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

„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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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

“Once risen up to the sky, the star/of night river’s not worth much.”- said Attila József, referring to the fact, that art can not perfectly imitate reality, but this is not the aim of it at all. I feel this thought in “Star Projections” by István Csík. The substrate of the artwork is given by space ordering power of constructive formations, but in the center stays the form of circle, which is unlikely in the painting of István Csík. The importance of these shows their colors, which are lightening between the dark shades of painting, avoiding the often used light colors. “Star Projections” tells about in it’s every detail, how the artist, people are related to the universe, which is surrounding and transcending us. István Csík represents the stars in a secure, structured frame within the picture. These gesture can refer to how human beings want from the start of their history recognise and possess the always unreachable transcend world. But in the end, every science and art form has to admit: what we can reach, recognise, is a picture we formed for ourselves, for the scale of human intellect, a projection only. This is what the space outside of the inner frame on the picture tells about. It shows the threatening, deep, thick, formless, dark material, which is the unkown part of our world. “Star Projections” by István Csík revolves to more planes, these symbolize more mental planes. The question of the painting stays open: can we strictly separate these planes? In my opinion, master Csík is showing with this special artwork, that the aforesaid mental planes (just as the planes of the picture’s space) can only exist through each other.

photo: misi
written by: Zsófi Máté

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Star Projections (170×115 cm, oil on wood, 2009)

From the title of „Sky, Mount, Water” by István Csík we could think of a traditional landscape. But the master awarded with Munkácsy-prize doesn’t want to represent nature, but to explore a deeper sturcture with the resource of abstraction. „Sky, Mount, Water” is in fact deconstruction, reinterpreting of the named elements of nature. As the result of this process a concentrarte of nature becomes visible on the canvas. The order of the space in the picture is ruled by a horizontal and a vertical red and white stripe, which are crossing eachother, dividing four equal parts of the painting. If we are are observing these sections separately, it turns out, that we find in each of them a form, color a motive, which recalls sky, mount and water. Each of these four parts have indipendent inner order, but they are also in connection. István Csík fills the elements of abtraction with refined shades, while the tender brushwork enacts the forms to natural surfaces. The similar forms- though they are distant on the picture- have the similar world of colors. The viewers can imagine, that they put together these similar forms, so the pieces of the puzzle eject a traditional landscape. But after this imagination, the pieces tear again, and then we recognize the real structure, de given order on „Sky, Mount, Water” by István Csík. In my opinion this painting is a main work of the consecvent life work, which is the concentrate of the interrelation of nature-representation and abstraction.

 

written by: Zsófi Máté
photo: misi

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Sky, Mount, Water (175×126 cm, oil on canvas, 2010)

„Time Twine” by Attila Rajcsók and PAF is the connection of two artists, two art forms, two minds, in addition the objective effect of clear artistic humility. This takes openness of the artists, and also of the artwork itself. To Attila Rajcsók space-organizing of sculpture, and the question of balance is important. Welded steel straps of „Time Twine” embrace to eachother like they were a living, moving, pulsing organism, despite their stern material. The motive of eventuality on the clean, sterile surface of the sculpture appears only at the meeting point of the stratificating straps. This tiny detail has its own-from the viewpoint of the whole sculpture secondary-rythm, which could serve as the starting point of PAF’s work. „Time Twine” is completed by painted gestures. PAF vindicates the strong colors and the conscious gestures of his painting in a given dimension of form. Stratification of paint, the facture modificates the surface of the sculpture, and the variety of colors, varying of dark and plain gradations give a new rythm to the inner space of the sculpture. In the exhibition the postament with the sculpture on it stands on hangings painted by PAF. This installation is the counterpoint of the gestures on the artwork, which are settling of emotions. This means that they are carriers of underlying content, while the hangings could be defined as action painting, where the creatice process is more important az the message. It is significant to pin down, that none of the artists want to rule „Time Twine”. On the contrary, the artistic world of Rajcsók and PAF open themselves to eachother, honor eachother, adapt to eachother without losing their freedom. In this wise they twine in absolute harmony in an unique artwork.

 

written by: Zsófi Máté

photo: misi

 

 

„Process” by Mózes Incze is a snapshot. We don’t know anything about the activity happening on the picture. What we see is an endless, mute moment. A man stressing his clothes on himself is leaning his arm into an incorporeal shade. He’s holding a feather with gentle hand position above a sailing loop, which is surrounded by powers in vibrant colors. The man’s face is calm and confident, only his hand, grabbing his own shirt convulsively, tells about his inside tension. He knows the fact, that he is just about to make an important decision. The thick silence, which defines the whole painting by Mózes Incze, is impacting the figure’s inner world. In this process he’s becoming speechless, introverted, as he’s concentrating to only one tiny motion. Slipping the feather would may not cause any change in the world of the painting, and the world of the man, buti t could possibly fall into an other dimension through the loop. Anyway, the feather is somehow the part of the figure. Anything happens to it, it also happens to it’s owner. Just as our actions- which could be interpreted as the projection of ourselves- are reacting to us by necessity. Under the hands of Mózes Incze the limits between external and internal are washed away. Every element of the paintg could be understood as the realization of the precesses happening inside the man. „Process” is a pure dimension, in which decisions, actions and their effects become visible.
photo: misi
written by: Zsófi Máté

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Process (100×140 cm, oil on canvas, 2014)

“Prototype” by Mózes Incze represents a transition state, an intermediate substantial. The two sides of the figure’s body on the picture have the attributes of two different spheres. A white shirt is hanging from left shoulder, which can be understood as the symbol of life in this world, work and conventions. On the naked body’s right side, wanting to be released from the shirt, we can see a particular construction. A mechanical angelwing, which is not the organic part of the body. Despite it is an imitation, carries the opportunity of freedom and salvation. Just as the space opening behind the figure, it’s vibrant blue has the feeling, that the tanscend world is available. Mózes Incze vindicates a tense balance between the sphere of human and the shepre above human. The stern, mechanic swithes and wires, and that the figure is holdong his hand like Christ on the cross, his golden skin do not overwrite, but somehowe they supplement eachother on the picture. This is the balance of the composition, which can’t erase the mental incompatibility. It doesn’t want to. Is it possibile to exist is two different worlds at the same time, or get redemption with the help of modern technique? This is the experiment, that is performed by “Prototype” by Mózes Incze.

 

photo: misi

written by: Zsófi Máté

 

 

 

 

 

 

 

 

 

Prototype (100×140 cm, oil on canvas, 2014)

“Floors Castle – Scotland” by László Borbély is not only an image of a real building. The artist is not representing reality, he is interested in mixing of different visions, and showing them at the same time. In the way of representation is experiential, the picture is ruled by the painter’s own perspective. The primarity of personal impressions is showing up by the elements, which move the painting to idyll from reality, as the warm colors of the castle, and the bland lights. Although the real uniqueness of László Borbély’s painting is the technique he builds the picture with. “Floors Castle – Scotland” is like as we were looking through a prism to the view. The building and it’s environment becomes an unified spectacle through fusion of seperate geometrical forms. These forms are located under the structure of the building on the painting, they are actually the extension of the architectural space. That is, how “Floors Castle – Scotland” reinterprets reality, with different methods, on different levels.

 

written by: Zsófi Máté

photo: misi

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
Floors Castle (Scotland) (60x110cm, oil on canvas, 2012)

“Cradle” by Attila Rajcsók offers many opportunities of interpretation to the viewer. The sterile, laminatedly welded, snowhite steel visualizes a process. As if in front of our eyes a core would sprout, petals of a flower would unfold, an animel would slip of it’s shell, or a human being would come to life. “Cradle” represents the slow process of birth, and at the same time, the very reverse of it. What seems opening, unfolding at the first glimpse, also could be the act of closing, passing away in the case of this sculpture. The neutral white color also makes undefinable, that what we see is the unfolding or the locking of the artwork. It seems like “Cradle” is a liminality, an incarnated moment, when the insight to the inner parts of the sculpture is possible. But what is it, that the artwork is hiding, even in this status? This is the unanswered question of “Cradle” by Attile Rajcsók.

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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Bölcső (92x56x45 cm, hagesztett acel, 2012)

„Garde Dame” and „Evening Rendezvous” by Róbert Csáki fold a gentle narrative, as if they were scenes following eachother in a novel. There are two women on „Garde Dame”, a well-to-do lady and her companion rolled herself up in dark linen. Wrinkles of their clothes in the strong daylight semm like as their material was paper. The women turning their back on us may have a secret, quiet chat with eachother. On „Evening Rendezvous” guarding eyes of the garde dame are not on young lady in white anymore. We meet her in the lights of the early evening again, while she’s sitting in a garden, possibly waiting for somebody. Her white dress, just as her environment is coloured by the twilight. Her face stays hidden again. But not only through the figures can we discover the similarity between the two paintings. Róbert Csáki painted silence into both picture’s atmosphere, in a different way, generating different moods. The „Garde Dame” emanates the calmness of an everyday scene, while „Evening Rendezvous” thickens the tense muteness, the lonley minutes of waiting into the picture. The variant aspects of these situations are obvious through the usage of colours and imaging of lights. Above all, on both paintings, there is a presence of an invisible person, who is observing the figures secretly, behind their backs. The real mystery smouldering in the shade of „Garde Dame” and „Evening Rendezvous” is who we think that person is…

Garde-Dame (45x35cm, oil on canvas, 2014)
Evening Rendezvous (35x30cm, oil on canvas, 2014)

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

 

To Art Salon\Társalgó Gallery is opening the new season with the group exhibition “Perceptions” is a tradition. This year the subject of the exhibition, which was processed by seven artists is silence. Imre Barna Balázs, Róbert Csáki, László Gyémánt, Mózes Incze, Iván Paulikovics, PAF and György Szabó all created their own variation of silence. The curators, Dr. Dóra Ocsovai and Dr. Katalin Kovács circled the question: what is the coherence between art and silence? The evident answer could be of course: painting and sculptures as objects are silent. Although in the domain of aesthetics none of the artworks are mute. But as the opening speech of Katalin Kovács highlighted, silence could be the effect, that artworks trigger. This is prevailing, as we are standing in front the arworks of the exhibition. For example the creatures on the portaits by Róbert Csáki, as they would like to say something, but they stay wordless, they fade into the peaceful background. Then PAF breaks the silence and peace of his pictures with his definite, craggy gestures. And these are just examples of the intellectual and technical variegation, which is united in the exhibition “Perception2…silence…..”

 

written by: Zsófi Máté

photo: Diana Rédai

 

On 14th of August the individual exhibition of PAF opened with great success at the Nádor Gallery in the city of Pécs. The painter not only presented new paintings, but the exhibition also includes exciting, new installations, which are due to the inspirational exhibiting space of the Nádor Gallery. For example, the 81 meters long painted canvas, which could be defined as the clew of the exhibition. It wimples above our heads, creates the sense of infinity, it’s uproarious colors are completely ruling the space. The other group of the installations arethe dress-stands, covered with gestures. Painting of PAF animate these ordinary objects, their ordering in the space terminates their impersonality. To the saturation of the exhibition contribute the spatial paintings; boxes painted on five and six sides, which enter the viewer’s own sapce. This powerful, provocative cavalcade is surrounded by the paintings on the walls, wich are the ground of all the installations. The exhibition is ordered in three units, and to top it all, all of the artworks have their own lives. This is what makes PAF’s exhibitoin so special: this stunning variegation organizes into a whole in front of our eyes. Installations and paintings intensify eachother, and lead us into a compelling world of painting.
Visit the exhibition at the Nádor Gallery, have a share in this special experience given by gestures, forms, surfaces and colors. On the 21th of August PAF1s painting comes to life on the fashion collection of Eszter Cselényi with an irregular performance, then on the 28th of August with ministration of András Jász, jazz saxophone artist and Zsirai, we discover the connections of art, music and wine.

written by: Zsófi Máté

photo: Panamy

 

 

On 26th of June in Graz, in Gallery Eugen Lendl the „Dialog 2” group exhibition was opened. Three painters of the Art Salon\Társalgó Gallery shared the exhibiton space with four austrian artists. The seething gestures of Stefan Maitz; expansive forms of Christian KRI Kammerhofer; abstract visions of Josef Wurm and the expressiveness of drawing by Michael Fanta have a word with the shadowy landscapes of Róbert Csáki; refined system of gestures by Imre Barna Balázs and the powerful colors of PAF. Dr. Márton Méhes, director of Collegium Hungaricum Wien emphasized in his opening speech, that there are energies in the space, created by the artworks effecting eachother. Truly, the halls of the gallery become a field, in which different artistic visions, styles and techniques open themselves to eachother. „Dialog 2” gives the viewer the opportunity to indite and shape the connections of the artworks. So the concept of the exhibition insures a broad playing field for the paintings, and for the visitors as well. Exciting, thought-provoking opennes of „Dialog 2” reveals, that art is a general language, which is able to blur any boundaries.

 

photo: Zsófi Máté
written by: Zsófi Máté

 

In spring of 2013, Art Salon\Tarsalgo Gallery’s artists debuted with great success in Vienna with the „Dialog” group exhibition. In June 2014, „Dialog II” will be settled in Gallery Eugen Lendl, in the city of Graz, Austria. The concept, just as last year, will be creating harmony of the heterogeneous material created of several artists’ artworks, so the works open themselves to each other, but they do not lose their uniqueness. Róbert Csáki, Imre Barna Balázs and PAF are excellent contemporary painters, each of them express their thoughts and feelings through painting, but with a different technique, in a different style.

Róbert Csáki’s painterly impressions are visualized by gorgeous colours and masterful compositions. On his paintings we travel into a mystical, unreal but still familiar nature. „Hommage à Caspar David Friedrich” guides us from the shady frame to the centre of the composition, so we can linger on in the bland distant lights.

Strong gestures and colours dominate the painting of PAF, which are the abstract forms of an inner world filled with vehement emotions. The sharp surfaces, stirring colours of his paintings create deep inner spaces. „Gesture Box I” is a cube, each of its sides is covered with PAF’s gestures. In this wise the pictures become spatial, and are showing the infinity and the non-enclosing, which characterize PAF’s painting.

Imre Barna Balázs seizes with amazing sensitivity the phenomenon of experience, and how the sense and the soul can shape the sensation of the world. The system of gestures on „Flux LXII” reflects the forms of nature. The intensity of colours reveals the great power of our thoughts and emotions.

The variegation of „Dialog II” will be enhanced beyond the Hungarian painters by the artists of Gallery Eugen Lendl; Michael Fanta, Christian KRI Kammerhofer, Stefan Maitz and Josef Wurm as well. Though each artwork creates an own world and aura, they can effect each other, and their dialog can vest them with stunning, new meanings. „Dialog II” will aim to represent through the connection of different artworks the open, inexhaustible, always renewable character of art.

photo: misi

written by: Zsófi Máté