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PREVIOUS EXHIBITIONS - Imre Bukta: Grandchild of Grandmother

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Godot Gallery invites you with pleasure to the exhibition of

 
 
Imre Bukta

Grandchild Of Grandmoter
 
 
 
 
Vernissage: 13th April 2011 from 8 p.m. until 10 p.m.

Open: until 14th May

Open: from Tuesday to Friday between 2 p.m. and 7 p.m., on Saturday between 10 a.m. and 1 p.m.
 
 
 

Imre Bukta’s exhibitions which are organized every two years in Godot Gallery are between the most important exhibition of the artist. The artist who moved ten years ago back to his native village represents with poetic sensitivity the hungarian province by his visual researches. His artworks are the witnesses of the empathic representation of the „hungarian fallow”, even if it is a landscape, a figure or sociological theme. His means of expressing are built on permanent opennes and experimentation, that’why this new show in Godot Gallery called Grandchild Of Grandmother will be also a surprise.
 
 
 

On his brand new big sized paper works he is mixing bravely the elements of drawing and painting, maybe we can say this genre fits the best to Bukta. Chinese ink, watercolor, pastel, tempera, graphite and other technics are indicting this special harmony and atmosphere.
The exhibited works were made in one breathe, they are forming one period of the Bukta’ oeuvre, so these works are real delicatessen for the fans of contemporary art.

 
 
 
Imre Bukta is one of the most originals of hungarian contemporary art: painter, performer, sculptor, photographer, installation artist. His works are in a lot of hungarian and international public and private collection and he represented Hungary three times on the Venice Biennal which is one of biggest international group shows in Europe. He a self-taught artist, debuted in the 1970s. His art is closely linked to the life and culture of those Hungarians who live in the country and make a living in agriculture. From the beginning, he has selected his subjects from the objects, scenes and figures of a life of hard work, to represent which he employs the most diverse devices: he turns his paintings into assemblages by incorporating natural materials of all description (hair, wood, maize, tiles, matches, etc.). In objects, installations and performances he links the everyday articles of peasant object culture as a matter of course, or uses them to build unique mechanical-visual constructions. His portraits and compositions can be considered special studies in sociology, though Bukta’s perspective is not that of the disinterested and distant analyst: he looks at, and represents, this peculiar world, full of bittersweet overtones, from the inside. Whether his approach is ironic, melancholic, (socially) critical or conceding, he always treats his subjects with an uncommon empathy.