Opening show: 19.09.2019 7-8.45pm
Acb Attachment hosts Máté Dobokay’s (1988) first solo exhibition as acb artist. In his practice, the young conceptual artist explores the limits of photography: he often uses cameraless means and operates with long phases of research before unveiling the inner structure, the raw materials, chemical and physical components of photography. The paper, the photographic chemicals and the chemical reactions being the tools of his investigations, the works resulting of his photographic experiments cannot exactly be labelled as photography. The exhibition entitled Density revolves around three different series that Dobokay elaborated between 2013 and 2019. The selection featuring abstract pictures focuses on the medium and its material aspects, as well as on the relation between photography and painting.
Máté Dobokay graduated from the University of Pécs and the Photography department of the University of Kaposvár. In 2018, he was the corecipient of the first MODEM prize in Debrecen. He has been showing his works regularly since 2012, in the Ludwig Museum, the Vasarely Museum, the MODEM and the New Budapest Gallery among others, and has participated in numerous European shows.
Opening show: 19.09.2019 7-8.45pm
The acb Gallery presents a representative selection of Endre Tót’s cycle entitled Layout Paintings, created between 1988 and 1991. Tót’s Layout Paintings can, in every respect, be regarded as a novelty both by professional circles and by public audiences; this is their first appearance since their original presentation at the Galerie Ucher of Cologne, almost thirty years ago, in 1991.
In the second half of the 1980s Tót produced cycles of works in which his previous conceptual ideas now found expression through the formal and material tools of painting. Of these series, his Layout Paintings have undoubtedly the most to offer in terms of their painterly richness: decorativity and the use of the patterns and vibrant colours typical for the period – with the visuality of press products. The artist re-abstracts pages, texts, images and headlines from finished press products according to his own logic – while, in the process, also allowing room for the colour field, monochrome and neo-geo traditions of painting. These works are still fresh today, however, not only because audiences had no access to it for so long, but also because they unconsciously amplify the superficial nature of media surfaces, currently subject to so much criticism.
Opening show: 19.09.2019 7-8.45pm
With her experiments on silk, Aranka Hübner (1931–2019) belongs to the great generation of Hungarian neo-avant-garde fibre artists. The technical possibilities offered by silk led her to focus on questions related to space, allowing her to connect to an international tendency of post WWII abstraction in which textile occupied a central role.
From her early monotypes to her later works in three dimensions, the artist elaborated a formal repertoire originally inspired by a set of natural, organic motives that she gradually transformed into an abstract, geometrical language. Her first, two dimensional prints on silk characterized by a homogeneous facture soon gave way to plastic silk compositions built on the idea of variation.
Hübner’s career unfolded between 1968 and 1980, coinciding with the development of fibre art and the ending of its golden age. The rediscovery of the artist’s remarkable activity in the field of visual art – despite studying at the textile printing department of the University of Applied Arts – resulted from the international attention surrounding the Hungarian experimental fibre art.
The exhibition of Aranka Hübner’s work is the continuation of a new long term research project initiated by acb Gallery and acb ResearchLab; the aim of the project is to (re)discover and present the works of Hungarian neo-avant-garde artists who did not receive in their time the professional attention and recognition they deserved. The research presently focuses on artists whose primary medium was textile and fibre. Alongside with the exhibitions dedicated to Klára Kuchta and Aranka Hübner in 2019, our research also concentrates on the work of Margit Szilvitzky.
Róbert Batykó: King Size
2015.10.02 - 10.22.
Batykó Róbert: King Size
2 October - 22 October 2015, acb Attachment
Vernissage: 1 October 2015, 19:00-21:00
Poprocks, 2015, oil on canvas, 70 x 90 cm
Despite his young age, Róbert Batykó’s artistic career has been accompanied by such acknowledgements as the Strabag Artaward, the Leopold Bloom Art Award and a nomination for the AVIVA Award. The individual character of his art revealed itself from the onset of his career, drawing on Pop Art, street art, graffiti art, photorealism and montage in his unique approach to hard edge painting. Although his works are based on images from our daily lives, owing to the unusual crops and surfaces of different pictorial techniques within the same painting, Batykó’s paintings can best be characterised as abstract.
At acb Attachment’s latest exhibition, Róbert Batykó presents his most recent series, painted in Germany in the summer of 2015. The point of departure for the paintings was the packaging of various products: unfolded boxes decorated with vivid colour fields and abstract patterns. Batykó is drawn to this subject primarily because of its visual aspects; structured with folds and perforations, the mostly geometrically patterned, “flattened” paper boxes allow him to experiment with a novel approach to hard edge painting in terms of both attitude and technique. Batykó partly returns to the reduced formal devices of his first series (tapes, logos), and simultaneously he effectuates a technical reduction: he breaks with the multi-layered surface consisting of various pictorial structures, and instead, he works with a thin, single coat of paint, sometimes burnished, resulting in a print-like effect.
The series of paintings he began in the autumn of 2014, depicting the minimalist, functional design and sings on the back doors of trucks, also reflecting on the historical traditions of geometric abstraction, can be considered an antecedent of his latest works. The closed door, like the surface of the box in the present series, is a plane that shuts something away, conceals something, and the painting depicting it is a two-dimensional projection of this plane. In addition to the referentiality of the duality of concealment and revelation by the plane of panel painting to art history and visual perception, Batykó thematises the dichotomy between the representational function and of the painting and its quality as object. With its Pop Art-like character and allusions to street art and graffiti (and thus to the beginnings of his own art), the series is an evolution of Batykó’s artistic activity both in terms of painting technique and theme.