Mindig és Újra A Magyar Festészet Napja (Aulich Art Galéria, 2009)

Beyond the tribute to the masters, the Doyens exhibition can also be a good opportunity to make one think about the present situation and possibilities of contemporary Hungarian art. This is a time to meditate about the strange time­­and-space matrix of past, present and future, which relate in a disharmonie way. Again, this is an occasion to contemplate about the role ond the ways of art. A KIÁLLÍTÓ MŰVÉSZEK: Angyalföldi Szabó Zoltán Bakonyi Mihály Balogh László Bartl József Baska József Bazsonyi Arany Breznay József Csáji Attila Csík István Deim Pál Erdélyi Eta Fajó János Gábor Mariann Giczy János Gyémánt László Halbauer Ede Ilona Keserű Ilona Karátson Gábor Kádár János Miklós Károlyi Ernő Klimó Károly Kokas Ignác Konok Tamás Komis György Kováts Albert Lossonczy Tamás Lóránt János Demeter Molnár József Paizs László Papp Oszkár Paróczi Ágnes Serényi H. Zsigmond Sváby Lajos Szilárd Klára Szurcsik János Urbán György Vecsési Sándor Veress Sándor László A kiállítás szervezője a Hamilton AULICH ART Galéria. A kiállítás megtekinthető november 5-ig, munkanapokon 7.30-tól-l 8.30-ig. www.aulichart.hu aulichart@hamilton.hu Wagner János A kiállítás ideje alatt galériánk alsó szintjén VÁRHELYI TÍMEA kamarakiállítása látható. HAMILTON ZRT. H-1054 Budapest, Aulich utca 5. www.hamilton.hu hamilton@hamilton.hu I nMindig és Újra I I agyar festészet Napja 2 0 0 9 venek Vili A fotót készítette Lugosi Lugó László I n 2009 this is the eighth time that a group exhibition is organised to poy tribute to the “elderly” doyens ot Hungarian ort on the occasion of the Hungarian Pointing's Doy. The title of the selected exhibition displayed in the Aulich Art Gallery is rather meaningful: Always ond Again. This is a title which reflects the never ceasing problem of art, the cycle of steadiness and renewal. While making an effort to avoid the traps of nostalgic traditionalism, it seems better to look out from the present, which is rich in information but often narrow-minded, and to have a look at the examples, which are alive in the present, but also carry the past in themselves. Entering the 21 st century did not mean a boundary from an art historical point of view. Maybe, the time of these sharp, era-changing boundaries is over forever. The new aspect, however, is that the art of a certain society is strongly related to the actual performance of that society. It is possible to make a lot of long analyses about the expected, desired and wished future of Hungarian art. But as long as the present and mainly the past are not worked up thoroughly, and they cannot become parts of the artistic tradition, it would be rather difficult to build a steady future. Knowing the present day situation of Hungarian art, it is not a really happy one to look at. Generations of artists keep struggling with the suffocating notion of provincialism, with the never-been-understood feeling, and in addition, they are fighting with the enforcing strength of artistic trends, with the hopeless existence of the after-post­­modern life, and with the lack of international appreciation of Hungarian art. It may not be appropriate to draw such a negative picture on a special occasion like this. Yet, the real meaning of these special days is, that the role of the doyens cannot be understood if one is not able to find one’s position in the present. They are the representatives of the past and of the living present. They can give an example and can provide a starting point. And they would not do this with the pathetic view of the prophetic artists, but with their personal ond artistic experience. They are the ones, whose artistic careers have become a whole, but these careers haven’t been finished yet. The artistic career of the doyens’ generation began in the 1960s, and in the 2000s they passed their seventieth birthdays. Among them there are the ones who were thinking in a different way in the 60s, the prominent members of the IPARTERV generation, and the artists who had their own ways. They are the ones, who all survived the first hard, then slowly softening surrealistic world of the so-called socialism. For them, the mere act of working in the field of art could be a means to protest. And they were also part of the changes, when the society went through a complete transformation, and dozens of paradigm changes were going on. They are the ones, who belong more or less to the same generation, but their artistic ways are so different, and — in a certain respect - these ways represent totally isolated oeuvres. On summarising one can see that beyond art there are only three aspects that connect these stylistically and theoretically so different artists of this exhibition. These aspects are the mutual era, the mutual memory and the mutual picture of the present. They witness the reason for the existence of the diversity deriving from the pluralist world. Their oeuvres would not give a complete view of Hungarian art history in the past fifty years, but they inevitably provide a good impression, a true picture of it. The doyens of fine arts should not be condemned, but judged, for that is the highest scale of respect.

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