H-1012 Budapest, Várfok St. 11.

TUESDAY JANUARY 22, 2013, Between 7 and 9 p.m.

The exhibition will be opened by art historian Zoltán Somhegyi at 7 p.m. 

The exhibition is open:

From 23.01 to 02.03.2013, between Tuesday and Saturday 11 a.m. – 6 p.m.

Being Convenient… (?) – this is the picture’s title. The work displayed on the invitation card of Róbert Várady’s (b. 1950, Budapest) most recent exhibition is an affirmation and a question at the same time, while it invites us to reflection too – as we are used to, considering his past œuvre. However, the works to be presented at the show titled Acroscope are not exactly continuing the painter’s more or less familiar train of thought where the spectator would expect it, as a determinative element comes (once again) in the foreground of nearly every work: space. 

Taking in consideration the past periods of Várady’s œuvre within a decade – focusing on the formal aspect of the œuvre – we mainly encounter planes, abstract, geometrical shapes, fractals, or ’meandering’ figures, (well-known) people created with a particular realism and represented in rigorous poses, or perhaps heads appearing at different points of the interface – all in front of a background of planes. 

An integral fact of Várady’s œuvre is that his works are some kind of condensations of the ’atmospherical’ phenomena of our contemporary era’s social, scientific, theoretical domains: without dealing with concrete, casual, actual facts on his works, Várady loves defying the visual representation of actual theories floating ’in the air’ or intellectual streams, a task which obviously guides his painting towards a more conceptual direction. His pictures are at the same time artworks created with the technique of painting and almost symbolical results of thought-systems coquetting with most complex scientifical theory-planes – of which last element should be added by the spectator to achieve the absolute interpretation.

The new works of Várady can be divided into two bigger unities: a part of the exhibition is constituted of those paintings which, dislocating the spectator of his usual view of the world, present ’reality’ from a top-view. The painter depicts his human figures from a perspective assuring an exclusive view angle: a kind of voyeur role through which the spectator may ’oversee’ his human companions’ situation and location, but also a role in which he can slip into ’for the time of the picture’, a controlling role which keeps everything well in hand. Várady covers the ground under the walking figures with geometric line webs and systems alluding to doubt and relativeness characterising our actual world and overflowing it – as if the the strength of the force arriving from above would clash with evanescent, elusive and infinite emptiness, insomuch as the unity seeming consistent dissolves to the impact of its headway.

The other half of the exhibition is composed by deployed, real-like and imaginary spaces with their casual actors in them, actors who sometimes continue to do what they do like ants, absolutely not concerned by the observant, but sometimes pose as self-conscious individuals. Cold colours, sterile forms, relations broke up into atoms, alienation: in the centre of Várady’s works an existential situation to which causes he won’t reflect directly – as we know he will let the spectator finish it – or if he does, the scene will fall into irony. 

Várady’s works ask questions which seem very simple but the answers lead to quite complicated webs. Although they won’t solve the problem instead of us, the spectators may discover some Survival Exercises on the new paintings which might help them to find the answer. 

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