Péter Szalay explores in his works a special form of polygonal abstraction. In a Duchamplike gesture, he transforms “found objects” – mementos from the object culture of the ‘60s, and the porcelain figurines our grandparents kept in their china cabinet – not by manual work, but by a chemical process: he covers them in – and transforms them by – a crystal structure. Another method he works with is also “mechanical” in nature: he pulls a polygonal structure over the basic form and then prints it in 3D. Both approaches are the result of a unique, abstractive way of thinking, in which a kind of formal reduction is produced.

The appearance of this pop up exhibition at the Szentendre Gallery is no accident: the same recurring image-building method and polygonal form-structuring approach can be observed in the works of Szentendre painter László Kósza Sipos as in the sculptural approach and spatial formulations of Péter Szalay. The latter artist, however, also articulates through his works an ironic critique of today’s “superficial” abstractional trend. Not only because the deeper structures of his figurines conceal the requisites of another era, but also because he returns to Duchamp’s fundamental assumptions – the shaping power and conceptualism of thought – thus ironizing the mass of mechanically produced works. While Péter Szalay’s ideation about visual art relates to Kósza Sipos’ reality-based method in a somewhat contradictory manner, they do share the common feature of eliminating the original sight or spectacle by coating the base motif with a network of polygonal forms.

The exhibition entitled Poly Fiction is a continuation of the installations displayed at acb Attachment, where the “the green background behind the statuettes and their photos is a reference to green box technology. With this method, known from filmmaking and television productions, objects and human figures photographed in the ‘green box’ are lifted from their actual physical surroundings and, with the help of digital montage technology, inserted into the desired environment. In the case of Szalay’s small sculptures, since they are robbed – even if only in the virtual sense – of their physical space, the emphasis shifts to the spatiality of these free-standing objects and, especially, their bordering surfaces.” (excerpt from text by Orsolya Hegedűs, acb Attachement Gallery)



Artists: János AKNAY, Gertrúd ALMÁSI, Tamás ASSZONYI, József BAKSAI, Ildikó BÁLINT, Zsombor BARAKONYI, Győző BIHON, Verebella BOJTOR, Eszter BORSÓDY, István Ef ZÁMBÓ, Zsófi FARKAS, János FEKETE, László Fe LUGOSSY, Andrea GULYÁS, Piroska JÁVOR, Zoltán KEMÉNY, Alex KRIZBAI, Endre LUKOVICZKY, Attila ORBÁN, Rudolf PACSIKA, György PARASZKAY, Imre PISTYUR, Anna REGŐS, István REGŐS, Tamás SZABÓ, Gergő TÍMÁR, Ferenc ZÁVODSZKY


The computer has become the fetish of our age, a seemingly indispensable part of our life. Nowadays, our private and public life, contact with the world depends on this complicated device. But to what extent shall we depend on it? How seriously shall we take it so as not to give it a chance to overcome us? This unique exhibition seeks to answer the questions above.

A few years ago, encouraged by János Fekete, a local art lover, some fine and applied artists from Szentendre “dreamt up” works of art from unserviceable laptops according to their own taste. The ingenious, humorous artistic laptops have had great success at several exhibitions. The number of the artists and artworks has significantly increased since the start. Today, the group of “homo ludens” from Szentendre includes fine and applied artists representing almost all age groups and trends. The spectacular works of art have one thing in common: the joy of play. It was an enjoyable task for every artist to find the artistic in this lifeless device, tell what it symbolises for them, whether they like or dismiss it.

The exhibition presents laptop works by 29 renowned artists from Szentendre, In addition, even special jewels have been made from computer parts for this occasion.




This unique exhibition revealing the latest research findings based on the prehistoric and ethnographic cultural heritage of Polish, Czech, Slovakian and Hungarian public collections is the result of international cooperation. The extraordinary approach to the topic relies on archaeoastronomy, an auxiliary science of archaeology. Archaeoastronomy helps us understand the effect of heavenly bodies and celestial phenomena on the way of thinking of prehistoric people, their behaviour and relationship with nature. This unusual discipline studies archaeological finds the orientation of buildings, their location in the landscape, as well as the relationship between man and nature.

By applying the latest research findings, the exhibition demonstrates the importance of the role of natural light and light phenomena, as well as their great influence on the life of prehistoric people.

One of the main fields of research of archaeoastronomy is the orientation of Neolithic roundels. The astronomical features of sacral roundels, their relationship with celestial bodies – mainly with the sun, but also with the moon, certain stars and constellations – effectively illustrate the spiritual importance of natural light.

As the decorations on the weapons and jewels of people from the Bronze Age show, the way of thinking of contemporary man was deeply influenced by the atmospheric phenomena generated by the light of the sun and the moon, which led to the creation of a characteristic symbol and motif system visible on objects for personal use, as well as on clothes. Based on archaeological fi nds, the most impressive atmospheric phenomenon was when the sun appeared as a huge 4-spoke wheel in the sky. Signs symbolising the concentrical rings of the solar or lunar corona are also very common on objects from the Bronze Age, while some other decorations resemble the solar pillar.

Almost the same representation of celestial phenomena can be found in the decorative art of ancient European ethnic groups which lived far away from each other. A similar system of symbols is visible on objects used during funeral rites and other rituals, which lived on in folk art even several millennia later. The characteristic features of the orientation of roundels are observable in the location of residential buildings, as well.



It was exactly twenty years ago that László Kósza Sipos’ (1943–1989) posthumous solo exhibition was presented at the Szentendre Gallery. Now, at the same venue, a selection can be seen from the artist’s early graphics created in Szentendre, as well as works from when he was already living and working in Germany, including some tempera and oil paintings, intimate pastel works and constructive drawings. While Kósza Sipos’ oeuvre consistently bears the marks of his life in Szentendre, his student years and the influence of his peers, in the eighties, after having moved abroad, he achieved considerable success on account of his own characteristic style. This style happens to be completely in sync with the design trend that dominates today, based on an attraction to polygonal bodies. The peculiar system of forms – or “triangulation” – which appears in Kósza Sipos’ works shows the same crystal structure effect that is seen in today’s electronic images created by so called Low Poly generators. Notwithstanding, the roots of the artist’s landscapes and crystallized figures can be traced back to his graphics from the sixties, which, in turn, had its origins in the artistic activities of Lajos Vajda and his circle, focusing on collecting and depicting small town motifs. It is thus that historical Szentendre art lives on in today’s visual culture.

The exhibited artworks are from the collection of the Ferenczy Museum Center.