Tag Archive: Resident Art Budapest

Resident Art Budapest

A selection of Stefan Osnowski’s latest experimental wood engravings

Thursday May 17th, 2018

The series of Stefan Osnowski is closely related to his earlier big size woodcuts, that he exhibited with the name Passage in the Resident Art Galery in 2017. In his latest series called ENTRE – between the artist continues to follow the principle of creation based on strict rules, but this time he enriches the parallel network of lines with diagonal prints. The resulting system makes the surface into lattice […]

The series of Stefan Osnowski is closely related to his earlier big size woodcuts, that he exhibited with the name Passage in the Resident Art Galery in 2017. In his latest series called ENTRE – between the artist continues to follow the principle of creation based on strict rules, but this time he enriches the parallel network of lines with diagonal prints. The resulting system makes the surface into lattice structure that consist of triangles, that is geometric, and while observing it from close, it can be called an abstract net. While the starting point of the woodcut is still the moment of the stationery picture of the visible world, or rather, at the intersection of the place where the lines cross each other, the works of art get one step closer to geometric abstraction or we can say: to the resolution of the printing technology , where points are born, that resemble the pixels of a digital photograph.

For many years now, Stefan Osnowski has been concerned with a new approach to wood engravings and has been developing the opportunities inherent to the technique. When preparing the engravings enlarged to the size of an easel painting, he creates a range of tonal values purely through the variation of the width and depth of the horizontal lines, as well as through the alteration of the density of the grid whilst retaining a purely monochrome imagery. His printing technique also deviates from the norm, due to the use of a palm-size glass lens to manually rub the ink onto the paper rather than a printing press, thus preserving the apparent uniqueness of each individual item in a series. Physical contact and hand-crafting is just as much a part of the concept as gathering a theme or selecting a medium.

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The exhibition runs from the 1st of June until the 27th of July.

Curator: János Schneller art historian

Resident Art Gallery – 1061 Budapest, Andrássy Avenue 33., II. floor (doorbell 29)

Opening hours: Thuesday-Friday, 1pm-6pm

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Resident Art Budapest

Translucent Reality – Exhibition of Ábel Szabó painter

Tuesday April 3rd, 2018

The paintings of Ábel Szabó made mostly during 2016-2017 depict the urban topics that we have got used to seeing from him with completely new techniques, by swapping the timeless view point to the momentary one. In order to get a photo-realistic way of looking at things the intricate method of using the brush has been changed to the method of paint applied in stains and wiped on the canvas, […]

The paintings of Ábel Szabó made mostly during 2016-2017 depict the urban topics that we have got used to seeing from him with completely new techniques, by swapping the timeless view point to the momentary one. In order to get a photo-realistic way of looking at things the intricate method of using the brush has been changed to the method of paint applied in stains and wiped on the canvas, dynamic brush prints are used and the brave solutions of composition, and also the treating of the surface is applied also that is based on doubling. The artist allows himself to switch between the intricate and roughly worked surfaces and enjoys the spontanious spacial relationships created by effecting each other and this way he is not afraid to make the observer insecure either. Relating to the Hungarian painting traditions, he totally recreates his own sight and the sight of the social, economic and cultural changes depicted in the sight of the cities at the end of the 2010s.

Curator: János Schneller art historian

Exhibition: 10th April – 25th May
Open: Tuesday-Friday 1pm-6pm

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almost – Mátyás Boros’s exhibition at Resident Art Budapest Gallery [photo gallery]

Thursday October 26th, 2017

   Mátyás Boros – almost Introductory thoughts In his graphic works, Mátyás Boros has been moving beyond the boundaries of narrowly interpreted graphic arts for years, and moving towards installations and objects, most recently also in the direction of the ready-made. He leaves the surface defined by the dimensions of graphics in every single exhibited work of art, and he steps out into the space, as if he felt the […]

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Mátyás Boros – almost
Introductory thoughts

In his graphic works, Mátyás Boros has been moving beyond the boundaries of narrowly interpreted graphic arts for years, and moving towards installations and objects, most recently also in the direction of the ready-made. He leaves the surface defined by the dimensions of graphics in every single exhibited work of art, and he steps out into the space, as if he felt the opportunities provided by the surface too narrow. In the art of Boros, this shift, i.e. the crossing of the borders between dimensions and genres, is not a game for its own sake, but the result of the impact of the content on form in every instance, where the carrier adds as much to the interpretation of the work of art as the depicted form.

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As far as his topics are concerned, Boros prefers the tropes of collective image recollection and the world of everyday objects, which we catch a glimpse of with the joy of recognition, but in the same moment this good feeling passes due to a sense of fragmentation, deformation and incompleteness, and is replaced by the unpleasant feeling of almost. The barriers of visual satisfaction – the forms of foldings and truncations, which have a frustrating effect – almost prompt the recipient to intervene in the work of art, as well as to uncover and repair the hidden parts. The enjoyment of the presentation of forms and the simultaneous feeling of fragmentation causes a tension in the work of art and in the recipient as well, which is not resolved at the exhibition.

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The almost works of art simultaneously refer to incompleteness and imperfection (imperfectum), which are the signs of the mundane imperfect representations of ideal or idealistic objects and notions, but also the metaphors of the fragmentation of human existence. It is hard not to realise the parallel between the almost state of the installations and the topics of the masterpieces selected and adapted by Boros, most of which are images of the recollection of European culture, with the topics of the fragmentation, incompleteness and aberration of mankind (The Fall, The March of the Blind). When visiting the exhibition, it is useless to hope for the realisation (perfectum) of our almostness, but at the same time we can get used to or almost get used to living together with this knowledge.

János Schneller
13 Otober 2017, Budapest

Opened on 19th October 2017, 7 pm, Resident Art Budapest (1061 Budapest, Andrássy Avenue 33)

Curated by János Schneller art historian, opened by Flóra Mészáros art historian.

The exhibition runs until 1 December 2017. Opening hours: Tuesday-Friday 2-7 pm

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2017. szeptember 8.

Sopianae – Ákos Bánki’s exhibition at Resident Art Budapest Gallery [photo gallery]

Monday September 11th, 2017

Ákos Bánki’s 50 piece series named Sopianae was created in 2011, and with its uniform format and technique makes a well separated collection among the artist’s pictures. The 50×50 centimeter format, the uniform oil- monotype technique and the starting form tells us how disciplined the artist is while creating the pictures. The order of them can be followed without looking at their numbering, as the consistent changes between the pictures […]

Ákos Bánki’s 50 piece series named Sopianae was created in 2011, and with its uniform format and technique makes a well separated collection among the artist’s pictures. The 50×50 centimeter format, the uniform oil- monotype technique and the starting form tells us how disciplined the artist is while creating the pictures. The order of them can be followed without looking at their numbering, as the consistent changes between the pictures reflect the passing of time, the inner work of the artist as well as the changes in his mood.

Andrássy út 33.    

The starting frame of the series forms an ancient symbol of a cross, drawn along a vertical and horizontal axis, that recalls the transept plan of the old Catholic church, the ancient symbol of the cross, the opening of the window and the target cross as well. The self controlling, self disciplining systematic attitude implies that he’s intention is autotherapeutic. The target cross proves this interpretation, in which the creator working on himself by standing in focus.

    

The pictures can be interpreted as a kind of diary as well, in which the individual pieces of art can stand alone too, but looking at them as part of a series and interpreting them carry more meaning and imply the possibility of our broader understanding of his intention. In the network of non stop flowing of quick, wild gestures and between the even geometrical borders of the cycle we feel great tension, that accumulates into an unsolvable contrast, so that in the last pieces of the series this unbearable tension is relieved in one explosion. In this process, Bánki set his own borders, and in this case he crosses them in the end, some more, by the explosion he destroys and eliminates them. The 50 monotype is the visual projection of momentary moods on the road, a continuous expression, that is in close relation with process art, where seeing the series together show us the process of making them, and the changes in the state of mind. Bánki’s series made in Pécs can be seen by the public first, in this exhibition.

    

The exhibition was curated by János Schneller art historian, opened by Flóra Mészáros art historian and runs until 29 September 2017.

[photo: Gabi Lukács]

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An Unknown Oeuvre – István Szita’s exhibition at Resident Art Budapest Gallery [photo gallery]

Friday June 30th, 2017

Only a few people might be familiar with István Szita’s art, which is not too surprising, if one has read his life story. The young István Szita, who was dedicated to choosing the profession of an artist from his early childhood, was admitted to the College of Arts, but due to his religious ambitions could not begin his studies, even with the recommendation of master Barcsay. But, as a consequence […]

Only a few people might be familiar with István Szita’s art, which is not too surprising, if one has read his life story. The young István Szita, who was dedicated to choosing the profession of an artist from his early childhood, was admitted to the College of Arts, but due to his religious ambitions could not begin his studies, even with the recommendation of master Barcsay. But, as a consequence of an open conflict with the bishop, his religious career soon crashed, and he could never return to the profession of a clergyman. Afterwards, he was occupied as a laborer, while he continuously worked as an artist on the side, always completely excluding the public. His paintings, which were inspired by intensive experimentations, the art school of István Szőnyi in Zebegény and international influences, can be clearly divided into two groups.

 

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His religious paintings are mainly characterised by naive, narrative and mostly unoriginal art, but they constitute a unified world, which is definitely worth introducing.

In parallel with this, István Szita developed a completely autonomous, colourful and non-figurative painting style, which ignores expectations, and the pieces of which remained only in the artist’s studio for many long years. As a result of that continuous work, an unknown heritage of nearly 2,500 paintings is waiting to be introduced. For our current exhibition, we selected some pieces from this unknown part of his oeuvre – none of the pictures have ever been presented for an audience. So, the exhibition is a posthumous introduction and also a retrospective exhibition.

The two main motifs in his art are absence and the arrangement of accidentally developing forms into colour harmonies and plane compositions. In this non-figurative world of paintings, in which all kinds of publicity were foregone, he could unfold his desire for freedom, which could not evolve in reality, but which continuously found its way into István Szita’s life – mainly through his paintings. Similarly to some artists of the European School, István Szita painted only for himself throughout the decades. In his style, the influence of paintings in the European School can be discovered. His pictures, which are based on pure colour surfaces, reveal the impact of the colours and shapes of Árpád Illés. The evolution of this freedom was on one hand prevented by the suppressing regime of socialism, which controlled individuals, and on the other hand by the ambivalent relations with the church of that period, as well as by his work, in order to make ends meet. Considering this, only an extremely persistent steadiness and an inner motivation can justify the systematic self-instructed artistic work, the result of which is the presented world of paintings, which did not have the opportunity for an introduction or a positive reception for a long time. The solitude of the study room, however, provided an appropriate environment for him to create his paintings in freedom, without assumed or real expectations towards himself.

 

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The exhibition was curated by Zsuzsa Gadó and János Schneller, opened by János Schneller art historian. It runs until 18 August.

[fotók: Lukács Gabi]

 

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