- Dates
- 2 October 2002 – 1 November 2002
- Venue
- Godot Galéria · 1075 Budapest, Madách út 8.
- Press contact
- [email protected]
Short listing
An exhibition resurrected from the original WordPress archive of the Godot Gallery.
Full exhibition text
A
Godot Gallery
Cordially invites you.
A. Nagy Gábor
c o r s o
at the opening of the exhibition entitled ___
On 2 October 2002, from 20 until 22.
Larger size
Title: 1075 Budapest, Madách Road 8
The exhibition can be viewed from 2002 November until 1.
Corso – The compressed painting
A. Nagy Gábor exhibition
- The picture was always above everything else at Versace. Do you think that the photographs of the garments are almost as important as the garments themselves?
The image is what drives the business. It drives the fashion world, the music business: the image is important everywhere. The image is how you present yourself to people, how you project yourself. The people who read fashion magazines are first more attracted by good images than by the clothes themselves. (Sexpertise – Donatella Versace interview, excerpt, Numéro 19 2000. December / January)
Rome’s famous street, Via del Corso, with its glittering shops, gawking tourists and “strolling” locals, was inspired by the pre‑Christmas bustle, which in turn inspired the paintings by A. Nagy Gábor now on display in our gallery.
The personal remix of one's own photographs, magazine photo‑prints, and images found on the internet moves from a strange way of expression to a unified whole, which the artist calls “compressed painting mode”. Those who work on computers or use the internet are already familiar with the compressed data format. The peculiarity of digital image compression is a mosaic‑like structure that emerges from the narrowing of the information file, whose spatial manipulation possibilities and colour‑dynamic solutions have long preoccupied the artist.
Works by Gábor A. Nagy can be regarded as remixes due to the unrestrained amalgamation of classical style elements, as optical colour mixing may even evoke Impressionism, the raster issue in the geometric abstract painting of the 60‑s and 70‑s, and the choice of subjects may also invoke pop‑art.
The images dissolve the fleeting moments of subjective experience and the impersonal outer world in the emptiness of representation, the narration and the colourful kaleidoscope of tiny squares. Because recognising the details of the depiction often requires heightened effort, Gábor Nagy offers space for the viewer’s creative imagination, playfully drawing it into the creative process. In this special interactiveness the artist’s visual world becomes complete when supplemented by images from the viewer’s own memory. This completeness, the perfect glamour seen from afar, falls apart as a dazzling spectacle when viewed up close.