Gábor Kerekes (1975 –) is the contemporary master of the genre of paper collage anchored in a significant tradition. Despite his qualification as painter, the academic streams seemed to keep his art in a narrow frame. His imagination materialized for many years in extensive site-specific installations and environments composed often with light and audio elements, too. His space poems built from Paris to Istambul have slowly grown out the galleries and public spaces and expanded into worlds. We can get an insight into these imaginary little universes through his paper collages he has been creating for ten years evoking the artisan traditions of art with their time-consuming quality. The base unit of his artworks is a planetful of living space, which can mean a crowdedly bustling globe with colorful buildings or a monumental airship transporting a whole civilization.

Through his methods, Kerekes explicitly aims to draw attention to the importance of. The materials used for his creations are newspapers to be shredded received from publishing houses. The artist reorganizes these images abolishing the well-known visual language of the traditional media and creates unknown landscapes to be explored.

His gesture annuling the original meaning of press photo and repositioning them as a part of a whole standing for nothing on their own, leaves behind the nowadays fashionable style of creating based on a (press)photo, and keeping the basic function of art in mind, he is constructing while deconstructing. The exhibition FUTUR X gives a comprehensive selection from the paper collages of the Derkovits scholarship awarded artist.



Mozgó Világ (Moving World, 1975–1983) was a legendary social, literary and art journal of the Kádár era. The editorial of the fresh, open minded newspaper — created by high standard intellectuality — has become a real theoretical workshop. The official cultural politics were offended more often by its content, implying authority actions (copies prohibition, censorship, chief editor changing). After a length political game they also suspended the new chef editor of Mozgó Világ. Later than this displacement, the entire editorial office answered with an unusual courage of those times: they quit. The reader university students organized a signature-collecting action and the paper’s authors started a boycott. The journal went on with an apparent continuity, with the very same name but a different editorial team. Our exhibition presents the old journal’s substantial, intellectual diversity and its documentable history.


More: here.



The exhibition showcases the latest works by Peter Bereznai, a prominent artist of Szentendre, along with some of his earlier pieces with close links to the new material. The new works mostly consist of geometric compositions on wood, or “painting objects”; they are objects of contemplation and mediation, which allow the natural wood grain to remain visible. They are a result of the artist’s desire to foster an intimate relationship with nature and the universe – a commitment of the mind that has always been present in his art. Peter Bereznai steadfastly carries on the same visually articulated spiritual tradition that characterizes the works of Pal Deim and Barcsay’s late, geometric, sacral, constructivist paintings. His works also bear the marks of the inspiring milieu of the Lajos Vajda Studio, as traceable in their visual humour and surrealism. Bereznai is also fond of using punctuation marks and simple geometric shapes, which he condenses into emblematic, ritual, sacral form.

Péter Bereznai (1955) is a Munkacsy Prize-winning, self-taught visual artist who has been living in Szentendre since the age of twenty. He participated in the activities of Leninvaros Experimental Workshop, and then of the artist group Studio 5. He has also been member of the Lajos Vajda Studio since 1975. He has had major solo exhibitions in Szentendre, Utrecht (The Netherlands) and Bekescsaba, Hungary. The art collection of the Ferenczy Museum Centre contains a number of his significant works.