— boom... crash... bang....
The unmistakable, energetic, colorful and grotesque paintings by the young Ákos Ezer represent a unique tone on the palette of the emerging new generation of the Hungarian art scene. His new exhibition ‘boom... crash... bang…’ features his latest works painted in 2018. In his variously sized paintings, which range in width from 25 centimeters to 2,5 meters, the centerpiece is the Fallen Man. In Ezer’s consistent painterly universe this fall is not a tragic and mythical one, like that of Icarus, but a burlesque-like, entertaining and grotesque misstep. His Fernand Léger-esque heroes are everyday figures, burly guys and lanky men who fall in a way that their twisted limbs arrange into a dynamic composition, filling out the rectangular surface of the canvas. The protagonists of Ezer's latest paintings have grown in size and started to faff around in a humorously hillbilly style of their own, demonstrating ordinary activities such as shaving, idle staring, or smoking.
— Văii Morilor
The new presented installation is a continuation of the artist's unique way of processing objects, spaces and places, through the media of printmaking. Koos's life-size reproductions develop a level of sovereignty and added-value that run contrary to the qualities of an ordinary copy.
With his latest work Koós’s interest in analyzing objects and spatial situations expands and will now include a phenomenon the artist recently encountered in a small Rumanian city called Aleșd (hun: Élesd).
Deák Erika Gallery
— Inside the Black Box
Karolina Bielawska, Agata Bogacka, Vladimír Houdek, Genti Korini, Maxim Liulca
— Recently Painted Works
Horizont Gallery is pleased to announce BB5000: “Campari”, the first solo exhibition with the gallery by the Italian artist group, curated by Domenico de Chirico.
Peninsular vacation and cosmopolitan noise, on the edge between architecture and design, delicate synthesis between remains from the past and contemporary wishes. The show “Campari” reshapes, drawing on Italian design history of the 1900s from a bird’s eye view, the visual dream of those years, through reconfiguring of representative and recognisable archetypes, the perfect balance between function and innovation.
Paz Errázuriz, Gluklya, Anastasia Khoroshilova, Ditte Lyngkaer Pedersen, Maya Schweizer, Lilla Szász
— Women in 3 Acts
In a world shaped by globalisation and migration and still largely dominated by men, where the struggle for power and influence increasingly exposes socially marginalized communities to become subject to discrimination, Lilla Szász engages with marginal groups of people living in closed, specific communities and focuses on stories of human vulnerability, addressing issues of belonging, gender and identity. Referring to Lilla Szász’ profound inspiration from literature and film, and featuring works by artists from different genres, the three acts of the exhibition endeavour to create a dialogue between sensitive observers of intimate life stories.
The central piece of the exhibition is the artists’ book of Ágnes Eperjesi made in 2007 during her stay in Buenos Aires. The old booklet found on an abandoned, flippant shelf of a suburban stationer’s and bookstore could be a collection of printed matter samples. Each page of the booklet titled Timbre Azul contains official templates. 39 different types altogether. Eperjesi purchased the booklet and she made a drawing each day in it, using the the templates' sections as pixels. The 39 drawings completed, have never been publicly visible before, since the leafing would not be good for the old booklet. The booklet is placed into a show-case that only lets to see the current page. During the 13 days of the exhibition, a scrolling will happen three times a day, so gradually all 39 drawings of the booklet will be displayed.
Knoll Gallery Budapest
— Continuous Past
"I was on a residency program in the Netherlands in 1996, where I met a Dutch friend of mine, who had got a very nice small archive with many old photo albums. Here I found material on the local life from the ´50s and ´60s and I discovered a Hungarian book on the same period as well. I discovered, how similar the images from both countries were - sometimes almost the same (concerning the composition, the topic, the point of view, etc.). Although the ideological backround of the photos were contrary, the visual trends of the age was more dominant, than the way of thinking in the Cold War.
I created pairs of photos from the similar images, putting them next to each other and I documented the result on photographs. This was the method, how the series was born."
Renátó Csabai, Ágnes Verebics
Ani Molnár Gallery
— Cameras and Other Optical Devices
Tamás Waliczky’s first solo exhibition at the Ani Molnár Gallery presents his latest black and white 3D computergraphic series, which shows imaginary photo and movie cameras as well as projectors. The series entitled, Cameras is based on real cameras, long forgotten 19th Century machines or on entirely fictional instruments. The structure and construction of a camera is largely influenced by the way we see, how we picture the world. By creating images of unique devices, Waliczy is able to map and simulate the world in various visual languages, with it comes the opportunity to design more sensitive machines which are based on an individual’s perception or on the accidental.
Dreamland is a series of inner landscapes originating in escapism, a feeling of longing for illusive places and the eagerness of discovering otherworldly sceneries. When my physical surroundings don't allow me to capture places that I am craving for, I use my photographs as canvases for creating imaginative universes, where personal memories, feelings and actual places merge.
The abstract compositions are layered by various outer landscapes and everyday life moments, but due to the distorted procedure, they are no longer related to a specific time and space. Through these internal illusions, impossible colors and places open up, where it's difficult to distinguish reality from dream, virtual from tangible environments.
Szilvia Bolla, Lőrinc Borsos, Pauline Curnier Jardin, Anezka Hoskova
— Excavating Darkness
Aiming to break many years of institutional taboos the darkly toned exhibition of Trafó Gallery presents artists, who reflect upon mysticism in a new, sensual and innovative way. A century ago in the early years of avant-garde, spiritualism was one of the pillars of holistic modernist thought and now it is in the frontline again of young contemporary art. The rise of mysticism comes together with a breakthrough of animism, which resonates with contemporary post-humanism. These phenomena altogether create a new sensual perspective on objects, which is the focal point of the practice of the artists exhibiting now in Trafó.
— Endless Journey
The Várfok Gallery’s Autumn Season will begin with a solo exhibition of the work of the legendary, 97-years-old Françoise Gilot, to complement and coincide with the Taschen publication of the facsimile editions of her sketchbooks made in Venice, India and Senegal. The theme of the exhibition will be her journeys and will present her most recent works. The painting career of Françoise Gilot is a story of triumph. Her oeuvre has taken a long time to receive due appreciation. She has had to prove herself as an artist on many occasions until she was finally able to shrug off the label of "Picasso's muse" and establish herself professionally as a first-class artist in her own right. Her art is rooted in the revolutionary golden age of 20th century art, when she came into direct contact with such eminent figures as Braque, Matisse, Juan Gris, Apollinaire, Paul Éluard, André Breton, Aragon and Cocteau.
Várfok Project Room
— Erőss Jánoss. Selected Performances from the ’80s.
János Szirtes is an iconic figure of Hungarian contemporary art. A painter, graphic artist, performer, video and media artist and pedagogue of eminence, Szirtes holds the post of Head of the Media Design Department of the Moholy-Nagy University of Art and Design, Budapest. His latest exhibition in the Várfok Project Room will concentrate on the first decade of his performance art. Through archive photographs, performance objects and videos, visitors can relive amongst others such performances as the 'Passing Nausea' (1980) or the 'Avanti' (1983), which have immense art historical importance.
‘… When we were talking about writing a press release for your upcoming solo exhibition at VILTIN Gallery, it sounded like water could be quite important to mention as a poetic, boundless and omnipresent substance. I often refer to Astrida Neimanis’ essay on Hydrofeminism as she points out that we are all bodies of water. As water flows through us, it connects us via a global circulatory system to other beings and places. Or as you would put it, we all end up either in the sea or as a sea. …’ (Borbála Soós, curator)
András Baranyay, Ákos Czigány, Ádám Dallos, Dora Kontha, Gábor Koós, Sári Ember, János Fajó, Zsófia Fáskerti, Péter Forgács, Krisztián Frey, Pál Gerber, Luca Gőbölyös, Zsuzsa Moizer, Péter Puklus, Veronika Romhány, Zsófia Schwéger, Zsuzsi Ujj
— GWB Review
We are pleased to present GWB Review, a group exhibition organized by Gallery Weekend Budapest in collaboration with the Brazilian artist, Bruno Baptistelli. We selected artworks from the artists of the galleries participating in GWB 2018 with the help of Baptistelli who has been monitoring the development of the Hungarian contemporary art scene for many years. The exhibition at Zipernowsky House shows the unique tones and universal questions of the Budapest scene from the sympathetic outsider's point of view, from painted tricolor to empty firewall, from homesickness to love. Different generations and styles are represented at the exhibition from the older generation (Pál Gerber, Zsuzsi Ujj, etc.) to the youngest artists (Sári Ember, Zsuzsa Moizer, etc.).