Date: 2019.11.15 - 2020.02.28.
Vernissage: 2019.11.14. 6 - 8 pm
Having turned 80 this year, Imre Bak is celebrated by acb with a triple exhibition. The space of acb Gallery presents the artist’s latest works from 2019, while acb NA and acb Attachment feature selections from different stages of the artist’s oeuvre in the period spanning from the 1960s through the 1990s, with a focus on pieces that have never been exhibited thus far, or have, but a long time ago. By revisiting some distinctive works from this artistic career of more than fifty years, spectators are offered an opportunity to examine the manifold yet consistent evolution of Bak’s art, discover the ways he has addressed problems related to the genre of painting throughout his oeuvre, and marvel at the consistently exceptional quality of his past works as well as his latest pieces.
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.