions are real, live, even if they are mainly formal. If we turn off the manipulated level, i. e. the sound of the original piece, we can perceive the image in a different manner; lets just say in an opposite way than it was planned.

The jokes keep our eyes on the screen and the transformed joke-stereotypes turn the critical edge in a more painful direction: toward the bureaucratic infrastructure of contemporary art. An unexpected form of criticism of the institutional system appears.

The oeuvre of János Sugár includes works ranging form complex installations to video, to sculpture, concept art, photo and drawing. His characteristic language of forms include abstract spatial and graphic constructions and symbols. His social and political sensitiveness is far from moralising, at the same time, it is one that reveals the true essence of phenomena ironically and analyses it systematically.