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

„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

„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)

 

On „Flux LVIII” by Imre Barna Balázs a dynamic system of gestures is appearing on the surface of the painting, blazing in the colors and lights of dawn. The gestures vivify the picture, while they transmit the stillness of motionless stationarity. Their various colors, variant intensity of their stratification do not result tension in the space of the picture. The ground of the artwork and the gestures on it resolve to eachother, creating indissoluble whole, sense of pure harmony. Though the gestures seem stochiastic, they are part of a larger order, in which every detail has it’s own space and function. They fill the space of the artwork with movement and stationarity at the same time, as part of the conscious composition. In the shapes of gestures we can observe the forms of nature on „Flux LVIII”. The painting by Imre Barna Balázs reflects how the artitst’s, or even the viewer’s inner world translates, recreates well known sceneries. Thus it is connetcted with the reality, not only visualizes it, but unfolds it’s connection to mental, spiritual contents with the instruments of painting.

photo: misi

written by: Zsófi Máté

Flux LVIII (130×210 cm, oil on canvas, 2014)

Szandra Iván & András Jász