Igor Minárik (1948) is one of the outstanding representatives of analytical painting in Slovakian art. His sensitive, abstract works based on media analysis are unique. His small tempera pictures are painted with traditional technique. By using basic elements of art, such as points, lines, forms, planes, space and colours, he creates his own unmistakable style. His works are so-called “drawn paintings”, as he blends the features of the two media: the spontaneity of drawing with the expressiveness of colours. His detailed, meticulous artistic technique emphasises the sensual surface of the material. In addition to drawn painting, he also creates assemblages, juxtaposing his special technique with material fragments from nature or civilisation. He deals with the eternal themes of art: the reinterpretation of harmony, balance, organic and geometric forms, order and chaos, part and the whole, as well as his own motifs. Slow work pace based on tight focus is an important part of his creative process. Igor Minárik has titled his works since 1983 by indicating only the date of their creation, emphasising their independent existence and free interpretability.

This exhibition displays a selection of his paintings created between 1976 and 2016, a crosssection of his oeuvre. The past decade is in focus, while his earlier period is represented only by a few pictures. The 43 works exhibited point at the artistic problems he is constantly dealing with: the summary of his artistic tools, his experiments with the possibilities of colours and monochromy, the infi nity of the transfi gured material and the existence moving towards transcendence, fragmented existence, as well as the temporality or timelessness of works created from perishable materials.

First, Igor Minárik attended the Secondary School of Applied Arts in Bratislava (1963– 1967), where he was infl uenced by his teacher, Rudolf Fila. He fi nished his studies at the Academy of Fine Arts in Bratislava (1968–1974). In the 1970s and 1980s, he joined uno_ – cial art initiatives. Between 1978 and 1997, he used to participate at collective exhibitions held at the Institute of Cybernetics of the Slovak Academy of Sciences in Bratislava. His fi rst individual exhibition was held in 1977. In 1991, he founded the art group A–R (Avance– Retard) with his friends. In 1992, their works were presented at the House of Art in Bratislava. Later, they participated at several exhibitions both in Slovakia and abroad, including a show at the Ludwig Museum in Budapest in 2001. A monograph on the artist by Etienne Cornevin was published in 2008.


STAYS BETWEEN US (Texts Anywhere)



Non-object-centerd art has been using texts since the beginning of the 20th century. Texts appear in, above or below pictures, or are hidden behind them. Neon inscriptions in a city are as inspiring as insignificant everyday sentences appearing on fences and walls in villages, such as “GOAT FOR SALE”, not to mention kitchen splash-guards featuring striking sentences illustrated with embroidered visual scenes. Pictures are illustrated with texts and the other way round.

The poetic associations expand the text to an abstract vision. Just like in visual poetry, words are not only words, but also images.

I have always been interested in the relationship between image and text. I have gone so far as to imagine art without objects, thus eliminating the need for everlasting art. Based on reality, several things have become disposable. Perhaps even art will become disposable one day, except for the ideas, spiritual momentum, intellectual energy and spirituality flooding from it. The explanation above helps to understand my current works. Taking advantage of the opportunities provided by irony, self-irony and sarcasm, I strive to create sentences that reveal the intents of my inner self. If self-identity exist, some of these disposable sentences will return like boomerangs to their author’s self.





The exhibition Restored Memory held in the framework of ArtCapital, presents objects that have recently been converted or restored. Due to their character, the exhibited pieces of furniture, books or photos are suitable for compressing time. Not only do they become the objects of historical time experience related to the culture of a community, but they also become or might become the objects of personal memory. Being imbued with culture, these objects become metaphors during the creative process: the half-cut/split bookcase and the books or damaged photos the artist found are objects of memory, referring to the impossibility of the absolute objectivity of recollection/reconstruction, as well as to its relativity.

Zsolt Asztalos (1974) graduated as a painter from the Hungarian Academy of Fine Arts, where he had studied first in Gábor Dienes’s, later in Dóra Maurer’s class. He has participated at nearly 100 collective and individual exhibitions both in Hungary, as well as abroad. In 2013, he represented Hungary with his work entitled Fired but Unexploded at the Venice Biennale. As a conceptual artist, he uses different multimedia techniques, such as installation, video, photo, print and ready-made. His works encompass two main themes: the position of everyday people in consumer society, as well as our relationship with the past, the relativity of recollection. Between 2007 and 2010, he received Derkovits Gyula Grant. In 2016, he was awarded the Munkácsy Mihály Prize.