HALFWAY IN THE WORLD


Artists: AKNAY János, ÁMOS Imre, ANNA Margit, ASSZONYI Tamás, ÁSZTAI Csaba, BÁLINT Endre, BALOGH László, BALOGH István Vilmos, BÁN Béla , BARCSAY Jenő, BARTL József, BASKA József, BENKOVITS Bálint, BEREZNAI Péter, BOGDÁNDY Zoltán Szultán, BORGÓ GYÖRGY Csaba, BOROMISZA Tibor, BUKTA Imre, CZIMRA Gyula, CZÓBEl Béla, CSATÓ Máté, CSÍKSZENTMIHÁLYI Róbert, CSONTÓ Lajos, CSORBA SIMON László, DEIM Pál, DELI Antal, ef ZÁMBÓ István, El KAZOVSZKIJ, ELEKES Károly, FARKAS Ádám, feLUGOSSY László, FERENCZY Béni, FERENCZY Károly, FERENCZY Noémi, GUBIS Mihály, Gy. MOLNÁR István, GYŐRFFY Sándor, HAÁSZ István, HAJDÚ László, HOLDAS György, ILOSVAI VARGA István, IMRE Mariann, JÁVOR Piroska, JEGES Ernő, KACSÓ István, KANDÓ Gyula, KÁNTOR Andor, KAPONYA Judit, KERÉNYI Jenő, KLIMÓ Károly, KMETTY János, KOCSIS Imre, KONDOR Béla, KOPASZ Tamás, KORNISS Dezső, KÓSZA SIPOS László, KÓTAI Tamás, KRIZBAI Sándor, LOIS Viktor, LUKOVICZKY Endre, MÁRKUS Péter, MATA Attila, MATYÓFALVI Gábor, MÉSZÁROS Dezső, MIHÁLTZ Pál, MODOK Mária, NAGY Árpád Pika, NAGY Barbara, ORSZÁG Lili, PACSIKA Rudolf, PAIZS GOEBEL Jenő, PÁLJÁNOS Ervin, PÉRELI Zsuzsa, PERLROTT Csaba Vilmos, PIRK János, PIRK László, RÁC András, REGŐS Anna, REGŐS István, RICHTER Sára, ROZGONYI László, SZ. VARGA Ágnes Kabó, SZABÓ Zoltán Judóka, SZÁNTÓ Piroska, SZIKORA Tamás, SZIRTES János, SZURCSIK József, TÓTH Eszter, VAJDA Lajos, VAJDA Júlia, VASZKÓ Erzsébet, VELEKEI József Lajos, VINCZE Ottó, WAHORN András

 

The centre of the universe is an emotional place: everyone has it somewhere else. The spirit of Szentendre and its rich cultural past have always been capable of integrating and accommodating artists of the most diverse roots and stylistic convictions, which made the 120 years of art in the town an eminently important chapter in Hungarian art history.

Founded in 1951, the Ferenczy Museum (now Ferenczy Museum Center) has been a chronicler of this long history, with a collection policy that always held the documentation of living art in Szentendre a chief priority. Selecting from the collection, this exhibition relies on this priority. Of course, the history of visual art in the town is not a linear story, nor is its quality even. It is with this in mind that the display Halfway in the World attempts to reconsider the highlights of a collection that includes over ten thousand works.

The exhibits, some 150 works of art, are arranged in five sections mostly along analogic-thematic principles, so as to reveal the correspondences − or clashes, as the case may be − between works that may be different in age, but enter into a dialogue about the attachment to, or the denial of, traditions, mentalities and use of methods. When it disregards chronologic criteria, the exhibition − like Vajda’s transparent montage technique − attempts to link major tendencies in such art that originates in Szentendre.

The large number of the items notwithstanding, even the collection of the Ferenczy Museum Center cannot claim to be exhaustive with regard to the art of Szentendre in the past 100 years. For the same reason, this exhibition does not concentrate only on the well-known major works of the collection, but also presents groups of works which have received less attention in the past decades.

A museum’s collection can never be regarded complete or fully processed, and consequently this exhibition is also a statement − an outline of the collection-related technological challenges and new responsibilities that an art collection must acknowledge in the 21st century.

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