ART IS FUN… OUR GALLERY IS THE EXTENDED VERSION OF YOUR LIVING ROOM

On „Saturnus” by Róbert Csáki we meet with a strange creature. It posseses with animal and human features at the same time, and because of it’s name we can’t forget about the godlike temper either. According to mythology, Saturnus ate his own children, because they meant danger to his power. In the representation of Rubens or Goya in the eye of the god is unrelenting craze, while he is transacting his terrible action. Saturnus by Róbert Csáki is different. Though the blood guttering from his mouth tells of sin, his visage – if the viewer is able to stand it – suggests repetance. This eye is almost ruling the painting’s spell-binder spectacle. Csáki placed Saturnus into a misty landscape, whose body, because of the variety of colors and touch is like its composed of many matter and aggregate. His beautiful unreality or his stylized surroundings becomes ready for the viewer because of his visage. He looks out of the picture, breaks his closed world. He stands in defencelessness front of us, and so do we in front of him. We know the sin of the creature in Róbert Csákis masterpiece, but his trenchant visage tells, that he may knows our sins too. Let him be a being of a sphere far from us, his strangeness becomes familiar, even friendly if we are looking at him long enough, and his visage reflects us like a mirror.

photo: Misi

written by: Zsófi Máté

Saturnus (200x300cm, oil on canvas, 2013)

„Housing Project I.” and „Housing Project II.” by Róbert Csáki have grand strength despite their small sizes. On the artist’s running exhibition we placed them far, contrapuntally from eachother. The attach of the two picture establishes a space just like the paintings themselves: territory. Csáki overwrites the conventional attitude to housing project, translates it’s representation. His soft brushstrokes, pale, almost romantic lights settle the sternness of these houses. The buildings melt in their environment, they do not wake the sense of strangeness, they are not the appearance of a restricted world. On the contrary, Csáki’s bland lines assign mistique to the modern territory, he shows us a world we want worm ourselves into. In case of „Housing Project I.” and „Housing Project II.” we see the houses from a lurking-perspective, the light in the windows are rather the signs of life, than claustrophobia’s. The strong-colored bridgings in the foregrounds stretch beyond the margins of the paintings. They show the never-enclosingness, which is also transmitted by the artworks.

photo: Misi

written by: Zsófi Máté

Housing project I. and Housing project II. (21x21cm, oil on wood, 2013)

The works of György Szabó sculptor…

„The Sun King” by Róbert Csáki alloys technical precisity of old masters with query of today. The title of the painting already refers to withered styles, the baroque, and it’s visual world rather to the rococo. Portraits of the XVII. and XVIII. century fill the figures with life, by movement, coquetry of red cheeks, gracefulness of folds, clairvoyant visage. Csáki applies the playful usage of lights and colors of these styles, the figure of „The Sun King” is illuminated from the depth of the background. The body is clotted in whirling by many gradation of green, it is a cadocous texture, which represents the mistique of baroque fold. What truly modern is in the painting, that Csáki not only visualizeses the figure, but also dissects it, overwrites the genre of portrait. „The Sun King” does not have visage, which encumbers to look at it as a human. Although, this feeling of hiatus and the surly darkness of colors is overwritten by the open mouth of the figure, which transforms the lifeless atmosphere of the painting. Like he would moan, breathing his fear and angst into the world. This act becomes the sign of cut-off between life and death, which pervades the picture. Thus Csáki interweaves the vital blandness of baroque, and the blow-up of inner suffering (as by Francis Bacon) in this masterpiece.

photo: Misi

written by: Zsófi Máté

The Sun King (78×66 cm, oil on canvas, 2013)

You can watch the Róbert Csáki interview which was on DunaTv yesterday…
http://www.dunatv.hu/musor/videotar?vid=776337&pid=1034691

Today night there will be a new interview with Róbert Csáki on DunaTv at 23:40

You can also watch it at 09:40 tomorrow morning on DunaWorld

You can watch the Róbert Csáki interview the link below from about the 47.30 minute:

http://videotar.mtv.hu/Kategoriak/Aranymetszes.aspx

„Uptown Workshop (Philadelphia)” by László Gyémánt is a realistic detail of a city, understandable by Paul Cézanne’s the idea about landscape: man is absent from it, but completely within the brain. Sense of leaving behind dominates the picture, incarnated in the dying workshop or the unowned car. These are the stock of the painting, which could be defined as the objective world of a social class, milieu, standard of living. However, Gyémánt’s unmoved, willfully void-profundity portrayal alienates from the underlying,these objects should refer to. They do not advert to a bigger context, do not become symbols of a bigger reality, do not lead to the people they belong to. What is there on „Uptown Workshop” by László Gyémánt, shows indeed what is absent. All this goes beyond the alienation of people from their objective world, and captures visually their irreversible fragmentation, in stony, inexorably precise style.

photo: Misi

written by: Zsófi Máté

Uptown Workshop, Philadelphia (50×70 cm, oil on canvas, 2009)

„Missed Moment” by Mózes Incze thickens time. Stationarity dominates everything, the sitting figure in the foreground and the stone standing in front of him. The clouds and smoke wreathing behind him, the lifeless grey body, the white feather are floating with ease, but the strained permanence int them doesn’t permits motion. The lights and shadows, the bodies and the fold are stiffen.

The sand-glass in front of the main figure reports the suspicion which encompasses the whole picture: time has been stopped on the painting. Mózes Incze locked temporality into this tiny object. The sand cannot twirl because of the status of the sand-glass.

Windup the passing of time raises a question: what is that missed moment the title refers to? Is it possible to talk about moments, if time doesn’t pass, if the chain of momentary nows is torn?

The sand-glass on a key-holder becomes the actual key to the painting. The lens of the camera, holded by the blindfold figure is also aiming at it. It is laying on a surface, overtopping from the space of the picture, if it would tilt down, passing of time, running of the world, lives of the people in the paiting could start over. Maybe the photographer is waiting for this, he wants to record this inevitable moment. Hope of the shifting of the sand-glass is holded up by tender brushstrokes, but the blindness of the man with the camera is hamstring it. He wouldn’t be able to see the change, he will not have loophole from this closed space. The thick timelessness, weighing on the painting by Mózes Incze is only understandable through the lines of Attila József: „Blue, yellow, red, they flocked my dream,/ smudged images the mind had taken,/ I felt the cosmic order gleam-/ and not a speck of dust was shaken.”

photo: Misi

written by: Zsófi Máté

Missed moments (190×140cm, oil on canvas, 2011)

ArtSalon\TarsalgoGallery cordially invites You and Your Partner to the album presentation of Kovács József Tóth at 19h on 20 november, 2013.

The album will be presented by Róbert Nátyi arthistorian

„Champagne” by PAF hides it’s secret behind coatings. It involves the viewer into a game, who is forced to move between visible and undercover. The picture imperously expects from us the reconstruction of everything, that is obscured by the painter. On „Champagne” this tendency materializes through the figure.We don’t know about the hand reaching from the background, wheter a body belongs to it, or not. This scepticism creates the game with the artwork. We are not able to accept the fact, that the spectacle given by the picture is not, what we really supposed to see.

Champagne in the title of the painting is the attachment and symbol of celebration. On the picture the hand, holding the glass fitfully, is the focus of the artwork, since it’s the zero point of the red gesture, which overarches the whole painting.

PAF’s glass is empty. A smashing red gesture is flowing out of it. The blues guttering onto the arm of the incomplete figure are hiding the color of her skin. The processes on the picture rule the subject of the picture. They show as strange something well known, hamstring something lightsome.

written by: Zsófi Máté

PAF – Champagne (100×100cm, mixed technique on wood, 2013)

„Cathedral” by György Szabó is a self-constitutive and self-supporting organism. The scuplture, made with lost-wax technique, has all of it’s components in connection, their dependence to eachother creates necessity, although we expect eventuality for the first sight. György Szabó’s construction’s salients -mainly in the case of the raising towers- enwreathe like they were joints, holding a body together. The erection of bronze dispenses with static, it is a living structure, in which all the portions effect the whole, establishing fragile balance. The partials of the buliding remind of a cathedral, but the artist reshapes these. What we see are only imprints of well-known architectural features. The „Cathedral” connotes sacrality, but only consits it’s vestige. This hiatus originates the incomprehensible glumness, which surrounds the scuplture by György Szabó.

Cathedral (180x22x20 cm, lost-wax bronze, iron, limestone, 2009)