Kiállítási dokumentáció a Mettici la faccia! című kiállításról

Self-taught visual artist Várnai Gyula (1956, Kazincbarcika) studied mathematics, physics and music, and first exhibited his art in 1989. His work is “intellectual and sensible object poetry” (Gábor Andrási), often related to literature or philosophy.

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.

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

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.

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.

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.

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.

Attila Csörgő’s works often represent possible solutions of complex mathematical, physical or descriptive geometrical problems, combining precise calculations and engineering design with the excitement of discovery.

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.

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.