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Exhibitions

i f t h e r e i s a s t o r y , a c t u a l l y


exhibited artists: Csilla Klenyánszki, László Lakner, Peter Puklus, Beatrix Szörényi


30. 06 - 31. 07. 2015.


The new exhibition of Trapéz gallery presents a selection from more recent works of the artists represented by the gallery, those works which have not yet been shown in Trapéz. The title is a fragment, a randomly chosen intertext which refers both to the possibility and the suspension of the possibility of the narrative interpretation of the works. The exhibition did not intend to organise the works into a thematic framework, however, thinking in terms of series, the strong connection to historical modernism or the reflection of studio work in the pieces form such association points through which the exhibited works become part of each others’ story as well.


Csilla Klenyánszki records seemingly momentary equilibrium states; in the centre of her presented works is finding this hardly maintainable situation and also the dynamics of moving out of it. Ocean in a Bottle is the examination of the joint motion of two liquids in a bottle: the motions happening in a closed space invoke the flow of infinite waters – the sea in a drop of water, just like on the kitchen table.


The photograph entitled Spring presents a meticulously worked out equilibrium state: the way of the liquid through the “fountain” created of simple everyday objects is so unlikely as it is banal, while playfulness and the seriousness of the experiment equally determine the picture.


Beside the delicate abstract tempera paintings of László Lakner from the 60s, or his linocut entitled Tatlin, the Mao Bible does not only mark some kind of a centre of gravity due to the heaviness of the bronze. The book repeatedly tied with rope evokes Lakner’s book-objects from the seventies, however, the book cast from bronze is peculiarly memorial-like, as if it thematised Lakner’s own previous works and interests (for Maoism). (The first Mao Bible was created in 1987 – still in red –, while the cast bronze was prepared at the beginning of the 2010s.) “The Little Red Book” published in 1964 in China, containing quotations from Mao Tse-tung, appeared on the bookshelves of European left-wing intellectuals as well after ’68, and although Maoism has not become a significant ideology, the revolutionary commitment of many has been formed by it. The object, the position of which is made helpless and naked (unreadable) by the rope (while at the same time the object is also emphasised by it) was originally intended to be hanged, similarly to earlier book-objects: this position highlights the inconsistency of its role.


The Epic Love Story of a Warrior. The photo series of Péter Puklus is a subjective album inspired by the history of the twentieth century. Events, crises, states which are recorded by personal and collective memory; impressions that are merely evoked by still-lives, nudes, and portraits but are not tied to them. This is not about direct correspondences, the connection between pictures and the evoked reality is more indirect, metaphoric, and at the same time more ready to be rearranged.


The picture constructions of Beatrix Szörényi entitled Appendices are the impressions of one of her most elemental working methods: collecting. The way of presenting the collections, which start along a thought then grow with free associations and detours while picking up newer and newer layers, reflects their moment of coming into existence. The visual layers that may be corresponded to conceptual layers make the process of work transparent: pictures and surfaces layered upon each other complement and cover each other, while they create micro-stories like the sheets of a notebook. The sheets, however, are not permanently fixed; they maintain the possibility of rearrangement and re-thinking.


The starting point of the installation entitled A Modell from the Past is a found architectural maquette from the eighties. The plan – originally intended for a public building – has never been realised, while the maquette was corroded by time. Szörényi lifted this object from the past – which has lost its perspective without her intervention – even over the present moment in order to examine it from an imagined future. The scaffolding that holds the maquette in a sort of in-between state, while surrounding it like a shield, covers the building with plexi plates resembling solar collectors. A reality cut out of both time and space, a research centre which has broken away from the past but has not yet reached the future, maybe a floating space station. There are tiny concentric holes visible on the plexis, they are just like talking-windows in institutes where inside and outside are markedly differentiated. Only fractions of sounds get through these holes; understanding the past or perceiving the future seem equally impossible.