Tag Archive: kortárs galéria

2017

Newly published Resident Art Catalogue

Thursday December 21st, 2017

Although I consider that ‘art belongs to everyone’ is an overused commonplace, I still hold that contemporary art is a public good. This stands true even if facts seem to prove otherwise. Besides showcasing its own visual artists, the aim of Resident Art is to broaden the contemporary art scene, offer guidance in current trends of art, facilitate engagement with art through personal experience, and lastly, to raise awareness of […]

Although I consider that ‘art belongs to everyone’ is an overused commonplace, I still hold that contemporary art is a public good. This stands true even if facts seem to prove otherwise. Besides showcasing its own visual artists, the aim of Resident Art is to broaden the contemporary art scene, offer guidance in current trends of art, facilitate engagement with art through personal experience, and lastly, to raise awareness of art.

The past two years have taught me that though people do seek access to today’s art, their possibilities are limited. Our exhibits, art walks, movie screenings, exhibition guides, and meet-the-artist events have encouraged many to engage with, ponder and welcome contemporary works of art instead of merely looking at them.

Out catalogue presents those artists with whom we have co-created the Resident Art community. Most of them step beyond the boundaries of media by combining traditional genres and progressive techniques, while making art pieces that offer highly personalized reflections on current issues.

I’ve been in this field for almost a decade. As a teacher and an art historian, as well as a gallerist, I am convinced that the encounter with a piece is an indispensable prerequisite of understanding, while a personal experience or a meeting with the artist may facilitate the building of an emotional-sensual relationship.

Wishing you an insightful journey through our catalogue!

Schneller János
art historian, gallerist

[Introduction of the Resident Art Catalogue 2017]

Andrássy út 33. Andrássy út 33. Andrássy út 33.

Find our catalogue online HERE.

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almost – Mátyás Boros’s exhibition at Resident Art Budapest Gallery [photo gallery]

Thursday October 26th, 2017

   Mátyás Boros – almost Introductory thoughts In his graphic works, Mátyás Boros has been moving beyond the boundaries of narrowly interpreted graphic arts for years, and moving towards installations and objects, most recently also in the direction of the ready-made. He leaves the surface defined by the dimensions of graphics in every single exhibited work of art, and he steps out into the space, as if he felt the […]

 Resident Art Budapest Resident Art Budapest

Mátyás Boros – almost
Introductory thoughts

In his graphic works, Mátyás Boros has been moving beyond the boundaries of narrowly interpreted graphic arts for years, and moving towards installations and objects, most recently also in the direction of the ready-made. He leaves the surface defined by the dimensions of graphics in every single exhibited work of art, and he steps out into the space, as if he felt the opportunities provided by the surface too narrow. In the art of Boros, this shift, i.e. the crossing of the borders between dimensions and genres, is not a game for its own sake, but the result of the impact of the content on form in every instance, where the carrier adds as much to the interpretation of the work of art as the depicted form.

Resident Art Budapest Resident Art Budapest Resident Art Budapest

As far as his topics are concerned, Boros prefers the tropes of collective image recollection and the world of everyday objects, which we catch a glimpse of with the joy of recognition, but in the same moment this good feeling passes due to a sense of fragmentation, deformation and incompleteness, and is replaced by the unpleasant feeling of almost. The barriers of visual satisfaction – the forms of foldings and truncations, which have a frustrating effect – almost prompt the recipient to intervene in the work of art, as well as to uncover and repair the hidden parts. The enjoyment of the presentation of forms and the simultaneous feeling of fragmentation causes a tension in the work of art and in the recipient as well, which is not resolved at the exhibition.

Resident Art Budapest Resident Art Budapest Resident Art Budapest

The almost works of art simultaneously refer to incompleteness and imperfection (imperfectum), which are the signs of the mundane imperfect representations of ideal or idealistic objects and notions, but also the metaphors of the fragmentation of human existence. It is hard not to realise the parallel between the almost state of the installations and the topics of the masterpieces selected and adapted by Boros, most of which are images of the recollection of European culture, with the topics of the fragmentation, incompleteness and aberration of mankind (The Fall, The March of the Blind). When visiting the exhibition, it is useless to hope for the realisation (perfectum) of our almostness, but at the same time we can get used to or almost get used to living together with this knowledge.

János Schneller
13 Otober 2017, Budapest

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Opened on 19th October 2017, 7 pm, Resident Art Budapest (1061 Budapest, Andrássy Avenue 33)

Curated by János Schneller art historian, opened by Flóra Mészáros art historian.

The exhibition runs until 1 December 2017. Opening hours: Tuesday-Friday 2-7 pm

Resident Art Budapest Resident Art Budapest Resident Art Budapest

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Passage – a selection of Stefan Osnowski’s latest wood engravings

Tuesday March 7th, 2017

Wood engravings are rare features in the contemporary art world and are just as scarce as copper engravings or lithographs are today. Traditionally reproduced graphic works are not overly popular and thus, it seems as though, they are gradually becoming obsolete. Although most artists learn these techniques during their studies, only a handful of them have the courage or are motivated to create works of art in these genres. Moreover, […]

Wood engravings are rare features in the contemporary art world and are just as scarce as copper engravings or lithographs are today. Traditionally reproduced graphic works are not overly popular and thus, it seems as though, they are gradually becoming obsolete. Although most artists learn these techniques during their studies, only a handful of them have the courage or are motivated to create works of art in these genres. Moreover, with the spread of digital graphic design tools, traditional techniques seem redundant and outdated. However, a new, unconventional use of traditional reproduction techniques is observable amongst contemporary artists: Anselm Kiefer’s giant wood engravings, William Kentridge’s singularly created graphic works or Franz Gertsch’s colossal photo-realistically produced wood engravings are all fine examples of this phenomenon. Similarly, reinterpreted forms of screen printing and watercolour paintings are reappearing amongst the popular genres. Unfortunately, reproduced graphic art was never considered an equal to paintings in Hungary – neither amongst art theoreticians, nor collectors – which is perhaps due to the mistaken assumption that graphic art is subservient to painting and thus represents a lower inherent value than easel paintings.

For many years now, Stefan Osnowski has been concerned with a new approach to wood engravings and has been developing the opportunities Passage_meghivo_fbinherent to the technique. When preparing the engravings enlarged to the size of an easel painting, he creates a range of tonal values purely through the variation of the width and depth of the horizontal lines, as well as through the alteration of the density of the grid whilst retaining a purely monochrome imagery. His printing technique also deviates from the norm, due to the use of a palm-size glass lens to manually rub the ink onto the paper rather than a printing press, thus preserving the apparent uniqueness of each individual item in a series. Physical contact and hand-crafting is just as much a part of the concept as gathering a theme or selecting a medium.

For the artist of German descent, movement and displacement is not merely an artistically important theme, as it also plays an important role in his own life as he’s been on the move for a significant period of time; he previously lived in Portugal, Hungary and Germany for years before returning and settling in Hungary a year ago. He chose a host of locations as the main theme of his latest series which, due to their very nature, have become “non-places” (Unort), some of which were originally built as such. These “non-places” include motorways, tunnels, airport terminals, mall corridors or underground garages. None of these were designed for residing within, and furthermore, due to their function have been destined for transit use. Hence, the title of the exhibition refers to passing and crossing, which is related to one of the most frequently used expressions of our time and age, speed. Not only does the increase in speed lead to a change in our sensations, but also alter our notions and memories of imagery. The landscapes and locations appear in a fractional and disintegrated manner in our retinas, etched into our memories as a blur. The landscape, as viewed from the window of a speeding train or a car passing through a tunnel, is no longer an image consisting of characteristic details, but rather a faded impression which loses its individual nature and seamlessly serves into some kind of unified landscape, the uniqueness of which our brain – due to the speed – is unable to perceive or accommodate. We quickly end up with a headache when staring out the window of a high-speed train. Osnowski evokes the imagery of the world of passage by a fragmented and abstracted view through a technique in which the time spent on its creation is inversed to the proportion of the time of the reception regarding the perceived experience. The reception of the unusually large-sized wood engravings requires space, distance and time in order to somehow piece together the abstracted view of passing images.

Budapest, 28 February 2017

János Schneller

vernissage: 16 March 2017 at 7 PM,  runs until 28 April 2017, opening speech Varga Lili art historian

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