[vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/1″][vc_empty_space height=”40px”][vc_column_text]<\/p>\n

An Exhibition of Works by K\u00c1ROLY SCHMAL<\/h2>\n
[\/vc_column_text][vc_empty_space height=”32px”][\/vc_column][\/vc_row][vc_row bgparallax=”parallax” contentwidth=”container” toppadding=”40″ bottompadding=”10″ border=”on” css=”.vc_custom_1420648296958{background-color: #ffffff !important;}” row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column width=”1\/3″ css=”.vc_custom_1427030294278{padding-right: 25px !important;}” el_class=”full-1″][vc_column_text]<\/p>\n
Budapest Gallery<\/p>\n
1036 Budapest, Lajos utca 158.<\/p>\n
12 March \u2013 12 April 2015<\/p>\n
[\/vc_column_text][vc_column_text]<\/p>\n
Curator of the exhibition:<\/p>\n
Mikl\u00f3s Sulyok<\/p>\n
[\/vc_column_text][vc_empty_space height=”32px”][\/vc_column][vc_column width=”2\/3″ el_class=”full-2″][vc_column_text]\u201cThe \u2018paper works\u2019 of K\u00e1roly Schmal bear signs of elemental simplicity. This is true both of the materials and tools he uses and the results of his drawing and painting: the pictures.<\/p>\n
Hardly any colour created with the use of charcoal, crayon or tempera paint is visible on the blue, white or brown surfaces. Basic forms are encased in quadratic cut-outs: triangles, diagonals, intersecting straight lines, broken lines and whirling curves that conjure apparent spaces. The summaries of the works\u2019 titles, the painter\u2019s intention \u2013 and the viewpoint to be assumed \u2013 emerge from a different section of reality: Plane and space, One and many, Detail, Divergence, Everything exists. Word and picture simultaneously counterpoint and interpret each other. Their force-field filled with tension traces out their author\u2019s intellectual position: the direction of his research, the edges of his questions, the spheres of his struggles. The gesture of foregoing the possibilities inherent in colour and large canvases is evident, as is the questioning of origin, the inquiry into the components of the materials and the principles of their development, the aspiration to achieve transparency. The \u2018art of abandonment,\u2019 drawing offers from the outset potentials in this direction. Schmal\u2019s pictures, however, emerge not from representational painting, their function is not to portray the surface forms, spatial relations, light and colour effects of object formations. Rather, they depict the primeval gestures of imagery: scores, strokes, engravings, blotches \u2013 the results of the formation of signs and attempts to establish contact and relationships with materials.\u201d<\/p>\n
J. A. Tillmann<\/p>\n
[\/vc_column_text][vc_empty_space height=”32px”][vc_single_image image=”9578″ border_color=”grey” img_link_target=”_self” img_size=”full”][vc_empty_space height=”32px”][vc_column_text]\u201cAs someone who has studied painting, he reduces his pictorial world to the essence of drawing in order that nothing perturb him in his concentration on the essence. He always remains in the empire of disegno, creating the wonderfully fine abstraction of his pictures with drawing, in his case painterly quality grows out of drawing; his brushstrokes are pencil marks that have thickened into bands. His pictorial world is completely free, disengaged and autonomous, while it is also strict and powerful, a kind of order makes itself felt through the disorder. Schmal attains this duality with highly delicate graphic spatial play and by transforming the support into the picture itself: he crumples the paper or bends the metal as painters do with the imaginary picture plane, the creases step into the space of the picture, and the picture, the drawing continues the play of the spatial effects caused by the crumpling. What is surprising is that this method led him to the postulation of absolute relativeness, to the idea that nothing matters, yet this does not occur, on the contrary, the picture assembles into a unit, things are straightened out while revealing their inner complexity and contradictions.\u201d<\/p>\n
Mikl\u00f3s Sulyok<\/p>\n
[\/vc_column_text][vc_empty_space height=”32px”][vc_single_image image=”9580″ border_color=”grey” img_link_target=”_self” img_size=”full”][vc_empty_space height=”32px”][vc_column_text]\u201cK\u00e1roly Schmal belongs to the small group of people who in some way or another have \u201cremained much as they were\u201d over the course of the last twenty-twenty-five years: his subject matter and his frame of mind have fundamentally remained unchanged. His objectified photographs, which are \u201cchilled\u201d with drawings and chemicals, have always been created with a strong sense of metaphysical determination and attachment, and they have always addressed the duality of light and shade in a reserved, dry manner in an impoverished monochrome or barely coloured (working)attire of some kind of strangely enthusiastic fatalist. The geometric elements casting shadows in his pictures stand or lie in planes that even in their barrenness can be interpreted richly as actual spatial landscapes, much like Pilinszky\u2019s sleeping nails in freezing sand, but the lyrical obscurity is scattered by Schmal with geometric references. Or more precisely: partly with a geometric approach that recalls the conceptual photography of the 1960s and the 1970s and partly with the formal language reminiscent of works of the Constructivists of the classical avant-garde era, he concretizes-focuses the duality of light and shade, which has been consolidated into motionlessness. The serial nature of the works also refers to the influence of a conceptual frame of mind, as a result of which, however, an interest in the power of motion, which compels change, appears: the \u2018examination,\u2019 however, always concludes with the presentation of motionless as a monstrance like manner.\u201d<\/p>\n
Istv\u00e1n Hajdu<\/p>\n
Magyar Narancs, 16 May 2002<\/p>\n
[\/vc_column_text][vc_empty_space height=”20px”][\/vc_column][\/vc_row][vc_row row_type=”row” use_row_as_full_screen_section=”no” type=”grid” text_align=”left” background_image_as_pattern=”without_pattern” template=”ism_template_1″ list_align=”horizontal” display_counts=”true” display_full_name=”true” locker_template=”2″ enable_timeout_lk=”0″ sm_timeout_locker=”30″ not_registered_u=”0″ reset_locker=”0″ locker_reset_after=”30″ locker_reset_type=”days” ism_overlock=”default” sm_lock_padding=”50″ sm_d_text=”<\/p>\n