#Gergő Szinyova | Explore Tumblr posts and blogs

tartsdmegazaprot · 1 year ago

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szia!

milyen kiállítást érdemes most megnézni Bp-en? láttál mostanában érdekeset?

persze, Q-ban Fehér László, Kiscelli-Műcsarnok tengelyen Reigl, friss kortársban pedig mondjuk Kisterem Szinyova Gergő? teljesen klasszikus vonalon pedig Szépmű Renoir <3

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brgzmpff · 2 years ago

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Andráskó Péter, Árki Tibor, Balázs Soma, Blaha Tamás, Dés Márton, Fedor Ilka, Ferencz Dániel, Fridvalszki Márk, Füredi Tamás, Horváth Tibor, Horváth Roland, Jancsó Dani, Kaci Simon, Kasnyik Anna, Keresztesi Botond, Koleszár Adél, Kovács Lehel, Kummer János, Lobot Balázs, Lődőr Dani, Magolcsay Nagy Gábor, Miklósvölgyi Zsolt, Mohamed Sophia, Orosz Richárd, Pásztor Theodora, Peer Krisztián, Stark Attila, Szárnyas Doboz, Szinyova Gergő, Szuharevszki Mihály, Tamási Diána, Todoroff Lázár, Topor Sára Hanna, Trapp Dominika, Vörös Krisztián Piros

Oooo. Azt hiszem február 4-én az egyik legmenőbb kiállítást fogjuk megnyitni az országban 😯😯😯😯😯

Ben Soir, a Nice to see you matrica apukaja megkérte a művész barátait, hogy válaszoljanak a matricára. És olyan arcok mondtak igent, hogy csak úgy pislogok!!!

Lassan osszeszedjuk a teljes névsort, de én úgy meg vagyok illetodve, hogy nyelni kopni nem tudok😯😯😯😯😯

#fontos #start hírek #start galéria budapest

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juliavecsei · 4 years ago

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Végre tanulhatunk valamit / Finally We Can Learn Something

11 – 31 September 2020

exhibition view • Kincsem Palace, Budapest / Adam Kokesch, Júlia Vécsei

photo: Dávid Biró

Following the last few months’ challenges, Kisterem steps out of its boundaries for a while. The gallery organizes a large-scale exhibition with the participation of its represented young and mid-generation artists in Kincsem Palace. The gallery initiated the project along the lines of thinking together and cooperation. Creating an opportunity to directly encounter art again instead of virtual presence, the exhibition presents an exciting selection of the latest works by artists represented by Kisterem.

The exclusive venue of the exhibition, Kincsem Palace in Reáltanoda Street, will open its doors again for the public during the exhibition. The palace was built in the 1870s by Ernő Blaskovich, the owner of the famous racehorse Kincsem. The palace is intact; however it was divided into apartments after the war and it has been uninhabited for decades. In the once lavishly decorated spaces of the neorenaissance building that will open its doors again for this special occasion, one can still discover remnants of the original silk tapestry, the decorated ceramic fireplace, the stained-glass windows, and the carved wooden doorframes.

Exhibiting artists: Ádám Albert, Ex-artists’ collective, Judit Fischer, János Fodor, Kitti Gosztola, Katalin Káldi, Tamás Kaszás, Ádám Kokesch, Gábor Kristóf, Krisztián Kristóf, Zsolt Molnár, Randomroutines, János Sugár, Zoltán Szegedy-Maszák, Gergő Szinyova, Júlia Vécsei

Curatorial concept: Kisterem

The exhibition can be visited between 11-30 September, from Tuesday to Saturday, 2-6pm.

#adamkokesch #juliavecsei

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gergo-szinyova · 4 years ago

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Text for the Kisterem solo show (2018) written by Dávid Fehér

Picture Formulas Buzzwords and fragmentary remarks on the new series of Gergő Szinyova

1. Colour dimension (cut, paste, print, paint) Colour in most cases is the subject of deprivation in the painting of Gergő Szinyova. Decolourization and turning towards monochrome are defining characteristics of his artistic practice. He converted the coloured series of paintings into greyscale and painted it in that manner in his previous exhibition, Imaginary Viaduct. The gesture of decolourization has its roots in the practice of grisaille, which was the means of illusionism in the Trecento and in Early Netherlandish painting. The grey-white illusory architectures and painted stone statues framed the painted picture and tricked the viewers’ gaze. Modern variations of grisaille are the greyscale snapshots of analogue photography and printed products, books, and grey surfaces of prints. Dirty greys of home printed picture files. By depriving colour, Szinyova pictured the process of reproduction, thematised the erosion of painting in the time of mechanical multiplication. As the next phase of decolourization he deprived colour completely from another series of paintings: he painted black on black, evoking old topoi of monochrome painting, thematising minimal differences of colouring matters and pigments, nuances and gleams. In his latest series monochromy turns into loud polychromy. In the first experimental pieces of the series the brushstrokes of the base colour mix as if they were made on a painter’s palette. In the newer pictures there are no strokes anymore, only colour fields touching with each other, sometimes sharply separated, in other cases sliding into each other, overlapping, or diverging, seemingly floating or stick closely to the surface of the painting. The colour patches sometimes counterpoint, other times intensify each other. Colour dynamics or colour dimension might be mentioned. Not only because of the sense of depth, distances and closeness but also because this time polychromy appears as the counterpoint of the monochrome used by Szinyova, referring by this to historical dimensions of painting, the traditions of monochrome painting, and the end of painting announced by Alexander Rodchenko. The pieces of the series can be considered to be the dialectical opposite of the former black paintings: colourlessness is replaced by coloured, angular by roundish, regular shapes by amorphous – at times “pixelised – forms. Szinyova, however, does not give up monochromy entirely, because in his new paintings all colour fields are monochrome. The painting is a polychrome collage of monochrome pictures. Collage must not be understood literally as in the case of Henri Matisse’s cut-outs. We see paintings that recall non-painterly processes: primarily cut-outs and printing. The commands “cut”, “paste”, and “print” are merged into one: “paint.” From the beginning (the grisaille) monochromy and colourlessness refer to the peripheries, boundaries, if you like, the utmost limits of panting. In this manner the monochromy of Szinyova that becomes polychromy can be described as the figuration of the endless end.

2. Print – repetition The paintings not only cite collages but prints, as well: primarily risograph prints; the aesthetics of slipping colour surfaces printed on each other; the beauty lying in mistakes; the particular revolutionism of the more and more upvalued “low tech” in the age of digital image flow, manual multiplication methods and “retro”; the paradox of risography; the contradiction that all copies produced by the copier are unique. Szinyova’s motives, forms, shapes are repeated yet unique. Dialectical pairs, peculiar “clones”, variants of each other. They seem to be prints. They appear as reproductions but in reality they cannot be reproduced. They create pseudo-reliefs, ornaments based on fine transitions, contrasts and harmonies. They refer to the painterly dilemmas of repeatability and unrepeatability.

3. Formats – patterns Pseudo-reliefs and ornaments, an imaginary puzzle’s – almost perfectly fitting – pieces, open structures constituted of closed elements might be found. Szinyova has been applying basic formats in his works for a long time: well-known proportions of A/2, A/3, A/4, A/5 sheets. The papers with length and width dividing into halves are basic modules that occur like ghosts. Pictures composed into pictures. In this sense the picture field is just like a radically enlarged, imaginary paper surface that just came out of a risograph. The emphasis being on “just like” and “as if.” While Wade Guyton turned printing into painting, Szinyova turns painting into printing, by projecting visuality of digital images, “low tech” multiplication and traditional easel painting on one another. His recurring forms, basic modules are frequently based on vector graphics, have digital origins, yet in the paintings they become open to pictorial depths. They look like prints (trompe l’oeil-like) but the end result is sensual painting based on the fine visual play of surfaces.

4. Painting and sampling Concepts of sampling, remake, and remix are used as clichés in the context of contemporary art. In recent years (soon decades) instead of the postmodern culture of quoting it is general that the reference is the inordinate system of digital links resembling to the thick network of rhizomes described by Gilles Deleuze and Félix Guattari. Each painterly gesture evokes another painterly gesture. As once Imre Bak cited Peter Weibel, “behind every picture there is another picture.” The painter works with a compley network of references, even if he is not aware of it. Szinyova evokes and co-ordinates different layers and references of the slightly more than a hundred years old history of abstraction, while in his vibrant colour-fields reminiscences of digital images, productions of the printing industry, design elements, and fanzine pages occur. The titles of the new series are not abstract codes reminding of automatically generated digital file names, but abstract notions indicating mysterious narratives, words and compounds filled with hints (Momentary Situation, Short song, Unknown, Comfortless, Comfort, Half). Beside the colour fields projected on one another, Szinyova creates particular interferences of codes projected on one another and code systems, questioning the dialectical relationship of technology and picture. He does not eliminate monochromy but builds polychromy of it. Pointing beyond painting from this side of it.

Dávid Fehér

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szinyova · 7 years ago

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Dóra Maurer (right), Gergő Szinyova (mid), Imre Bak (left) Ádám Kokesch (floor), ‘Abstract Hungary’, Künstlerhaus, Halle für Kunst & Medien, Graz, Austria, 23.6.2017.

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therest-inpeace-blog · 7 years ago

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