Members: Zsófia Ádám, Gergely Barta, Petra Böröcz, Bianka Dobó, Erika Fábián, Rita Farkas, Csilla Gintner, Blanka Győri, Csilla Horváth, Andrea Lukácsi, István Mórocz, Judit Mráz, Kristóf Szabó, Ferenc Varga, Richard Wohlfart
The exhibition entitled “IN LINE” “VONALBAN” was organised by the cooperation of the MOVING and the Pepper Art Projects in the spring of 2013. Révész Emese’s writing introduces the group in the connected catalogue:
The MOVING in the line
What can graphics do nowadays, when the etching has lost its previous information mediating role, when the illustration of a literary text is not any more part of the quality book publishing? What can graphics do when the host of colourful and giant prints floods our everydays?
The answer of the MOVING group in unambiguous and definite: to unite with the associate genres, to open to monumental painterly forms, to step out from the ornate intimacy of small graphics towards the great stage of contemporary art; to expand its methods with installation, video art and performance.
Thus this graphics is not small, and not (only) graphics. Monumental, media-conscientious, self-reflective, at the same time familiar with the common storeroom of historical tradition and professional knowledge. In one word, it’s “in line”.
Our exhibition presents the works of the group sorted by topics of the Body, the Landscape, the Machine and the City, showing the hidden, inner harmonies of the idiosyncratic works.
The works of Kristóf Szabó are the examples of tradition joint with medial freedom. In the forms of his perspectival landscapes, in their powerful line-webs and ceremonial reddish-gold there echoes the pioneer classics of modern Hungarian graphics. His figures are the dwellers of mythical cities, who fight their heroic battles out of historical time with the dark angels of legends.
The great tradition of history appears in the works of Zsófia Ádám on the level of personal fate and family genealogy. Figures emerging from the butt of an old tree trunk evoke the pictures of ancestors and relatives hovering along the circular line of time. However the material of her works is the wood block, the oldest form of printmaking, the forms evolving from it are recalled by the vibrating, moving images of the monitor.
Public and contemporary presence, the personal existence in the cosmopolitan present is the topic of the works of Bianka Dobó. „I am here…” – she describes her position, carving her own body’s outlines on the complicated web of the streets of Budapest. On her embroidered pictures a traditionally feminine activity provides the background for the city-existence, her desolate but at the same time elegantly drawn landscapes.
The nude connected to the traditional notion of artistic beauty is broken and damaged on the works of Csilla Ginter. Gauze imprints mark the damages in the plastic and elaborate body fragments. The two-dimensional body parts that are disconnected from the personality refer to both sacral body prints and the finality of the body.
The hand studies and “stone people” of Erika Fábián also refer to academic tradition. The hands playing with threads are not only excellent anatomic studies, but also have a mythological connotation, by their reference to the Parkas. Similarly the mythical monsters of the legends are evoked by the plastically elaborated “stone people”, bent in heroic poses (using Michelangelo’s pathos formula).
As in others’ works it is the body, in the works of Judit Mráz it is the depiction of food that has sacral associations. However profane it might seem, the meat presented in an undefined space, placed on a silver plate or tightly wrapped in silver paper, according to iconographical tradition associates with the ritual sacrifice.
Sanctity is bedded in a fairy tale atmosphere in the paintings of Ferenc Varga. His snow-covered, roadside stone cross stands in front of a blood-red wall of a house. In other cases he leads his viewer to colourful, peaceful lands that evoke the fairy-tale-like landscapes of Adolf Fényes.
The pathos of the landscape-painting and monumental pictorial tradition of the romanticism are re-interpreted in the works of Csilla Horváth. She draws her forms with pencil, thus her perspectival landscapes emerge from manually elaborated, detailed surfaces. Thus the double effect of close-up and distance evolves from the meditative ensemble of the figurative whole and the details. The objective message of the neon lights: “Welcome nowhere” /„Isten hozott sehol”/ is written on this softly elaborated surface.
It is also the duality of spectacle-based landscape painting and abstract picture formation that characterises the works of Petra Böröcz, too. In her drypoints tree trunks and rampant leafage emerge from the thick, unrestful web of lines. In her tiny linocuts sharply bordered black and white lines form a monumental chain of mountains, evoking the atmosphere of the epic landscapes of Far-Eastern graphics.
The small ink drawings of Rita Farkas with their elegant lines and translucent tones also evoke the memories of monumental mountain chains. Their source of inspiration is the sublime pantheism of the romanticism and the meditative landscapes of the Chinese ink drawings. In one of her other series the outlines of marching armies can be perceived, the personification of inhuman power marching from nowhere to nowhere, similarly to the tragic visions of Goya and Mednyánszky.
The mechanical construction, the human-made machine gets a splendid, monumental form in István Mórocz’s works. The curving forms of pipes and cables become characters in a mystic drama by the right of their own beauty. The rich texture of metal surfaces grow out from the soft tones of drypoint and mezzotint, making the viewer forget that the triptych entitled Rust zone conjures the negative utopia of a world without humans.
In opposition to this gloomy pathos the unique machine-pictures of Gergely Bartha have a lyrical atmosphere. The suddenly appearing and disappearing cables or the pipe system clad in pinkish light tempt us into the magic behind ratio, in order to dress its object in the translucent veil of beauty instead of the iron logic of utility.
Instead of lyre and pathos the monotypes of Andrea Lukács are full of exploding energy. Her column torsos are the apocalyptic remnants of a vanished world doomed to demise. The tense geometric forms evoke the passionate pictorial expressions of the golden age of the avant-garde, the neo-primitive woodcuts of the expressionists and the combatant linocuts of the activists.
The digital photograms of Richárd Wohlfart document the accidental movements and arrangement of graphite tips spread on a glass board. The drawing tool taken out from its depicting function becomes the object of observation, and the resulting pictures document the unintentional movements and lines as the results of a fictive scientific research.