Bence Kala
A jumble of too many ideas on one sheet is also thrown away — it lacks clarity. And sheets that know too much are thrown away. Good drawings are plain, simple, and reduced to the essentials; they have breadth.
Rita Kéri
The organizing motive of Interthinking is not critical reflection, but homage: paying tribute to Hungarian artist giants who used pioneering technological solutions in the last century, and demonstrating their impact through works that use contemporary generative tools and artificial intelligence.
Péter Bencze
These ethereal compositions offer profound insights into the cosmic tapestry, guiding viewers on a transcendent odyssey from the earthly realm to alien-inhabited spheres. At the heart of Keresztesi’s narrative lies the seamless integration of contemporary motifs with echoes of art history.
Patrick Tayler
„To avoid everything happening at once in an all-encompassing, divine blend of dark, immaterial mud and half- or non-sensible, primal chaos over which fleeting, elusive spirits float, I have to fracture and light up a safety match —called lucifer in Dutch— and do one thing at a time!” – Robert Roest
Patrick Tayler
“MIAU!” “♥♥♥!” “FUCK OFF!” “VROOOM!” “⟡ ⟡ ⟡!” “XXX!”
Patrick Tayler
Batykó carefully calibrates the extent to which he unleashes his painterly toolkit, level and mode of articulation. In the following interview, we discussed this exact vein of visual engineering. We touched upon the artist’s latest exhibitions, current preoccupations and how the last one-and-a-half decade has informed his cutting-edge experiments.
Patrick Tayler
In these monumental, museum-scale compositions, Ákos Ezer switches into berserk mode. The “director’s cut” provides additional side narratives, extras, and goodies. It is rewarding to invest the extra “leg work” into exploring these two- or three-piece mega constructions.
Patrick Tayler
Jon Burgerman’s mesmerising stand-alone figures and choirlike paintings are magnetically endearing but also confrontational. Their intense features pulsate ferociously, finding ways to get imprinted behind your eyelids. His work dissolves categories, oscillating between genres and functions, creating new audiences, viewers and fandoms. To learn about the complexity of the issues at hand, I talked with the multifaceted artist who is also one of the exhibitors of the thematic group show titled The Cuteness Factor.
The touring exhibition titled The Journey – János Fajó and the Pesti Workshop will be launched in several Chinese venues in cooperation with MNB Arts and Culture, the cultural branch of the Central Bank of Hungary (Magyar Nemzeti Bank, MNB) and the Fajó Foundation. The first exhibition will open in Shanghai’s Liu Haisu Art Museum on 19 August 2023.
Alex Kovács
The House of Arts in Veszprém —taking advantage of the attention directed towards the city due to the European Capital of Culture programme— is devoting several of its current exhibitions to art created by women. Among these, the first joint exhibition of the House of Arts and MNB Arts and Culture —the organisation managing the collection of the Central Bank of Hungary— entitled Liquid Slices of Time is a unique arrangement curated by Kinga Hamvai, head of MNB’s division dealing with the institution’s contemporary collection.
Noémi Forián Szabó
The exhibition Domain#2 by Dániel Erdély, Mária Vető Lavman and János Vető was on view at the ffrindiau gallery in Budapest between the 10th and the 21st of November 2022. The material for the exhibition came from Sweden, where it was shown in 2021 at the Rostrum Gallery in Malmo under the title Domain.
Patrick Tayler
When an expanding collection wants to preserve its momentum, it cannot stay within the confines of the local art scene for long. Instead, it has to be activated and re-investigated in various new contexts, generating several alternative interpretations that further inform the collection’s pieces. MNB Arts and Culture has shifted its attention, thus, to re-imagining the perspectives of Hungarian art on an international scale.
Róna Kopeczky
For the first time in its history, Manifesta Biennial is hosted by a country from the Balkan peninsula. For the second time in its history, it is hosted by a country of the ex-Yugoslav territory, after a 3rd edition held in Ljubljana in 2000.
Flóra Kőszeghy
Andreas Fogarasi lives and works in Vienna, but he is also involved in the Hungarian art scene. With his video installation Kultur und Freizeit he received the Golden Lion Award at the Venice Biennale in 2007. His work has been featured in group and solo exhibitions at renowned institutions from Mexico to Paris. His solo exhibition, with the title Skin Calendar at the Budapest Galéria closed on 22nd of May. The show was interesting not only for the fine arts scene, but also for those interested in architecture and cultural heritage. I asked Andreas about the conceptual layers of the exhibition.
Attila Sirbik
The Paris-based artist Mihael Milunović expresses the language of world politics and social movements through visual means. His paintings delve deeper and deeper into the mechanics of these systems, revealing their dark, invisible and complex inner workings. When visuality is the primary means of interpreting the world, Milunović recognises the important role of painting. His intricate body of work offers multiple layers of meaning, guiding the viewer into a zone where they can gain new insights, new perceptions and new answers, where they can truly explore their curiosity and break away from themselves. If that is even possible…
Patrick Tayler
One has to delve into alternatively designed web-based platforms and explore multifaceted physical spaces and objects to experience the complex and subversive artistic practice of Dresden and Berlin-based artist Paul Barsch (born in 1982, Karlsburg). In a recent web-deconstructing, conceptual labyrinth titled New Scenario, Paul Barsch and Tilman Hornig reinvestigated the possible sites of artistic performance, ranging from the neo-baroque curves of a limousine’s interior to the light-flooded orifices of the human body or the sombre, hellish vistas of Chernobyl. As a result, the forever-moving artwork – a sketch or an unidentified flying object – becomes an enigmatic point of contemplation, losing its tight bonds with the art world’s neutral lighting panels and dominant white walls. In order to rethink some of the scene’s more crusty, persisting notions, I talked with Paul Barsch about the shifting notion and function of art from a more global perspective, touching upon the various metanarratives and subtextual layers that emerge from his collaborative pieces and individual work.