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L\u00e1szl\u00f3 Lakner<\/p>\n

Pittore Ingres<\/em>, 1977, mixed technique, book, 24 \u00d7 38 cm<\/p>\n

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Private Storage – Works\/Rescues – the Gy\u00e1rf\u00e1s Collection <\/em><\/h2>\n
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Budapest Gallery<\/p>\n
1036 Budapest, Lajos utca 158.<\/p>\n
14 June \u2013 20 August 2018<\/p>\n
Holiday Schedule: 20 August 2018 OPEN and FREE ENTRY<\/p>\n
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M\u00e1rton Barab\u00e1s
\n\u00c1kos Birk\u00e1s
\nTibor Csernus
\nP\u00e1l Deim
\nIstv\u00e1n ef Z\u00e1mb\u00f3
\nEl Kazovszkij
\nL\u00e1szl\u00f3 Feh\u00e9r
\nIstv\u00e1n Fillenz
\nTam\u00e1s Hencze
\nZsigmond K\u00e1rolyi
\nGy\u00f6rgy Kepes
\nDezs\u0151 Korniss
\nAlbert Kov\u00e1ts
\nL\u00e1szl\u00f3 Lakner
\nLongobardi Nino
\nL\u00e1szl\u00f3 M\u00e9hes
\nS\u00e1ndor Moln\u00e1r
\nIstv\u00e1n N\u00e1dler
\nL\u00e1szl\u00f3 Paizs
\nSalom\u00e9
\nJ\u00e1nos Szirtes
\nAndr\u00e1s Wahorn<\/p>\n
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Opening: 13 June, 2018, 6 pm<\/p>\n
Opening speech by:<\/p>\n
R\u00f3bert Alf\u00f6ldi<\/p>\n
fellow collector<\/p>\n
[\/vc_column_text][vc_empty_space height=”32″][\/vc_column][vc_column width=”2\/3″ el_class=”full-2″][vc_column_text]Introduction<\/p>\n
To tell the truth is easy and pleasant, writes Bulgakov.
\nAll Cretans are liars, said a Cretan.
\nWithin this framework, a few words about the Gy\u00e1rf\u00e1s Collection, which legally is no longer mine.
\nIt has become the property of my children, thanks in part to the favourable stipulations of gift taxes.
\nIts wit or witlessness, its character or lack thereof denote its creator.
\nThe collection has grown for 40 years: transforming, shrinking, growing.
\nIn waves.
\nDependent on mood and money.
\nThe initial desire for technical perfection (as the great purpose of art) was replaced by an attraction to the emptiness of the picture.
\nThe significance of beauty by the significance of slightly irrational not-ugly.
\nThe dense and no longer realist depiction of reality by the forms of modernity stripped to their bones.
\nThe purchase of works by Hungarian artists by works by international artists.
\nObtaining works from a studio by purchasing works at auction.
\nCollecting, of course, is a crutch.
\nAn act with which one compensates for an absence, a series of acts serving to hide the recognized non-existence (lack?) of certain abilities (creative talent).
\nSelf-reassurance, self-delusion, a search for relevance.
\nThe expropriation of the work of others.
\nThe collector exploits.
\nLove and hate are therefore his goal and gathering point.
\nCollecting is: work.
\nSearching, focus, tension, timing.
\nIt has no laws.
\nIts fundamental principle is that it cannot be brought to a close.
\nAt most, it can be suspended.
\nIt is similar to gambling addiction.
\nIt is a night and day activity.
\nExcitement, joy and disappointment.
\nSimultaneously, together and separately.
\nEven in the most beautiful moments, it makes one who suffers from eternal deficiencies and inadequacies miserable.
\nThe more one has, the greater one\u2019s sense of lack.
\nThe more one wants.
\nThe collector lives in a vicious circle.
\nThere is always new or old, there is always the available and that which is not on offer \u2013 which is even more exciting.
\nThe most exciting is what seems unattainable.
\nWhat you need to wait for in order to have access to it.
\nOne must know how to wait.
\nPatiently.
\nOne must give time for things and for their vendors.
\nThe fruit will ripen.
\nIn the end, the entire collection comes tumbling down on its owner.
\nThe financial benefits are enjoyed by others.
\nIt will cease, it will be scattered.
\nIt will collapse and secede.
\nIt exists in documents.
\nCareful hands place it in the category of the beautifully packageable.
\nThe remains are collected by new collectors.
\nIt becomes a memory.
\nThat\u2019s why and how the collection expands in time.
\nIt leaves a trace.
\nDo we need more?<\/p>\n
P\u00e9ter Gy\u00e1rf\u00e1s<\/p>\n
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Salom\u00e9 (Wolfgang Ludwig Cihlarz)<\/p>\n
Nackte Gr\u00fcn<\/em>
\npowder paint, canvas, 240 \u00d7\u00a0191,5 cm<\/p>\n
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