In The Focus

„Time Capsule” by Attila Rajcsók was exhibited in Paris for the first time, and it continues the form world of the artist’s eariler works. For Rajcsók it is very important to demolish, rebuild and interpret the organic forms on the base of the elements of nature. That way the artist and the viewer also have the possibility to look into the inner structure of natural harmony. „Time Capsule” is following this disciple, but despite recreating nature, abstraction is in the foreground, making the artwork futuristic, alienated from real space and time. Its unique structure is due to streaking of the steel straps, because while the sculpture is in course of construction, the inchoate form is transforming, which is terminating with the loop-like connection of the straps. Though the scuplture is terminated only in a material meaning. The artwork by Attila Rajcsók has on one hand an exciting, open inner space. The outside sterile, raw steel gets here the colour of red, which results some kind of an inner ignition, an almost touchable tension, as if the scuplure could turn outside itself in any moment. On the other hand, it is an open arwork, because it is using the viewer’s fantasy, motivatates them to move and shape the sculpture. This sense is only amplified by the position of the artwork. It is almost levitating, barely touching the postament, seems like the temporary balance could capsize anytime. But all this quasi-eventuality is the part of a well planned conception. „Time Capsule” has an incerdible space oranizing power, but the real professional success, is that Attila Rajcsók is building into the constuction all the invisible forms and spaces, which are brought to life by the power of mind.

photo: Mihály Borsos (misi)
written by: Zsófi Máté

Idokapszula (143x84x85 cm, festett, hegesztett acel, 2015)_eng

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Time Capsule (143x84x85 cm, painted, welded steel, 2015)

In The Focus

On “Memory of Poland” by István Csík we can see a cityscape build of geometrical shapes. Buildings, streets appear in a thickend form, alike to expressionism. The spectacle is unequivocally not the copy of reality, but an idividual perspective, the relationship between sense and the real world. “Walking in the city” by Michel de Certeau says, that the city is a text, which is read and written by the voyeur at same time. This means, that the picture of the city is formed by the subject from what is given. This way the subject thickens, obscures, highlights, creates symbols, so in the and only what catches the eye become visible. For example, only one buliding can symbolise a whole district. This leads us to the artwork by István Csík. In the foreground of the picture, there is a figure, which is rung the whole space of the painting, though the contructive elements lead us to the background. The size of the building constructions and the woman are nearly the same. This shifted scale means the importance of the figure, so it becomes the main motive of the memory, the symbol of the city. Gracefulness of the woman, her elegance given by light colours awakens the sense of pureness. This clearness tipyfies the whole picture. With the pale shades, white lights István Csík is composing clear thoughts, clean emotions. Although behind the freshness of the artwork is hiding the dark side of memories. We select them, euphemise the past and its persons, we place the events of our lives to a changing narrative. The woman on “Memory of Poland” has no face, and her body almost fades into her environment. We could say it is a meagre memory, or in fact untrue. But The painting by István Csík says just the very opposite. A memory never true or untrue, but it is ours. Much as it is changeable, stays unquestionable forever.

 

photo: Mihály Borsos (misi)

written by: Zsófi Máté

Lengyelorszagi emlek (65x68 cm, olaj, farost, 2014)_eng

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Memory of Poland (65x68cm, oil on wood, 2014)