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François Fiedler was born in Košice in 1921. In 1948, he travelled to Paris on a scholarship, where he remained following the drawing of the iron curtain. There he met Joan Miró, who introduced him to the most prominent gallerist of the era, Aimé Maeght. Maeght became his mentor and life-long patron.
Fiedler’s oeuvre bears strong ties to the ambitions of the “second”, post-war School of Paris, informel and the New York School. His initial works show kinship with the art of Hans Hartung, Jean Dubuffet and Jean-Paul Riopelle, while his later pieces are reminiscent of Jackson Pollock and Mark Rothko. As a lyrical abstract painter, he presents in his artworks a unique combination of expressionism, tachisme, the calligraphy school and gesture painting.
The exhibition offers a glimpse at the special working method employed by François Fiedler in making his paintings. His energetic and animated spots of oil paint together with his compositions – created by a painting method that fractures and peels back individual colour layers – create a vibrant visual world.
These works – inspired by nature, in which the artist feels at home, and created under the influence of natural forces – engage the viewer in a game of free interpretation. According to the philosophy of the artist, whom Miró called “the painter of lights”: “a painting exists not on the canvas, but between the canvas and the viewer”. François Fiedler’s exhibition guides us to a dimension ruled by the poetic unity of nature and art.




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How can a creative group in today’s world find a place for refreshing architectural and artistic pastime in a small town of Eger’s scale, characterized by general (also cultural) emigration? Only if they create a suitable environment for themselves.


The idea of the arkt arts centre was conceived in 2013, as a large proportion of our time and mental capacities were liberated on account of the economic recession. In recent years, the revitalization of existing buildings has come to the fore. Throughout our work, we experiment with different renovation strategies, in terms of design as well as financing. Out of this impulse, as our own initiative, we contacted the local government to provide us a building that no one found the inspiration to refurbish and was too expensive to maintain. Un-fortunately, but luckily for us, there were a number of choices. We opted for the former GAMESZ (Economic Technical Supplier and Service Provider Organization) building, located on the premises of the historical Gárdonyi Garden, next to the Géza Gárdonyi Memorial Museum, vacant for years and deteriorated by slow decay, marked as dangerous in the city’s cadastre. We received the building of nearly 400 m2 floor space and the 4200 m2 plot with native trees for a 15-year lease. We had outlined a sustainable model hinged on local needs: we had undertaken to implement a value-added reconstruction and fill the building with cultural content. The realization of the project was founded on mutual trust, with a focus on communication, involving the continuous presentation of partial results. The municipality’s responsibility and risk-taking, as well as their conscious participation, were indispensable elements of the process. In this case, dependency on the local government equalled an opportunity for a long-term innovative cooperation.


In defining our requirements and aesthetic standards, our guideline was to satisfy the basic technical require-ments, but in terms of usability, we sought to achieve maximal functionality. In a collaboration involving the social sphere, the institutional sphere, and the con-struction industry, we managed to realize an exemplary renovation, making the most efficient use of only already available resources, entirely without seed capital and cash flow. We reversed the usual course of planning: first, we found material support for the required tasks and then came up with architectural solutions to match the materials offered by sponsors. Using the construction materials received and recycling the objects found on site, we managed to activate the building in less than a year.


In addition to our contacts in the construction industry, established throughout the years, we involved some students of the local Bornemissza Gergely Polytechnic High School who specialized in the sector. We thus provided them with a site for field practice that not only raised their interest, but also resulted in a possible improvement of the quality of technical education. Through our contacts in the municipal library, which offers tale reading therapy sessions, we reached out to the Heves County Penitentiary. For the convicts of the institution, participating in a collective construction project provided an excellent opportunity to improve their social acceptance and self-esteem, and facilitate their rehabilitation. These collective efforts proved constructive for the participants and the community at least as much as for the building itself. Planning gained new meaning and construction became a collective activity. The greatest added value of the project turned out to be the growing social network of organizers and collaborators. The process rendered people’s presence personal, owing to which friend-ships and relationships were formed, and as a result, the building itself lost some of its significance, as the human relationships became much more important. A community was formed, integrating engineers, artists, college students, polytechnic students and teachers, experts, civilians, and last, but not least, convicts and their guards.


This is how the Arkt Művészeti Ellátó (Arkt Art Provider) was brought to life as a centre for engineering, arts, and culture, offering exhibition spaces, workshops, studios, and a community space. In cooperation with the café and wine garden, as well as the Eger-based Eszterházy Károly University’s Visual Arts Institute, the “Provider” endeavours to operate a new form of institution with exhibitions, workshops, performances, and events. Owing to architectural presence and active engagement, a building that was once considered worthless has become a space full of life: a small but emblematic example of the power of community and the will to make a difference.




– Art Capital Exhibition –


Ottó Tolnai (1940) was born in Magyarkanizsa and currently lives in Palić – “he is a Yugoslavian-Hungarian minority poet from Vojvodina, from Serbia, from Bačka, from Lake Palić” (Világpor).
In Tolnai’s universe – rendered familiar and homelike by the repetitions of his constant cataloguing, his descriptions gaining new momentum time and again, and his incessant self-correction – works of fine art are present as possible versions of the world, in an inseparable unity of life and aesthetics. In his synoptic prose and free verse poems, which propel forth only to then dwell on the smallest details, our gaze is drawn again and again to the landscapes of a particular painting or sculpture or graphic work – but especially to its colours, which are pronouncedly present as vehicles of meaning in Tolnai’s poetry.
Perhaps it comes as no surprise that this strong interest in fine art seeks its path beyond thematic essays and inspires the artist to create. The works showcased in the exhibition offer a taste of Ottó Tolnai’s serial works while also highlighting the fact that these are open series, which, like his written works, are characterized by seismographic sensitivity, continuous searching and a constant sense of zooming in.



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Jenő Barcsay | Endre Bálint | Szultán Bogdándy  | Imre Bukta  | Gyula Czimra  | Lajos Csontó  | Balázs Deim  | Pál Deim  | Ádám Farkas  | Zsófia Farkas  | Mihály Gubis  | László Hajdú  | Mariann Imre  | Dezső Korniss  | László Kovács Putu  | Viktor Lois  | László feLugossy  | Mihály Melcher  | Rudolf Pacsika  | Anna Regős  | István Regős  | Sára Richter  | Piroska Szántó  | Ágnes Sz. Varga  Kabó | Lajos Vajda  | Ottó Vincze | István efZámbó


How we feel about life can be shaped by the world that surrounds us. The harmony between the external and inner worlds may arise from the acceptance of our own situation in life, which becomes manifest, first and foremost, in our relationship to the phenomena in our immediate surroundings. This, among other things, is what Austrian poet Rainer Maria Rilke refers to in a 1923 elegy: “Are we here, perhaps, for saying: house, bridge, fountain, gate, jug, fruit-tree, window – at most: column, tower.”
One of the still lifes Dezső Korniss painted in Szigetmonostor in 1935 also collects the sim-plest of motifs. Arranged, as if in a formula, are such elements of reality that refer, on the points of contact between the external and the inner world, to a liveable and accepted life situation: floating next to a church in a sky-blue picture field is a house, with a fleecy cloud underneath, while the table below bears a still life, with a plate, a jug, an onion and some bread. The table is presented as the central element of the house, as a place where the family meets, meals are taken and guests are entertained: it is pregnant with symbolic meaning. The food also symbolizes what the earth yields, while hospitality can stand for the idea of arrival, the end of the journey.
In this approach the notion of home is centred around such recurring motifs as the house, the window, the sky, the church, family, arable land, vegetation, light, table, food, nature, the journey and the universe. By the analogy of musical sequences – passages repeated at different pitches –, the exhibition, which features mostly artists active in Szentendre, seeks to highlight how, and from what viewpoints, the artists approach these motifs; how the existential profundity of specific elements of reality grows; and how they become signs that mark the coordinates of our existence.



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The artist duo Balázs Hugyecsek and Péter Rizmayer enters into a pantheistic conversation with nature in their own ironic and active way. In their videos, nature is a metaphor for home, giving shelter for the human being, as long as it does not turn against it.
The exhibition features three video works, together with the organic installations connected to them, a solo work from each of the artists and an open-air installation.
Instead of real interventions, in the course of their performances, presented in the nature, they aim to lessen the extent of the destruction which is caused by the activities of the mankind, to make the scars of the wounded nature disappear.
Sometimes they choose the means of contemplation and meditate on nature. Most characteristic places to their art are the floodplain by the Danube river, the Pilis mountains and the Transylvanian high mountains. They revisit the chosen venues several times, in different times of a year and document the changes and transformation of their land art artworks that are made of natural materials.
They recorded High Mountain performance 2000 meters above sea level. „Around us, there are only rocks, lichen, grass and water. A reductive, meditative, minimalist venue for a performance. A challenge just like mountain climbing. Only a few small signs, maybe the environment itself is more important. Maybe it is not us who shape it, instead, it is shaping us. We act and we disappear. We move along, the rock stays.”
The venue of their Flood Basin performance is the riverside along the Danube with its dying and resurrecting, changing view. The set is made of the dead, naked landscape at winter’s end, the moulding, disintegrating fallen trees, the straggly, leafless bush and the thick, rustically patterned litter on the ground. The video etudes are composed of a strain of short actions, in the course of which the two artists interfere with the course of nature, but the revolting landscape punishes them and expels the intruders. The actions are ’anti-land art’ artworks, as in reality the two artists do not leave a sign in the nature, it is rather them, who, in the course of their activity, are turned into defenceless toys of nature.
In a similar way, the artists only feel at home in an exhibition space after turning it into an organic labyrinth by cramming it with the accessories of the landscape. The knotty branches and the rough, marbled rocks stand before our eyes as mementos, warning torsos in the man-made environment – that is, in the exhibition space.
In the video installation Meteor everyday objects (a clock, a painter’s easel, a chest, a stove) slam into the ground like meteors. The staged impacts are documented on photo and video.
Through these actions, the artists warn us of the dangers of the universe of objects ’orbiting’ around us. Often the used-up and dumped things end as garbage on the ground or in the soil, leading to a catastrophe in the biosphere. In this way, the objects that once belonged to our homes will destroy our living environment.

Katalin Kopin



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Szentendre is a city of art, where life is always bustling with a continuous succession of exhibitions, events and festivals. Since the 1920s, Szentendre have been a place where artists liked to stay and work; with its colourful houses, churches and meandering, narrow streets, the small town at the Danube river is a fine theme for artists. The members of the Old and the New Artists’ Colony and the artists who have found a home here, belong to the image and the atmosphere of the town.
This exhibition gives an insight into the life of artists in Szentendre. We can get a picture about the life, work and pastimes of painters, sculptors and applied artists – today and in the past. An overview like this necessarily has a certain degree of randomness. I have found the private photos in cardboard boxes, drawers and folders, I have delved in collections for pictures from the old times, photographers have lent me from their photos of recent times and today. It was important for me to make it personal. When I was looking at the photos, the personal history of the life of Szentendre artists came to life to me – I hope that some of the visitors will have similar experiences. If you happen to know anything interesting about any of the pictures, please write it on the notice board!




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Dawn Csutoros is a visual artist of Hungarian descent who relocated the centre of her artistic activities from Australia to Szentendre, the Hungarian capital of art some months ago. The artist, who is exhibiting internationally in many cities, including the US, China, England, France and Australia, works across a diverse range of media, from paintings and objects, through video installations to performance, as well as engaging audiences in large scale public art projects. The main theme of her works is the constant search for the deeper levels of our being. Csutoros inspired by eastern philosophies invites the viewer to immerse themselves into an inner journey.

Her current exhibition features an immersive visual and sound installation, based on intimate, meditative experimental experiences and includes a performative element. Its public engagement component belongs to the artist’s Silk Road Project, which is to be realized in several different places around the world linking the east with the west.

The artworks on display reflect on the potential connections between the sacred space of a church and an intimate experience of our own inner space and their effects therof. The visitor’s experience starts with an inner silence, followed by the video and sound installation. The colour blue: an emblem for the intellectual, contemplation and a symbol for the transcendental.


The video and sound installation Infinite Distance, Immediate Presence, is a gateway to inner perception through art, and invites the viewers to experience a sense of personal discovery and art through the combined effects of visual and sound impressions.


Csutoros uses traditional materials – Chinese mulberry paper, French pigments, Japanese ink – to create her abstract works, which are composed of layers of graduating tones of blue. The elegant elliptical forms are levitating between the real and a meditative space. Her works aim to contribute to the viewer’s own personal voyage of discovery and to find both conceptual and aesthetic pleasure in the art. As Marcel Proust said: the true voyage of discovery is not finding new lands, but to see the world we already know with fresh eyes.



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Zsolt FERENCZY | Mátyás FUSZ | Levente HERMAN | Ádám HOLLÓS | Gergely KÓSA | Anita KROÓ | István TÉGLÁS | Anna TÓTH | TRAFIK KÖR


I want to make the event of Art Capital an opportunity to re-live the alliance of artists and residents that came into being with the Szentendre School. I consequently chose works for this exhibition whose concern is the milieu, the sense of being home that a community can provide.
The exhibition addresses passers-by and those arriving by bus already out in the street. An interactive installation on the cobblestones tempt visitors to pass through the open gate of the Ámos Imre – Anna Margit Memorial Museum. In the courtyard, a freely variable construct of beams invite children and adults to play.
Following this scene with a light-hearted mood, we can step inside the museum, where the treatments of the theme, “Home and Homelessness,” include ones that communicate poignant emotions.



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“No one has been able to confirm whether Foucault actually said the words: ‘I’ am no prophet. I’m just making windows where there were once walls.’, it has been enough for people to think he did.” (Jane Neal)


Robert Runták has based his international collection on posthuman painting, a uniquely Eastern European phenomenon of post-millennial European visual art, which references the foundations of various realisms (especially surrealism), postmodern motion picture and photography culture, as well as literature. While, in the early 2000s, the Czech collector was still focused on contemporary artworks from his homeland, as of 2011, the collection took on an increasingly international character.


It is this concept that the Hungarian exhibition of the collection – presented to the inter-national public for the first time – follows as well. The international section is organized along two main threads: the works centre on the situation of the individual person and the greatness of the artistic spirit.Works are displayed by such significant artists as, for instance, the Chapman Brothers, Daniel Richter, Jonathan Wateridge, Tilo Baumgärtel, Tim Eitel, Wilhelm Sasnal and Martin Eder. In addition, such artists of defining influence from the region are also represented as, for example, Attila Szűcs, Zsolt Bodoni, Serban Savu and Szabolcs Veres. With reference to the kind of destructive worldscape these artists present to us within the spaces of the ArtMill, Jane Neal writes: such “[d]isruptive imagination or ‘myth making’ creates culture and we need it to inspire and to effect change”.



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Tamás Bakos was born in Nagykőrös in 1976. After finishing secondary school, he worked for a brief period as a server in his hometown, then, between 2000 and 2013, he lived as a homeless person in Budapest. In the meantime, he was learning on his own to draw and paint, using scraps of paper and pieces of wood found in the street, and regularly selling his work.
In 2014, the artist’s sister Anna Bakos – working at Alte Schmiede Kunstverein Wien – showed these works to Walter Famler, general secretary of the Kunstverein. It was thanks to him that the public could then view Bakos’ works at a number of exhibition halls in the Austrian capital. The success of the artist is also evidenced by the fact that many of his works now comprise part of various private and company collections.
Bakos’ vibrating, restless works draw in the viewer’s gaze with a dramatic suggestiveness and at the same time radiate a certain sadness, as a result of not only his daring colour associations, but his precise representation of movements and gestures, as well as his dynamic – sometimes even excessive, but never distorted – renditions of sensitively perceived facial asymmetries. These lively works reflect a unique style, which viewed in the context of the now carefully catalogued pieces becomes even more strikingly apparent. A few defining pieces are especially noteworthy, including, for instance, his dreamily floating, surrealistic expressive, inner vision-based aquarelles (which at times call to mind Francis Bacon’s deconstructed figurativity) and single-line drawings, or his musician portraits and actor/celebrity close-ups originally seen in magazines and album covers, in which personal characteristics are represented in such a keenly observed fashion. His quick sketch-like studies of the human head and body cre-ated with a few swift brush strokes also leave a strong impression.


This exhibition marks the first occasion that Tamás Bakos’ art is showcased in Hungary.