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Meanwhile in Painting<\/em><\/h2>\n
The diploma project of the MA students at the Art Theory and Curatorial Studies Programs of the Hungarian University of Fine Arts<\/h4>\n
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Budapest Gallery<\/p>\n
1036 Budapest, Lajos utca 158.<\/p>\n
On view: 11 May \u2013 3 June, 2018.<\/p>\n
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Opening: 10 May, 2018. 6 pm<\/p>\n
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Exhibiting artists:<\/p>\n
R\u00f3bert Batyk\u00f3
\nBotond Keresztesi
\nG\u00e1bor Krist\u00f3f
\nM\u00e1rton Nemes
\nGyula S\u00e1gi
\nRita S\u00fcveges
\nGerg\u0151 Szinyova
\nAndrea Tivadar<\/p>\n
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Curators:<\/p>\n
Barnab\u00e1s Bal\u00e1zs
\nHel\u00e9na Cs\u00f3ka
\nDalma Eszter Koll\u00e1r
\nZita Marton<\/p>\n
Mentor:<\/p>\n
D\u00e1vid Feh\u00e9r<\/p>\n
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Opening speech by:<\/p>\n
\u00c1ron Fenyvesi<\/p>\n
[\/vc_column_text][vc_separator type=”normal” up=”25″ down=”0″][vc_empty_space height=”32″][\/vc_column][vc_column width=”2\/3″ el_class=”full-2″][vc_column_text]The Meanwhile in\u2026<\/em> memes constitute a distinctive type of textual-pictorial contents circulating on social media which are based on photographs of surprising, humorous or absurd events taken in marginalized countries or subcultures, photographs that differ from the familiar images in the mass media. The title Meanwhile in Painting<\/em> is a reference to the spread of meme culture and our existence in a technologically advanced time of vast interconnection, but it furthermore raises a very specific question: can painting, the painting scene itself, be regarded as a \u201ccountry\u201d which operates separately, isolated or even closed off from its surroundings?<\/p>\n
The project entitled Meanwhile in Painting<\/em> focuses on pertinent questions raised by representatives of contemporary Hungarian art. It includes an exhibition organized at the Budapest Gallery of works by emerging painters and artists of generation Y, who with their compositions reflect on the medium of painting and react to technological innovations, such as the spread of internet culture and post-digital visual languages. The exhibition seeks answers to a number of questions, including for instance how the technologies of industrial image production and the increasingly palpable dominance of digital displays influence painting.<\/p>\n
The exhibition has a wide range of references to exhibition abroad, of which Vienna\u2019s Mumok Painting 2.0: Expression in the Information Age<\/em> and Tate Modern\u2019s Painting after Technology<\/em> are particularly noteworthy.<\/p>\n
The series of interviews which constitute the Meanwhile in Painting<\/em> project\u2019s other part will be presented first at a public screening and will then also be available on the project\u2019s website, alongside the documents concerning the exhibition and its accompanying texts.
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R\u00f3bert Batyk\u00f3<\/p>\n
Transform<\/em>, 2017, oil, canvas, 145 \u00d7 180cm<\/p>\n
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Gerg\u0151 Szinyova<\/p>\n
Untitled (unknown)<\/em>, 2018, acrylic, canvas, 120 \u00d7 90 cm<\/p>\n
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G\u00e1bor Krist\u00f3f<\/p>\n
Heidi Composition of 3 (2 standards) II.<\/em>, 2017, 93,2 \u00d7 69cm, offset<\/p>\n
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Botond Keresztesi<\/p>\n
Male Bitch<\/em>, 2015, acrylic, canvas, 100 \u00d7 100cm<\/p>\n
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