‘It happened after the Easter in 1970 that I drew my first non-Euclidean frame of reference works with different sized squares arranged on the time axis, in plain and space, programmed and composed sequentially. Each radical innovation requires language phrases. In such language one rational component like structure, e.g. a 4 x 4 tetragonal composition, results in new forms due to the different positions. Therefore, I can state that in my works the structure is a completely different something than the form: s ≠ f
I use the term non-Euclidean mathematical shaped meta-works for the isolated realisation of these pieces.
I consider primarily László Péri to be my 20th century ancestor who composed his first shaped work in Berlin (Concrete relief 1920-21), and László Moholy-Nagy (Circle sections 1921-23). These works initiated the thinking about the ‘shaped canvas’. From the end of the 1950s they were followed by Frank Stella and many others who were all thinking in the derivatives and deductions of the Renaissance-principled Euclidean geometry.’ (Attila Kovács)
Attila KOVÁCS was born in 1938 in Budapest. He emigrated to West-Germany in 1964 and graduated from the Department of Art at the Staatliche Akademie der Bildenen Künste in 1970. KOVÁCS moved to Cologne in 1972, where he lived and worked until 2010. After 1984, he regularly returned to Budapest, and had a retrospective exhibition at the Kunsthalle Budapest in 1995. Currently he lives and works in Budapest.
Starting from 1958, and later between 1964 and 1970, he created a unique artistic language that he named ‘Frame of Reference and Trans-mutational Plasticity’. In this series, he built his own system of non-Euclidean sequential geometric abstractions by mathematical coordinates along an ‘XYZ time axis’. This infinitely variable series is defined by the artist in ‘The Function Table of Relativizing and Synthesizing of Visual Structures’ (1973-76). The selected sequences were executed on canvas mounted on wooden board, or on paper.
Květoslava Fulierova’s archive inhabits approximately two built-in wardrobes in her apartment. The archive is distributed in various cases, many of which are empty chocolate boxes. Květa’s archive has thematic categories (in addition to the chronological division); themes such as work with amateurs, travels, exhibitions, family life etc. Whilst her partner Július Koller collected the ephemera, Květa would come home with heaps of photographs, which would not only end up in the family photo album; they would later undergo Július’ post-production.
For Květoslava and Július documenting the banal, ordinary moments of everyday life became a favored practice. The more ordinary the situation, the more exalted the formal administration became. By collecting information from all sorts of trivial everyday objects (tickets, telegrams, newspaper clippings), and sorting them by theme Koller creates an archive, which he uses as a source, while leaving a message to his “ideal audience”. He also post-produces other quotidian objects, as well as Kvetoslava’s photographs: captured spontaneous moments, such as their grandchildren at play.
X6 Photo Edition Gallery
Október 6. u. 21. / +36307024330 / x6gallery.hu Sun - Wed 10am to 6pm, Thu - Sat 10am to 8pm
Group Exhibition: LUMAS portfolio and Hungarian artists Bence Bakonyi, István Lábady, Zoltán Vancsó and Erika Lakatos