In the mid-1930s the Dimensionists were looking for a new artistic language that was applicable to the dramatically changing scientific world view. Meanwhile, the Surrealists wanted to expand their surrealist world revolution that originated from the depths of the soul to the whole world. Krisztián Kristóf’s exhibition in 2017; Empathic Landscape in the Trafo Gallery, presents a (pseudo-) scientific experiment and its psychological interpretation in parallel. The two works that are part of the OFF-Biennale were first presented at this exhibition. The starting point of the exhibition was a visual language based on improvisational graphical works that is closely related to the ISOTYPE visual language of the 1930s, the visual dictionary of Gerd Arntz and Otto Neurath. As Kristóf said in an interview: “These are visually set, schematic graphics so the improvisational energy is not wasted on graphical virtuosity but is focused on the content, the narrative scenes and the relationship between the characters.” The sheet films entitled Empathic Landscape apply this visual language, too: “I think that the title Empathic Landscape is both touching and ironic, since why would Mother Earth be empathic with us if we don’t give a shit about her? The enlargements of the title sheet film show a figure that moves large abstract structures attached to its limbs through pulleys as if it were a marionette. In my interpretation, this is the world view of the figure, presented as a landscape. It is an inner landscape, but the figure in the image is probably not aware of that. Living in the illusion of total power, seeing only its own enlarged, transformed image, it does not realize that it is only part of a closed system. This landscape is the nihilistic parody of the outer world. But I suspect that the most exciting landscapes of art history are also not about the environment, but the human relations to it, so eventually, they are about human nature.” The video The Plane of Self-identity also shows an inner landscape, the fictional scientific event of the 1st International Phosphene Conference. The artist has long been interested in the question whether the interference between two distinctly different logics can be eliminated. The distortions and mutual effects of the layered line structures in his works can be interpreted as the mutual effects of human factors and characteristics. As the artist explained, the video “was shot with two cameras that were set up a hundred metres apart, facing each other. If we fit the two images one above the other, we can see a strip of land in the middle of the landscape – whoever stays there becomes invisible, both facing and standing with their backs to what they are looking at, capable of seeing in both directions and in this simulated form becoming the self-identical man. But when leaving this zone, the person would have to say goodbye to himself, their body would be duplicated and these bodies would move in opposite directions in disharmony. This is a fairy tale situation. It accepts the fact that in our society nobody is self-identical and it is a fiction that it is easily solved in each work.