At an excellent and fertile artistic moment, an outstanding master set extremely talented Antal Pázmándi on his course then and there when and where important artistic movements had been accumulating, major artistic events were maturing and the possibility of epochal works was taking shape. This fertile, extended moment can be traced to somewhere in the last third of the 1960s, and the master was the ideal art teacher Árpád Csekovszky, a supporter of up-to-date artistic principles who nurtured a great number of talented artists. The circumstances (apart from the upward-descending or downward-ascending historical-social-political relations of socialism) can be pinpointed in the disruption or separation of the set of rules of the so-called applied art branches determined so far by the massive components of function, ornamentation, technology and tradition. Apart from ceramics and glass, textile art can be cited as an important domain of the revival of applied arts, of the slackening or washing away of the rigid boundaries of genres. Besides the pleasure of crafting, modelling the material, among the aspirations, the hidden incentives perhaps the most important desire of an artist was to get rid of function, of the need to produce some practical thing or aimless ornamentation, and to achieve autonomy, to take hold of space in its magic elusiveness with plastic tools, to permeate this space with a unique object endowed with characteristically individual traits of creation and filled with content.
The early work of Antal Pázmándi is already characterized by an elementary desire to occupy space and an insatiable will to express himself in plasticity. It suffices to cite his diploma work: a pyrogranite sculpture depicting a hawk swooping down on flushing birds. Looking back on it, the artist says that he was interested in the vibrating dynamism of the action. Vibrating dynamism as a concept of sculpture was already present in Hungarian art at that time. Weighty support and proof are the best József Somogyi and Jenő Kerényi scalptures wallowing in expressive traits, or Tibor Vilt’s and Erzsébet Schaár’s glass works of the period exploring ever newer spatial and plastic dimensions, as well as the modelling and spatial initiatives of the Iparterv generation emergining at the time with shifted emphases. The vibrating and dynamic object of ceramic art was not quite unknown at the time of Pázmándi’s start: the ceramic structures of István Gádor, the architectural ceramics, reliefs and open-air compositions of Imre Schrammel, Árpád Csekovszky, József Garányi, János Majoros and their contemporaries constitute the progressive range of modern Hungarian art guided by a new outlook.
At the turn of the 1960s and ’70s, after a study trip to Italy where he could at last make his deeply profitable acquaintance with the latest works of modern art, Antal Pázmándi modelled his first large sculptures and he has not abandoned its scale over his career spanning more than three decades to this day. He has created huge compositions for open spaces or attached to buildings, others for display in spacious exhibition rooms. That required the elaboration of optimal technical procedures the ideal venues and media of which were sites of the Hungarian art camp movement: Siklós, Kecskemét and symposia in Austria and Israel.
Most of Pázmándi’s works are made of fire-clay (chamotte) fired at a very high temperature, with an unfinished or glazed surface. Interestingly enough, the moderate, often monochrome colours of the early period gave way to a swirl of bright coloures, and even transfer pictures, from the 1990s. The fountain sculptures of the ’70s, the monumental relief in Debrecen in 1988, the wobbling sculptures of the ’90s, the architectural sculpture on the Ürömi street house, the ornamental fountain in the main square of Debrecen are polarly opposite works, concerning the colour effects. Sometimes colour accentuates the plastic strength of the fabric of puritanic, bare and vivid forms; at other times, enhanced colours stress the masses and mass relations, the intense, exuberant effects of formal orders. Pázmándi’s artistic flexibility – now stimulated, now hindered by the surroundings and the expectations of the customer, is revealed by a comparison of the works and their characteristic traits. In autonomous sculptures and reliefs, however, no obstacles of the kind can be traced.
Although he sometimes deals with the same theme several times, e.g. he made several versions of the “Mannequin in a Gas Mask”, all of Pázmándi’s pieces are unique works of art lacking any practical function. The works can be grouped by the shared creative problem, aesthetic approach and formal solutions. These groups of related works signpost the different periods in Pázmándi’s career marked off by philosophical content, stylistic traits and formal characteristics. As a sign of some confusion, Antal Pázmándi does not stick to any achieved or desired, or superseded, aspiration: he is motivated by any new creative problem, the message to be expressed, the task and the possibilities limited by the task. As a result, one discovers brave thrusts forward and intriguing feedbacks, as well as seeming retreats between his groups of works. This is most obvious in the alternating and sometimes simultaneous appearance of figurative and non-figurative approaches.
Pázmándi’s career can be divided into three clearly delineated periods each of which is then disarranged by the creation of an emblematic piece of art, like the beautiful fountain in Gödöllő made in the period of pop art statuettes, or the nude statues of the office building in Ürömi street and the fig-ural motifs of the fountain in Debrecen all made in his abstract phase. The two latter works are at the same time epitomes of the combination of the two artistic idioms: of the strange unity of architectonic elements and ornamental motifs, abstract forms and naturalistic figures; of the utilization and synthesis of contrapuntal tensions. (Oddly enough, this duality of idiom is missing from the autonomous sculptures.)
Gergely Szatmari is an experienced Hungarian photographer. He used to be engaged with commercial, fashion, constructed images. Recently his activity turned towards the autonom long-term photographic projects. His photographic attitude is as well as a diverse one and complex regarding its implementation. His interest ranges from documentarism through narratives till conseptualism. >>>
Aron Gabor`s exhibition entitled Labyrinth of Light displays phase photos and computer-graphics produced during his 1989 on-stage performances. These works strongly interlink with the topics of his oil paintings and large works on paper created in 2012. >>>
The contemporary artist Adam Bota was born in 1975 in Linz/Austria.
He currently lives and works in Vienna/Austria. Raised by artists of Hungarian descent (his fahter is a sculptur and his mother an opera singer) - and among their circle of friends of artists/musicians/intellectuals Adam grew up exposed to a culturally diverse world, filled with appreciation for creativity, fine arts and music. >>>
ALL IS WELL - The assumption has the voice of asseveration. As in the state of orderliness there is no necessity of the verbal affirmation of the given state. Moreover, there is no necessity of any kind of affirmation. >>>
The title (of the exhibition and the series) refers literally to our unappeasable desire to the cognition of the deep of sea as well as it refers to the mental deep, as an entity, where no words are, we communicate with our bodies, the physical violence becomes our common language which is understandable for everyone.
The exhibition runs from 8th of November, 2012 to the 8th of December, 2012 >>>
Exhibition "under water" (jewellery) extended until November 4th 2012 at PANEL Contemporary (basement of Faur Zsófi Gallery)
Faur Zsófi Gallery exhibits the works of four jewellery designers and a photographer in Budapest Design Week. The artists focused on five different interpretations of water and on the circulation of nature. >>>
In many different ways, but everyone is waiting for the summer. Someone wants to go to Lake Balaton, others would like to travel abroad, maybe to the French Riviera or to the adventurous Amazonas river, and others again just want to have a little rest and take a break. Here, at the Faur Zsófi Gallery we are waiting for this summer and for YOU with our special Summer Selection exhibition. >>>
Milan Image Art Fair is the first art fair entirely dedicated to photography and video art. Arriving to its second edition with growing professional reputation, this year’s Hungarian participant is Faur Zsofi Gallery introducing two series of internationally acclaimed Arion Gábor Kudász. >>>
Transcendency is the main focus of the exhibition entitled God bless you. All featuring artists are engaged with spritual or religious issues approaching from a very personal point of view, nonethless the way of interpretation is different both visually and in point of using mediums. The exhibition showcases works that have connection with trancendency, relegion and faith itself. Using traditional Christian iconography as a starting point , the works either represent directly or symbolically the holy presence or draw attention to spiritulaity in everyday life.
Faur Zsófi – Ráday Gallery welcomes you on VIENNAFAIR on stand nr. A0708 from 12 May to 15 May 2011.
Artists represented: Borbála BLAHÓ, Bálint BORI, Bazil DULISKOVICH, László László RÉVÉSZ, Gergely SZATMÁRI >>>
For one breath…
On Duliskovich Bazil’s impulsive paintings silent tranquility reigns, which weaves his works as spider webs hiding int he corner and streched to the braking point as the specially flavored Eastern Europian motifs are just to dropp.
Faur Zsófi – Ráday Gallery opens the new 2011 year with Márton Barabás’s major exhibition at a new location. The exhibition is not only featuring the artist with a thirty-year-old career behind, but the premiere of ’Contemporary Art from Hungary’ series newest piece as well which the Ráday Gallery runs.
Guided tour with the artist: 18th January 2011, 5 p.m.
In parallel with the events in Paris the exhibition of the contemporary photographers will be opened in Faur Zsófi Ráday Gallery in view of the international and domestic interest.
The list of artists is e$ceptionally varied. This is not a coincidence, because the primary aim of the exhibition is to summarize the contemporary photographic’ trends and representatives.
Open Society Archives (OSA) inherited approximately 100,000 books from the library of the former Radio Free Europe. .. The photos show the process of this revaluation, devaluation and elimination. The installation is made of free postcards.
Breakdown-Passive Interview and to the show-case of the next volume of Contemporary Photography from Hungary.
Venue: Municipal Picture Gallery - Museum Kiscellis Templespace 6 p.m. Monday 11 March 2010. >>>
In presenting the works of six Hungarian artists, István Haraszty, Viktor Lois, Ferenc Pócsy, Miklós Bölcskey, Rudolf Pacsika and Tamás Komlovszky Szvet, the exhibition of the Faur Zsófi - Ráday Gallery aims to provide insight into the wide range of kinetic, electronic and scientific art in Hungary. Visitors can see and operate playful mobiles, futuristic instruments, geometric optical effects, optical illusons, conceptual kinetic machines and camera obscura photos. The selected artworks represent various approaches to the convergence of art and technology, from humorous to serious, from closely interactive to contemplative, from bizarre to elegant, from visually compelling to thought-provoking. >>>
Pázmándi’s career can be divided into three clearly delineated periods each of which is then disarranged by the creation of an emblematic piece of art, like the beautiful fountain in Gödöllő made in the period of pop art statuettes, or .. >>>
Attila CSÖRGŐ, István HARASZTY, Ferenc PÓCSY, Antal NEMCSICS dr., Rezső MÓDER, Áron DOHNÁL, Tibor DOHNÁL, Lajos DARGAY, György GALÁNTAI, István OROSZ, Attila CSÁJI, Béla TILLES, András MENGYÁN, Viktor LOIS, >>>