The theme of Ervin László philosopher’s book entitled Cosmic Relations (1992) is the theory of psi-field theory. This notion derives from the name of the basic equation of wave mechanics, which describes the objects of the subatomic world as both particles and waves. Accordingly, psi-field is identifiable with physical vacuum. This ever present medium conveys all existing interactions. Ervin László presumes that there is an interaction not only between electric particles but also between other substances yet not discovered by scientists. He also assumes that psi-field incorporates information, and according to him psyche as well as consciousness is the interaction of the vacuum field and that of the human brain. Through this perception consciousness is a certain hologram imprint of our brain that stays behind after our death, and starts its own substantive life. All hologram imprints of objects present in the universe stay behind in this field, thus creating a special hologram universe. Imprints of intelligible beings’ minds conglomerate into a single coherent system; thus, the vacuum field is a duplicate of the world. It is made up, on the one hand, of the real world, on the other hand, of its imprint. This is nothing less than an attempt to define transcendent existence from the point of view of natural science through a consciousness scaled off the body and the individual movement of the soul in the psi-field.
Sára Richter moves in this transcendent world with a routine.
I cannot imagine any art without transcendent experience.
Humanity’s extraordinary tradition-heritage, going back to the very first memories, implies the themes of ‘life and death’ and ‘birth and ‘evanescence’.
“Who can of Tao the nature tell?
Our sight it flies, our touch as well. Eluding sight, eluding touch, The forms of things all in it crouch;
Eluding touch, eluding sight
There are their semblances, all right. Profound it is, dark and obscure; Things` essences all there endure.”
(Tao Te Ching 21, translated by James Legge.)
Sára’s juxtaposed and melting sequences are just like Tao Te King’s simple declarative sentences. Figures would happen and symbols get alive.
Her world puts no border between the living and the dead. She tells the story of simple, everyday people’s ordinary lives and deaths. I use the phrase ‘tell a story’ deliberately. Her seamed, sealed and cemented images remind us of the myths of mankind, the ballads of folk-art, and the story-telling tone of folk-tales. There is no emphasis, no struggle, no drama.
Sára’s gentle, feminine soul filters and simplifies these categories. An understanding melancholy surrounds death and birth, evil or good alike. She portrays life in a way that there is no need for the spectator to specify the period she lives and works in. She is ageless in every sense. In her unique style naivety and pictographs, folk-art and minimal art exist side by side.
Her images have a strong unity held together by the quintessence of all, the vibrations of the soul of a child and that of the experienced.
Human soul happens and speaks; it is ageless and nude and thus pressingly painful and ordinary at the same time. Everything and its reciprocal exist side by side and flow into each other. The living become dead and the deceased come to life, two worlds incorporated into one.
Wherever she takes her symbols from, they become integrated and equal in value in her artistic world. Either the shopping cart or the dress tag’s instruction for use or the motif of the column-cap or the written text, all transubstantiate and blend into her lyrical ballads.
“The movement of the Tao By contraries proceeds;
And weakness marks the course Of Tao’s mighty deeds.
All things under heaven sprang from It as existing (and named);
That existence sprang from It as non-existent (and not named).”
(Tao Te Ching 40, translated by James Legge)
...One’s identity and its function is thus a question people may ask themselves, and this theme has engaged Fabricius since the start of her career. One striking tendency of her approach can be seen in her group photos, in which either the artist arranges her acquaintances among themselves, or she directs members of specific, existing groups to strike poses in staged, tableau-like scenes. However, a different approach to the subject also appears in Fabricius’s work again and again, focusing on the individual ... >>>
You can never see elements of nature in Ádám Magyar`s images, people in his photos are always depicted in strictly artificial surroundings. What is more, the environment is not simply "not natural" but people seem to exist in an expressively constructed, artificial, sometimes even surrealistic world. This is a world with hardly any grips and reference points, at most vague indications of and subtle hints at the >>>
Day by day we feel the need to surround ourselves in our visually important living spaces with landscapes – be they real or artificial. We have a desire to summon nature – in both its narrower and wider interpretation – to see it represented in our urban environment. >>>
Ákos Matzon is an eccentric. At first sight, neither his person, nor his works would seem to suggest that. He makes the impression of a jovial citizen rather than a Bohemian painter; his art affects us with its calculated orderliness rather than extravagant or astonishing quality. >>>
György Jovián considers himself an artist outside of trends, but his unwavering faith in painting nevertheless occasionally places him with the discourse on trends, which kindles the constant renewal of painting. >>>
László László Révész: I also lived in Etruria
And the book launche of the third issue of the museum-pedagogy series Colouring book – not only for kids drawn by the artist At 6 pm, Tuesday, 31 May 2011 in Bartók Béla road 25.
Faur Zsófi – Ráday Gallery welcomes you on VIENNAFAIR on stand nr. A0708 from 12 May to 15 May 2011. As an ephasized program of VIENNAFAIR on 13 May at 5pm on the stand of the Gallery Christian Zillner’s Beyond Modern and Postmodern- The Work of Hungarian Artist László László Révész, published by Faur Zsófi – Ráday Gallery and Publisher is being launched. . . >>>
.. But I would like to return to Moyra’s above mentioned sentence. My answer to it is as follows: I create images, sometimes I accompany them with words, but and I want them to grow out of thoughts. ...
.. The compositions of Gerhes and the other two Hungarian artists have finally taken their place among those of Andy Warhol, Robert Mapplethorpe, Cindy Sherman, Barbara Kruger, Tacita Dean, Ilya Kabakov, Joseph Beuys, Matthew Barney, Seydou Keita, Olafur Eliasson, Robert Rauschenberg and others. ...
.. Anna keeps posing the same question: to what extent can the individualised human coexist with the contradictory and fragmented nature of their identity, and what might belonging to a group mean to them ... >>>
.. Moreover, I think that Gábor Lajta’s neo-figurative painting is one of the most genuine, self-consistent, pondered and painted oeuvre in the contemporary Hungarian artistic scene. He keenly reflects not only on the present, past and future of art, but on national and international realty, too.
.. Several founders of Kineticism, László Moholy-Nagy, Viktor Vasarely, Nicolas Schöffer and György Kepes were Hungarians who worked abroad in Germany, France, or the USA. In Hungary, however, Kinetic Art as well .. >>>
As an artist of outstanding importance, László Hegedûs 2 has been on the Hungarian contemporary scene for about thirty years. Using different artistic means, his works, as those of a practitioner of a varied scale of technical media (photography, film, painting, prints and installation), have made a crucial contribution to the renewal of intermediary means and methods. >>>