Past exhibitions

This exhibition was selected as a Circulating Exhibition and is not designed as a history of constructed photography in Britain.

Last year, Jan Fabre presented this installation in Tarragona, Spain, in three rooms separated by narrow gaps between them. Passage was originally the name of another work, created with a similar technique, using hundreds of beetles.

This exhibition is about the experience of simultaneity, and it is materialized in many ways, in its making, in its presentation, and in its organization and production. Word history appears here as a meshing of particular histories in which divisions of West and East, North and South, modern and

Something has been lost, but it can be recovered – at least this is what Imre Bak might have thought, when he said in a naive touching tone: “The newest concept of art has been the one which is valid for me all the time.” Fortunately, what he thought to be valid was harmonious with the nature of

I see the show as an aggregate consisting of two units or machines.
A machine, as I understand it here, is a complex of purposefully connected elements which produce something-objects, ideology, beauty, history, whatever.

The young Cracow artist, Piotr Jaros exhibited three photo-installations in Budapest, Umarmen I – II and Triumph. Jaros started to work with large black-and-white staged photography in 1994–95.

In his work of the last fifteen years, Tamás Konok has proved himself a master of architecture of the modern spirit.

Julie Roberts belongs to the new generation of artists. She recently graduated from the Glasgow School of Art and still lives and works in Scotland. Her works csan be described „object based” or new conceptual. Roberts’ paintings make reference to domestic and institutional systems.

Reinhold Würth a German businessman has been collecting 20th century art for about 20 years.

Born in 1933 in Brooklyn, New York, the family emigrated from Germany in the 19th century. Studied at Brooklyn College and attended the photo course of Walter Rosenblum. He got his first camera at 21. Worked with the Pix agency at the beginning.

An indivisible pictorial unity is achieved in László Fehér's paintings by combining objectivity with extreme subjectivity; cool aloofness with passionate commitment and the painful hollowness of banality with the solemn silence of the "great moments".