The summer workshops held at the enamel factory of Bonyhád were in the front lines of the symposium movement, which flourished in Hungary at the end of the ‘60s. Experimenting with the new material of enamel paint had a liberating effect on the participating artists, led by Ferenc Lantos. The exhibition at the acb Plus shows how Lantos took his consistent visual system, already known from his graphic art, and applied it to enamel art, thereby creating a new type of artwork to be displayed on buildings, in public spaces and in natural settings. Lantos, having now become experienced at the technical possibilities of enamel and with the help of factory workers, developed his own, distinctive visual language of enamel panels, using repetitive forms created by stencils, and opaque colours that could retain their hues during the lengthy process of high-temperature firing. The main work of Lantos’s architectural oeuvre is the DÉDÁSZ Frieze, some panels of which are included in the exhibition at acb Plus. 

Ferenc Lantos (1929-2014), in the 1960s, through organic experiments, developed a consistent visual language that deconstructed the natural scene into geometric elements in the Mondrianian sense. He studied under former Abstraction-Création member Ferenc Martyn, whose influence inspired Lantos to focus on carrying on and renewing the abstract and constructivist traditions of the 20th century. By the end of the ‘60s, the geometric direction presented at the exhibition had already become dominant in his art.