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A vendég tekintete Kavics #4 – Sztefanu Marina és Fülöp Gergő „500 g-ot 6 l-ben” című közös kiállítása

A vendég tekintete
Kavics #4 – Sztefanu Marina és Fülöp Gergő „500 g-ot 6 l-ben” című közös kiállítása

Tayler Patrick
A szüleim konyhapultjáról ismerem ezt: elnyűtt könyv, lejár a fedele, a híres háziasszony és fűszerreklámarc töretlen mosollyal tartja a frontot. A készülékből sárgás fény szivárog, talán csak rá kellene csapni a tetejére ún. orosz módszer szerint, hogy visszazökkenjen – Marciék régi tévéjén kellett ezt időnként alkalmazni –, de vendégségben nem tehetek ilyet.

BUMm an introductory group exhibition of the resident artists of Atelier Budakalász

BUMm
an introductory group exhibition of the resident artists of Atelier Budakalász

Tayler Patrick Nicholas
There are places in suburban Budapest where artists tinker around in weird hours, working on pieces that can be described with a collection of contradictory terms: edgy, ephemeral, toy-like, pseudo-scientific, Blade Runneresque, sacred, sacrilegious, modified, recontextualised, assisted, remixed, etc., deploying tactics that unsettle the norms of art. They sometimes utilise the tools of the film industry, of fine mechanics or of any other area connected to the construction of illusions and palpable realities.

Ritual Trail to Self Patrícia Jagicza and Patrícia Kaliczka’s exhibition

Ritual Trail to Self
Patrícia Jagicza and Patrícia Kaliczka’s exhibition

Tayler Patrick Nicholas
The self-portrait reveals traces of an impossible distance – an out-of-body experience, that proposes selfhood through a kind of informed schizophrenia. If “presence is impossible except as co-presence”, who is this other I share myself with? Is the dichotomy of artist and model relevant in this case? Is the mirror or camera – the technical facade – the real eyewitness to this emergence of the self?

The view from an armchair: on the brink of a season that never existed József Pinczés’s Solo Exhibition at Villa Lívia

The view from an armchair: on the brink of a season that never existed
József Pinczés’s Solo Exhibition at Villa Lívia

Tayler Patrick Nicholas
Due to the personal iconography of Pinczés (that he has been consistent with in the years), there is always a conversation between the discernible temporal layers. A giraffe, a balloon, a magpie can appear as a symbol of the artist’s presence: connecting the oeuvre not only on stylistic grounds but also symbolically. In the painting Master and Student (2018), Pinczés depicts a robot mouse – the exact object that served as the starting point for Zsigmond Károlyi’s painterly investigations in 2005 – in the company of a slightly asymmetrical, playful toy monkey.

UNSEEN CREATURES Mira Dalma Makai’s Solo Exhibition

UNSEEN CREATURES
Mira Dalma Makai’s Solo Exhibition

Tayler Patrick Nicholas
There is a type of beauty at play here similar to the aesthetics of scientific photographs, which alienate and disembody the observed object. This is the “sea change” of the close-up: when what is in front of us turns into “something rich and strange” just by the sheer fact of our proximity. The dichotomy of strangeness and familiarity is also at stake in Makai’s personal iconography, letting every element become identified as something similar to claws, leaves, shells or gems, but never precisely named and thus remaining ambivalent: somewhere between the unknown and the materialised.