{"id":8634,"date":"2024-09-21T16:38:34","date_gmt":"2024-09-21T14:38:34","guid":{"rendered":"https:\/\/mnbarts.hu\/?p=8634"},"modified":"2024-10-15T08:24:53","modified_gmt":"2024-10-15T06:24:53","slug":"gut-feeling-software-grammar","status":"publish","type":"post","link":"https:\/\/mnbarts.hu\/en\/gut-feeling-software-grammar\/","title":{"rendered":"Gut Feeling &#038; Software Grammar"},"content":{"rendered":"<div data-elementor-type=\"wp-post\" data-elementor-id=\"8634\" class=\"elementor elementor-8634\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-02f0ca7 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"02f0ca7\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-122c886\" data-id=\"122c886\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-a7c06ff elementor-widget elementor-widget-text-editor\" data-id=\"a7c06ff\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 26-03-2024 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<p><strong><em>Young artists from the Central<\/em> <em>Bank of Hungary\u2019s Art Collection <\/em><\/strong><\/p><p><strong>\u00a0<\/strong><\/p><p><strong>The exhibition explores the internal logic of the configuration of forms in contemporary artworks, with a selection of materials from the collection of the Central Bank of Hungary (Magyar Nemzeti Bank, MNB). The focus is on the analysis of the different methods of visual construction, highlighting the two distinctive methods among young Hungarian artists. Instinctive configuration of forms and digital layering. Organic visions from within and machine logic from drawing software. The exhibition of the works by young Hungarian artists analyses the dual nature of current processes in visual construction, juxtaposing gut feeling and software grammar.<\/strong><\/p><p>\u00a0<\/p><p>\u00a0<\/p><p>One of the fundamental aspirations of 20th-century modernism broke with Aristotelian mimesis and the centuries-old tradition of portraying reality to realise the inner creation of form that emanates from the artistic psyche. This was also represented by the surrealists and the exponents of concrete art. By a divine gesture \u2013 ex nihilo \u2013 the creator creates the forms that spring from themselves. As Hans Arp remarked about his early abstract works: \u201cThese works are realities pure and independent with no meaning or cerebral intention\u201d.<\/p><p>Following the era of post-conceptualism, the modernist tradition of forms from within has reignited in the contemporary art production of the last decade. Artists create surrealistic forms that are difficult to capture in words, or work along analogies relating to nature. Imaging fell outside the realm of rationality, became filled with instinct and spontaneity. Artists ignore the hi-tech logic of contemporary digitality and return to the free fields of the archaic forms of existence. They create separate realms of practices that are familiar even if unknown.<\/p><p>J\u00f3zsef Csat\u00f3 creates sprawling biomorphic creatures from amoebas in his semi-abstract canvases \u2013 reminiscent of Arp\u2019s work, Nikolett Bal\u00e1zs crafts feminine fantasy installations from materials found in backyards, \u00c1d\u00e1m D\u00f3ra rewrites the basic units of the urban landscape in a light-hearted way making them casual gestures of patches, G\u00e1sp\u00e1r Sz\u0151ke unleashes carpet patterns painted on new wave wolf fangs from his imagination, and Csaba Kis R\u00f3ka floats bizarre organic aliens in the weightless realm of zebra-print space-time. At the same time, Erika F\u00e1bi\u00e1n \u2013 escaping from the psychological pressure \u2013 dots her majestic paintings with pastel body colours with a monomaniac obsession, while Slovak-born Rita Koszor\u00fas evokes Kurt Schwitters\u2019 spontaneous Dadaist collage on her abstract surfaces, Mexican-American Anthony Vasquez relies on the barbaric spontaneity of the saw machine, while D\u00e1niel Bern\u00e1th, retreating into forest solitude, stretches his monochrome moulded canvas panels on stretcher bars cut along the grain. These nine young Hungarian artists represent the nine possible paths of creative processes that feed on instinct. Their approach is a contemporary reinterpretation of mid-20th century modernity, drawing from the archaic.<\/p><p>\u00a0<\/p><p>Alessandro Baricco, in his 2018 book titled <em>Game,<\/em> suggested that the \u201chuman-push-button-screen\u201d trio invented by gamers created a new civilisation of digital DNA. Just as the foosball table at Baricco was replaced by video games, digital drawing software took the place of model drawing and shape building in the studios.<\/p><p>Since the Renaissance, visual art has traditionally been based on the duality of structure and mass. This duality is repeated everywhere. The compositional sketch included a matrix of paint that arranged the pigment mass into brushstrokes, as the skeleton discovered in secret autopsies included the corporeality of muscles and tissues, and the perspective abstract line-network the three-dimensionality that became space. But digital image files projected onto the plane of a screen brought a new perspective. Drawing software \u2013 since Photoshop 3.0 in 1994 \u2013 breaks down the scene to be edited into layers, and the artist edits the layers one by one and then compresses them. With Generation Y young artists becoming skilled in the use of graphics software, this common practice is also reflected in their paintings. Artists design their works using a computer, usually by transferring the layers onto the surface of the image using the stencils of a plotter. Their method of creation, directly or involuntarily, is permeated by a preconceived, mechanistic, layering logic, eclipsing the privileged role of the hand and the psyche.<\/p><p>R\u00f3bert Batyk\u00f3 uses his own self-designed painting machine to scrape \u2013 and duplicate in a ghost image \u2013 the computer-designed paint mass on canvas, M\u00e1rton Nemes builds his vibrantly techno visual world from industrially manufactured elements and spontaneous gesture splashes, and Gerg\u0151 Szinyova imitates the worn patterns of old poster prints on his semi-abstract, brightly coloured, cool canvases. The sculptor Menyh\u00e9rt Szab\u00f3 skins the classic human face, distorting universal portraits as falling masks, while Zsuzsanna K\u00f3r\u00f3di fills pixels and arranges them in subfolders in her prismatic glass reliefs, Judit Horv\u00e1th L\u00f3czi pays homage to the Hungarian forerunner of computer art, Vera Moln\u00e1r, and Gy\u00f6rgy G\u00e1sp\u00e1r reinterprets the flat-glass tradition of Hungarian glass art with his translucent, structural drawings. Meanwhile, Istv\u00e1n Felsmann creates his pseudo-constructive form language from Lego bricks that were sawed and painted, Martin G\u00f3th transfers the aesthetics of old video games to the fun mesh of square grids, and \u00c1d\u00e1m Varga \u2013 transforming himself into a painting robot \u2013 draws all the possible colour bands of the CMYK code system underneath each other, M\u00e1rk Fridvalszki mixes found Mid-Century motifs into retro-futuristic album covers in his acrylic-transfer-printed paintings, and Tam\u00e1s Melkovics creates an open system of plastic network theory with his sculptures designed with 3D software, promising variability and expandability. These thirteen artists show the various forms of a new aesthetic modernity based on layers in the young generation of Hungarian art. They represent the possible directions of software grammar alongside the intuitive world.<\/p><p>\u00a0<\/p><p>\u00a0<\/p><p>Curator: G\u00e1bor Rieder<\/p><p>Exhibited artists: R\u00f3bert Batyk\u00f3, D\u00e1niel Bern\u00e1th, J\u00f3zsef Csat\u00f3, \u00c1d\u00e1m D\u00f3ra, Erika F\u00e1bi\u00e1n, Istv\u00e1n Felsmann, M\u00e1rk Fridvalszki, Gy\u00f6rgy G\u00e1sp\u00e1r, Martin G\u00f3th, Csaba Kis R\u00f3ka, Zsuzsanna K\u00f3r\u00f3di, Rita Koszor\u00fas, Judit Horv\u00e1th L\u00f3czi, Tam\u00e1s Melkovics, M\u00e1rton Nemes, Nikolett Bal\u00e1zs, Menyh\u00e9rt Szab\u00f3, Gerg\u0151 Szinyova, G\u00e1sp\u00e1r Sz\u0151ke, \u00c1d\u00e1m Varga, Anthony Vasquez<\/p><p>Location: CerModern, Ankara (Alt\u0131nsoy Street, Number: 3, 06101 S\u0131hhiye\/Ankara\/Turkey)<\/p><p>Opening of the exhibition: September 21, 2024<\/p><p>Exhibition on view: September 21, 2024 &#8211; November 10, 2024<\/p><p>\u00a0<\/p><p>\u2196 Anthony VASQUEZ: Gentle Whisper, 2021<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5085b00 elementor-widget elementor-widget-image-gallery\" data-id=\"5085b00\" data-element_type=\"widget\" data-widget_type=\"image-gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 26-03-2024 *\/\n.elementor-image-gallery .gallery-item{display:inline-block;text-align:center;vertical-align:top;width:100%;max-width:100%;margin:0 auto}.elementor-image-gallery .gallery-item img{margin:0 auto}.elementor-image-gallery .gallery-item .gallery-caption{margin:0}.elementor-image-gallery figure img{display:block}.elementor-image-gallery figure figcaption{width:100%}.gallery-spacing-custom .elementor-image-gallery .gallery-icon{padding:0}@media (min-width:768px){.elementor-image-gallery .gallery-columns-2 .gallery-item{max-width:50%}.elementor-image-gallery .gallery-columns-3 .gallery-item{max-width:33.33%}.elementor-image-gallery 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The focus is on the analysis of the different methods of visual [&hellip;]<\/p>","protected":false},"author":1,"featured_media":8618,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[488,482],"tags":[],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v23.1 (Yoast SEO v23.1) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Gut Feeling &amp; Software Grammar - MNB Arts and Culture<\/title>\n<meta name=\"description\" content=\"Gut Feeling &amp; Software Grammar. Young artists from the Central Bank of Hungary\u2019s Art Collection\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mnbarts.hu\/en\/gut-feeling-software-grammar\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Gut Feeling &amp; Software Grammar\" \/>\n<meta property=\"og:description\" content=\"Gut Feeling &amp; Software Grammar. 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