In The Focus

„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

 

csaki_gardedame_estirandevu_eng

In The Focus / Perceptions 2. …silence……

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

 

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In The Focus / DIALOG2

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

 

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In The Focus / DIALOG2

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

Dialog_nagy_eng

In The Focus

„Vernissage” by Róbert Csáki is ruled by an abortion. Although his shapes don’t disserve from his environment, his hooked bust, the whiteness of his shirt, and the wine glass in his hand are the most real elements of the painting’s blurred world. Not as his head on his thick neck, meaning heads, which are limbs of the same body, they are turning to us with different visages. This worrying being, if we take a closer look, really is a polite monster, who’s squint is shy, and holds his glass clumsy, with his little finger holded away from it. As if he isn’t home at the shades of the picture’s world. Vernissage is a French word, meaning the opening of an exhibition. From the title of Csáki’s artwork is clear, that this is the occasion of the figure sitting by little white table. His embarrasment is caused by the fact, that we can see him in whole, that nothing is protecting him from our staring. In this habit and situation there is a pure indication how the artist stands in front of the audience while showing them his artworks: in nudity and defencelessness.

 

photo: Mihály Borsos (misi)
written by: Zsófi Máté
Vernissage (230x200cm, oil on canvas, 2010)

 

Vernissage (230x200 cm, olaj, vaszon, 2010)_eng

In The Focus

„Beach” by Róbert Csáki calls the mood of sultry, endless summer days into mind. On the picture, a wierd, friendly figure is bathing in the peaceful water. There is unsophisticated grace in his presence, with his shiny life saver and vast, azure beachball he is dispossessing the stylized artwork. He’s looking at us with his tiny eyes, which transmit ease and gloom at the same time. The whole painting is defined by this gentle ambivalence. It’s atmoshere is filled with airiness, childlike joy because of the scenery of the toys, but still the waft of the lifeless flowers makes it heavy with tiredness and solitude. The lovely figure on „Beach” by Csáki invites us into the painting’s world. As if he’s asking us to play with him, or simply share the worm summer silence, timeless stationarity, drowsy brightness.

photo: Misi

written by: Zsófi Máté

Beach (21x20cm, oil on wood, 2003)

Strand (21x20 cm, olaj, farost, 2003)_eng

In The Focus

On the newest painting by Róbert Csáki, there is a bed in the foreground. Although it’s empty, it suggests the human presence on the picture, as well as the bridging on the left side. The painter terminated the bed and the wreathing shade towards it with angled compositional elements. These do not register to eachother, they don’t close perfectly a safe inner space. As if the foreground was a room, open to every directions, only divided from the infinite background with these anomalous forms. Two worlds are dissevering on Csáki’s artwork, they could be the sphere of God and men, wakefulness and dream, reality and fantasy, life and death. We come to the measure of these as viewers. As the counterpoint of the bed, there is a tiny but significant luminary in the distance, maybe it’s illuminating the piece of furniture. This star carries the hope, that we are able to come at the sphere it’s part of. However, the artwork by Róbert Csáki is surrounded by the sense of neglect, it’s atmosphere is determined by worrying stationarity. The picture may opens the door to transit between the two worlds, but also warns us, that we cannot exist in them at the same time.

photo: Misi

written by: Zsófi Máté

Untitled (59x68cm, oil on canvas, 2009_2014)

 

Cim nelkul (59x68 cm, olaj, vaszon, 2009_2014)_eng

In The Focus

„Cloister” and „City Lights” by Róbert Csáki show similarity in colours, touch and in representation of lights. The landscapes on the pictures despite their strangeness carry the sense, that we have seen them before. They could be fantasies or memories, which are beyond control, surrounded by versatilty, transiency. On „Cloister” from the background’s infinite, deep shade buildings meet the eye, which are dissevered from their environment because of light perfusing them. Whiteness of the church’s tower has a central role, it rules the painting. Constructivity of this colour is determining in case of „City Lights” too. The two white paintstains overwrite the harmony of deep colours on the artwork. However what seems breaking of the picture’s order is in fact a necessary component. Reddish spots on „Cloister” are also telling of a conscious, precise composition. They change the whole painting, terminate the accidental aspect of the sinister,transitory landscapes. Inter alia these tiny paintstains contain the genius of Róbert Csáki.Their startling strength is realization, turning into stationarity of riddling interaction of tones and light and unlimited visions.

photo: Misi
written by: Zsófi Máté
Cloister (30x30cm, oil on wood, 2013)
City lights (40x35cm, oil on wood, 2013)

 

Kolostor_Varosi fenyek_eng

In The Focus

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)

Saturnus (200x300 cm, olaj, vaszon, 2013)_eng

In The Focus

 

„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)

Lakotelep 2_1 fevo (21x21 cm, olaj, fatabla, 2013) eng

In The Focus

„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)

Napkiraly (78x66 cm, olaj, vaszon, 2013) eng

IN THE FOCUS…

„Midnight Rainbow” by Róbert Csáki consists incomprehensible ambivalence. In the warm coloured, easeful foreground faceless, colourful figures are looking into the background, creating an inner frame on the picture. In the blinding white city in front of them, seems like the time has been stopped, only the trusses of buildings stretch to the dark sky. Bridgings transform into constellations, spur wheels into luminaries. Down below a grey man is standing, is unable to see what the group of people rolled in varicoloured rag can: appeariance of a pale rainbow. We don’t know whether these people are leaving, or just entering this nonsensical space, who the sinister grey man is, what this bright, strange world is like. Although on Róbert Csáki’s painting all the doubtfulness, threatening stationarity is dissolved by the panorama of shimerring stars and evanescent rainbow, which seems in its universality such instantaneous, so worldly.

Csaki_Ejszakai szivarvany (92x115 cm, olaj, vaszon, 2008)eng