Holt Lenszkij
Existence, like a decent-enough workplace, offers opportunities for growth: anyone could, quite possibly, become a potted mass of flesh one day. There is something reassuring about this necro-Buddhism, in which being trapped within the greater whole means that the individual, in the very act of passing away, becomes a creature that continues to evolve, suggesting that the afterlife need not be sought elsewhere – in some unknown beyond – but rather here, among other places, in this upstairs exhibition venue.
Patrick Tayler
In methodological terms, the interview format Szántó relies on – juxtaposing highly personalised questioning with well-crafted hypotheses – hints at a data analyst’s precision. With certain recurring focal points, one gets the sense that the author-sociologist is assembling material for later analysis, effectively embedding a structured questionnaire within the fluidity of free-form discussion.
Kis Róka Csaba
Minden egyes like egy-egy gramm virtuális cukor, amit a rácson keresztül tolnak be nekik. De a rács marad. A falak nem kőből vannak, hanem kék fényből. Digitális hullamerevségben tengődnek, a hüvelykujjak már külön életet élnek, önálló parazitaként görgetik a semmit, miközben a szívük lassan leáll a valódi érintés hiányától.
Gábor Ébli
In this current exhibition, the ensemble filling an entire wall is accompanied by action photographs, displayed at eye level, which evoke the process of their creation. Framed as a single unit, they highlight not the documentation of the steps but the process as a whole.
Gábor Ébli
„There are also discoveries, such as Zsuzsi Ujj. All we knew about her was that she was a singer and songwriter. We heard from a friend that she had also taken photographs in the second half of the 1980s. But even after three years of asking, she refused to show us her work.”
Gábor Ébli
A thematic focus was also needed for the systematic collection of photographs, and this was provided by his travels to America. Through his work, he often travelled to the continent, and drove a great deal whilst there. He became increasingly familiar with the American world of motoring, evolving from an initial visitor to a participant who moved comfortably within that milieu. And after a few spontaneous purchases of photographs, the realisation dawned that here, at last, was the focus he had been seeking.
Gábor Ébli
As the activities of the KÉSZ Group become increasingly international, the art programme and the collection can be positioned in an increasingly international manner. This was exemplified by their latest exhibition in the spring of 2024 at the Liszt Institute in Helsinki, which was preceded by the participation of several Scandinavian artists in the 2023 summer creative camp.
Gábor Ébli
At the core of the collection lies organic abstraction from the 1950s onward. The exhibition at Tér-Kép Gallery presents individual positions from this field, highlighting the diversity of this artistic language.
Gábor Ébli
In aesthetic terms, his main message was to value the different branches of creative art equally. Amidst the dominance of painting in Hungary, this was a bold stand in favour of other forms of object creation.
Gábor Ébli
From Nagybánya to New Objectivity. A selection from the collection of József Böhm, Liszt Institute Stuttgart, November 12 2025 – January 15 2026
Gábor Ébli
“Around the Sun in the Stars”, István Szentandrássy Roma Art Gallery, 12 October 2025 – 4 January 2026
Gábor Ébli ╱ Translation by Kecze Zsófia
“A Part of …” – Selected Works from the Szalóky Collection, Várfok Gallery, 29 November 2025 – 24 January 2026
Márk Rékai
In this interview by Márk Rékai, Karol Radziszewski and Gyula Muskovics reflect on the exhibition titled Sinners, their research process and the upcoming Budapest issue of DIK Fagazine, which is closely connected to the exhibition and will launch on November 28 at the Trafó House of Contemporary Arts.
Oli Horváth
We didn’t create an auditorium in a traditional sense, and this allowed the space to turn into an open, fluid ritual, where anyone could enter or leave at any time. This approach allows participation to be based on active consensus – not coercion, but choice. The viewer’s freedom to decide from which position to watch or “do” cannot be controlled by the curator or the performer.
Gábor Ébli
The common denominator of the Collection’s segments is art patronage. International specialist Kinga Petro and composer, music director Philippe de Chalendar do not merely collect artworks; they collaborate with artists, support their international mobility, and foster the creation of new pieces. Their role as patrons is rewarded through the Collection itself.
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.