Ideals and Artworks

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.

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.

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

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.

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.

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.

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.

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.

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.

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

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.

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.

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”.

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.

„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.