Kiállítási dokumentáció az Ideale dhe Vepra Arti / Ideals and Artworks című kiállításról

Dóra Maurer’s conceptual series explores the changes in visual meaning: photographs of the phases of a given subject’s movement are arranged in different orders, thereby modifying how the series reads.

Antal Lakner’s “passive work tools” scrutinize and criticize a contemporary phenomenon: the employees of our times – not the ’workers’ and ’farmers’ from the days of yesteryear – working in the service sector, who sit all day in offices (62% of people employed in Hungary), do not have to do any r

This installation – comprising three gynaecological examination chairs covered with rabbit hair, moss, and red velvet – is one of those works of the artist that model the interrelationship of the self and its environment, including basic perception or socially determined roles.

Born in Vojvodina in the former Yugoslavia, Szombathy started his career as a founding member of Bosch + Bosch, a group of progressive artists. Since the early seventies, he has been engaged in poetry, mail art, performance and graphic design.

At the beginning of the 1970s, Sándor Pinczehelyi turned his attention to the appropriation and decoding of the symbols of the labour movement, by way of creating conceptual art and graphic design.

László Fehér achieved international recognition at the 1990 Venice Biennale. Reduced to a few colours and basic elements, his paintings created at the time of political changes at the end of the 1980s return the viewer to the sombre, gloomy atmosphere of the 1950s.

Tibor Gyenis’ photographs usually record actions that feature himself as main character: the “hobby artist” doing his work against all odds.

Tibor Gyenis had first introduced one of his genetic engineering experiments as part of his series of “superfluous gestures”: he had tied some yellow-green fruits of unknown origin and type to young trees.

Tibor Gyenis’ photographs usually record actions that feature himself as main character: the “hobby artist” doing his work against all odds.

At the beginning of the 1970s, Sándor Pinczehelyi turned his attention to the appropriation and decoding of the symbols of the labour movement, by way of creating conceptual art and graphic design.

In this work Bea Veszely appropriates famous depictions of women from the history of art, or more precisely, their photographic reproductions.

In this work Bea Veszely appropriates famous depictions of women from the history of art, or more precisely, their photographic reproductions.

The Cobblestone Is the Weapon of the Proletariat: this is the title of Russian artist Ivan Shadr’s 1927 sculpture, whose reproduction was widely known in the Eastern Bloc, and which was held as a textbook example of Socialist Realism and propaganda art in the 1950s.

Ádám Kokesch makes glossy coloured paintings with a special, so-called “hinterglas” technique, and also combines these images with other objects to construct Futurist installations and models, which perplex the viewer. These compositions are attached to a TV-stand or a photo tripod, or the wall.

Judit Kele’s (1944) photomontage was originally made for a competition entitled Textiles without Textiles (1979), but was not included in the exhibition.

János Sugár – an internationally known artist and teacher at the art academy – used stencil and spray-paint to create the following text on the facade of a privately owned exhibition space in central Budapest: “Wash your dirty money with my art”.

In this work Bea Veszely appropriates famous depictions of women from the history of art, or more precisely, their photographic reproductions.

Péter Rónai’s enigmatic assembly of objects is composed of a tub filled with hemp-tow and a small working TV-set, which always displays the analogue terrestrial broadcast available for reception on site.

István Csákány found himself in the role of “worker” several times both during his years attending art school and afterwards. In order to make a living, he did manual labor at construction sites and renovations.

„András Baranyay is a core member of the IPARTERV generation, even though he never overestimated the importance of this artist group”, writes László Beke, and this is also true of the graphic artist János Major, Baranyay’s friend, the man in quasi-portrait from 1973.

In this work Bea Veszely appropriates famous depictions of women from the history of art, or more precisely, their photographic reproductions.

Created with the so-called lenticular printing technique, which produces a spatial effect, this image features the portrait of a young man with a gold chain around his neck.

Tibor Hajas’ university studies – started in 1965 – were suspended following an arrest for participating in street protests. He was later pardoned and set free.

The essence of Pál Szacsva y’s “found images” and “reprojections” is the confusion of senses, the overlaying of different layers of reality, the analysis of the relation between medium and reality.

Imre Bukta is one of the most unique artists in contemporary Hungarian art. His distinctive, so-called “agricultural art” depicts the special world of the post-socialist Hungarian countryside, its problems and characteristic figures.

Ákos Birkás produced his large paintings systematically from the mid-1980s to the end of the 1990s featuring a single motive: an oval shape filling the canvas almost completely, an abstract “head”, the countless variations of which – and the associations connected to the universal form – allowed

In the age of the “dictatorship of images” Gábor Gerhes found the appropriate form of imaging in the realm of carefully planned staged photographs.

Attila Szűcs often makes photo-based paintings, but his style is far from photorealistic.

László Lakner made his photorealist painting by enlarging a photograph found in the major Soviet illustrated magazine Orgoniok (no 49., 1972.) featuring Kazakh cotton-pickers.

The significance of the Bauhaus-style building in Csaba Nemes’ painting lies in the fact that it was this two-storey, not too spacious house where János Kádár, first secretary of the Hungarian Socialist Workers’ Party and the political leader of Hungary between November 1956 and May 1988 took a r

The name of the French-Hungarian artist duo – founded in 2004 – plays with the notion of socialist realism, but its meaning is closer to the idea of “being a realist”, i.e. a group or society conforming to the given state of things and based on reality.