György Szabó, Munkácsy-prize winner sculptor is featuring Perceptions 3. -evolutio- with four artworks. I consider „The magician’s house” as starting point, because it’s forms and motives are maintained by the other exhibited works, „Tumbleweed”, „Sunkey”, and „Origin” too. „The magician’s house” gives a mythical experience of space and time. The buliding-like scpulture is build from irregular geometrical forms and constructive elements. It is not held together by physical disciples, but an inner, not wordly logic. Movement of the surface happens not just because of the technique, but also and mostly because of the shapes, hollows, various materiality here. This is also perceptible on „Tumbleweed”, on which the contructive forms are in constant motion, making for the sculpture’s inside, empty pole. This emptiness, hiatus is turned into sculptural space by György Szabó in the case of „Origin” The regular orb’s surface is covered with symbols in a repetitive rythm, which expands the artwork, as if the symbols were emanating from the centre’s empty space. Next to „Origin” stands an other piece of The „Magical orb” series, the luminary-like „Sunkey”. The motives on the raw, illuminating surface of the artwork are like a map to an imaginary galaxy. All these sculptures belong to the same magical universe, and György Szabó is the magician, who keeps every secret symbol and hidden space in motion.
written by: Zsófi Máté
„In Quarantine” by Mózes Incze was made for the thematic exhibition, Perceptions 3 – evolitio – . The artwork reflects on the roots of the human race, and on the close relationship between human and animal. On the picture there is a chimpanzee, who’s sitting comfortabely in an armchair with srtaight back. His attitude emphasizes his human strains. This could be the reason why he looks threatening to us. In researching the process of evolution, there is always the demand, to alienate ourselves from our animal progenitors. Our state of development rests on the differences, we separate ourselves from the class of monkeys. This portray of a chimpanzee by Mózes Incze obliterates thos differences. The painter sets the animal in the middle of the picture, as if it was a repesentative specimen to unveile the human race. He even surrounds it with a typical motive of his painting, a band. So the monkey is not in a cage, but it is under lock and key. From the dark background hands are leaning to the animal, wearing a pair of green gloves. The key of „In Quarantine” is how we describe the relationship between the monkey and the gloves. My interpretation calls the great philosopher, Walter Benjamin as help. According to him, touching an animal is a dangerous thing, because we can recognize ourselves in them. We have to keep our caveman-selves in secret, hide it, for example with a pair of gloves, which keep us out of touch with animals. But what if this gloves are made of leather? Aren’t we wearing a piece of what we want to desperately be released? On the left side of „In Quarantine” there is a little locked box. From this detail the whole painting can be interpreted as a box, that we use to hide, quarantine our caveman-selves. But is this something to be ashamed of? How does the whole problem look like in the opinion of an animal? The monkey of the painting may would use Nietzsche’s words: „An animal which could speak said: Humanity is a prejudice of which we animals at least are free.”
written by: Zsófi Máté
Mózes Incze: In Quarantine (100×110 cm, oil on canvas, 2015)