Accompanying exhibition:


Artists: Fábián BARÁTH, Tamás BARÁZ, Dávid BOBÁLY, Emese DÓRA, Apolka ERŐS, Zsuzsa FARKAS, Éva FARKAS-PAP, Tamás GILLY, Dáriusz GWIZALDA, Irma GYÖRGY, Péter HEIM, Tünde HORVÁTH, Rita ILKA, Pál JÓZSA, Dani KISS, András KONTUR, László KOSINA, Márk LELKES, Krisztián MÁTHÉ, Tamás MELKOVICS, Máté MERÉSZ, Imre NAGY, Csaba NÉMETH, Benjámin PELCZ, Botond POLGÁR, Gina PORTOLANI, Attila RESTYÁNSZKI, Máté RETKES, Dániel SALLAY, Villő TURCSÁNY, Melinda VARGA, Kató VARJAS


As one of the most outstanding figures of Hungarian contemporary sculpture, Ádám Farkas has created timeless statues conveying clear ideas, by applying traditional sculptural devices and simple forms since the 1960s, for more than five decades.

He is interested in creating statuettes, sculptures in public places, political monuments, sculptural works related to architecture, medals, drawings and silk screen prints. His monumental works include the Welcome Statue in Szentendre, the Stone Fall in Villány, the fountain statue in Gazdagrét, the Memorial of the 1956 Revolution in Pécs and the Memorial of Recsk, at the site of the former prison camp. His public sculptures can be found in squares and at artists’ colonies in France, Japan and California. Several of his works are part of Hungarian or foreign art collections. Besides his creative work, his activity as a professor, a public figure and an art theorist is also significant. His articles are often published in different art journals.

His life-work exhibition provides a comprehensive summary of his oeuvre consisting of consequent periods ranging from his early experimental statues seeking contact between forms to his latest works which are on display for the first time.

In 1972, Ádám Farkas said about his first exhibition in Szentendre: “I would like to create sculptures which could have been born even without me…” His statement not only expresses his humble attitude towards nature and art, but it also points at his art philosophy seeking to create sculptures which appear to be natural in their environment. The photos he took of his own works prove that instead of focusing merely on the sculpture, he wants to integrate it into the surrounding landscape.

Nature plays a special role in his life, considerably influencing his art. Due to the property his parents bought in Szentendre in the 1930s, the natural world has been close to his heart since his childhood.  He has grown up here. His own studio, the primary place of his creative activity is on this plot, as well. The garden with its ancient trees and wildlife on the bank of the Bükkös Brook is inseparable from his personality, similarly to Szentendre, in whose cultural and art life he plays a significant role.

His sculptures are characterized by form-seeking of contemporary art and the symbol creation of archaic art. The surface of sculptures is of primary importance, as it visualises the creative moves and gestures, the traces of the sculptor’s struggle to find the proper forms. His non-figurative sculpture, which is indirectly related to nature, bears a resemblance to Brancuși, Hans Arp and Noguchi’s art.

Ádám Farkas considers teaching to be part of his creative activity. As a professor who has been teaching at the Hungarian Academy (later: University) of Fine Arts since 1990 and as a former rector of the same institution (he worked there as a rector for 3 years), he proposed to organise another show to accompany his long-expected life-work exhibition. This latter show presents the degree works and the latest sculptures of his former students, most of whom have become well-known artists by now. A selection from the works of 32 artists who attended Ádám Farkas’s class at the Hungarian University of Fine Arts can be seen in the middle wing of the ArtMill.



The exhibition János Mattis-Teutsch – The Avant-garde Spirit presents 31 works (10 linocuts, 9 watercolours, 4 pastels and 8 statuettes) from the collection of the Brasov Art Museum. János Mattis-Teutsch was a versatile artist (a painter, a graphic designer, a sculptor, an art theoretician and a poet) and an outstanding representative of the Central- European avant-garde art.

The exhibition presents Mattis-Teutsch’s development as an artist from 1917 to 1932. It was the most flourishing period of his career, during which he actively took part in the avant-garde movements of the region: in Hungary (MA; 1917–1918), Germany (Der Sturm; 1921–1925) and Romania (Contimporanul, Integral; 1924–1925). The show also throws light on Mattis-Teutsch’s relationship with the major representatives of the European avant-garde.

The gradual evolvement of his unique avant-garde style can be followed in his linocuts, watercolours and pastels. Visitors also have the opportunity to get insight into his studio where he experimented with new forms of expression. The exhibited works reflect Mattis-Teutsch’s stylistic development. His symbolic post-impressionist landscapes (e.g. the Soul Flowers cycle) painted under the influence of the art group “Der Blaue Reitter” point at his approach to abstract expressionism. Later, in the early 1930s, he turned towards constructivism by painting stylised nudes.

Art life in Budapest greatly affected his art. Not only did he study at the Hungarian Royal School of Applied Arts, but his first exhibition was also in Budapest. Mattis-Teutsch joined the art group MA led by Lajos Kassák, which presented his works at exhibitions and published his linocuts in their journal called Ma (Lino Album).

Our exhibition displays works which have been exhibited at the most important Mattis-Teutsch exhibitions: „Mattis-Teutsch and Der Blaue Reiter”, the Hungarian National Gallery, Budapest, Haus der Kunst München, 2001; „Hans Mattis-Teutsch, an Avant-garde Artist”, the Brasov Art Museum, 2009; „János Mattis-Teutsch, an Avant-garde Artist from Transylvania (the collection of the Brasov Art Museum), the Art Museum of Timisoara, 2013.