2009. március 28., szombat


At the last week I was in Melbourne. The exhibition in Glen Eira Gallery was rather popular: thanks to John and Esther there were as many visitors as in a regular show in Hungary - or may be more. Here is a short part of Jeff Makin's article in the Friday Herald Sun (Etch to his own): Apart from Orosz's technical virtuosity as an etcher these prints are, in so many ways, art about the making of art. Perspective is often reversed. Inside becomes outside. Roads and mazes turn in on themselves. The end becomes the beginning in a sort of pictorial Groundhog Day. There are over 50 etchings, plus posters, in this exhibition. It comes at a time when there is a great resurgence of interest in realism and figurative metaphor on the local art scene, and should therefor prove to be quite influentiallast sentence.
And the last sentence: Unfortunately this exhibition is on for only a week, so be quick! In this week I am in Sydney. I am here to visit some exhibitions: Archibald Show in Art Gallery of NSW, Yayoi Kusamas show entitled Mirrored Years in MCA and I Walk the Line/New Australian Drawing also in MCA.

2009. március 10., kedd


In the Eastern Bloc, the hammer and sickle of the Soviet flag are popularly known to be the tyrannical symbols. According to these symbols, the suppressed could be represented by the emblem of an ear of wheat and a nail. (In the eighties, I had a posterdesign – of course it could not made to be public – where, there were a torn ear of wheat and a bent nail in the shadow of the hammer and sickle.) After the political shift known as the change of system, the former losers could not join but turned against each other: my new poster ordered by a Berlin design studio shows the nail piercing the ear of wheat.

2009. március 8., vasárnap


Albrecht Dürer (1471-1528): An image of an artist drawing a nude woman through a perspectival frame.
From Underweysung der Messung (Instructions on Measuring), 1525 Woodcut

And here is the same situation from another point of view that is the viewpoint of the artist. What is he seeing through the apparatus?