Lokart
Exhibitions

Painter, member of the MAMŰ Society. He also uses video and photography in his work. He also creates installations. His work has been awarded several prizes and grants.

Szegedy-Maszák's artistic approach is characterised by experimentation closely linked to technical media, using a wide spectrum of media in her work, from traditional chemical-based photographic processes to painting and printmaking, interactive virtual and augmented reality installations.

In my work, I am interested in the process of community degradation and the destruction of the environment in which I live every day. Social neglect, destruction, nepotism, oppression and so on, have become the 'norm' and this way of (not) functioning provokes a reaction in me, and as a result my works are born, the ultimate aim of which is not to change society, but to represent the problems our communities face every day.

Ines's whole work is strongly autoreferential, and these traits are clearly present in this work. Her reflection on past situations is symbolised in the images and motifs, her contemplation of the unexpected and unpredictable everyday life, the variety of emotional states is evident in each drawing and in the installation as a whole.

Gábor Koós's work is characterised by an impulse to preserve places and objects of biographical relevance, and at the same time to approach the more general interest of exploring, reproducing and thus appropriating space and its defining structure. These are the words she uses when talking about her drawings by Kamilla Szíj//A, for example: cold pencil, paper, pencil, reduction, structure, rules, decisions, element, line, densification, thinning. Taken separately, these words do not, by themselves, contain the essence. His drawings are concentrates; he tries to create with them a part that refers to the whole.

The artist, widely known for his large-scale installations his background in mathematics and physics informs much of his practice. Várnai's works straddle the fine line between the artistic and the ordinary, creating striking assemblages of everyday materials. His work has been shown in numerous exhibitions throughout Europe and the United States.

21-25 June, open from 14.00-18.00

OROSZ KLÁRA and BABIC MÍRA, BÓVÁRI FANNI, HORTI ÁGNES ANNA, KUNKLI DÓRA, second year students of Environmental Culture at the PTE KPVK, a project created in cooperation. We created a space-specific installation from recycled corrugated cardboard, using geometric systems of modular elements. We explored modularity as a constructional pattern, an organizing principle in the field of design through concrete examples of practice.

I always think in layers. Layers create parallel and perpendicular images that move in space and time, with a repeating rhythm. Most of my series revolve around the theme of different screens and reflect on our digital environment.

In the past, the artist's works were as much about industrial or man-made landscape details - built structures, scaffolding, patterns in square stones - as they were about various forms of geometric abstraction. From the mid-2010s, her attention turned from the everyday, visible reality to the elemental- structural systems and structures of nature. Her fragment and collage-like works are no longer based on concrete "visual themes", but rather seek to model the mechanism of perception.

It focuses on exploring the artistic, primarily sculptural, qualities of the glass medium by questioning the genre itself and reinterpreting its experimental possibilities. The intention of his glass objects is less illusory, more to explore and demonstrate the mechanism of the illusory optical phenomenon.

The artist, who graduated in sculpture from the Hungarian Academy of Fine Arts, has been exhibiting regularly in Hungarian and international venues since 1996. She has created objects, prints and site-specific installations. In 1998 she started making computer-based works. She has been making drone sculptures since 2016, which have been exhibited at major public events, including Buckingham Palace and the Kaohsiung Art Centre in Taiwan.

Adjunct Professor at the Department of Fine Arts, PTE. His works reflect the geometric and op-art trends in contemporary painting both in Hungary and internationally. Her paintings unfold a pictorial practice in which combinations of colour and form expand on a seemingly infinite plane, embodied in a synthesis of ornamentation, gesture and geometry.

His sculptures offer the possibility of further abstraction, his geometries balancing on the often blurred border between reality and illusion. His primary concern is not to recreate reality but to create new visual structures.

He is currently a professor at the Painting Department, Faculty of Arts, PTE, and a Mihály Munkács Prize-winning painter. In his paintings he strives to express complex aesthetic content with few means. His philosophy of art is based on the material of the work of art itself, revealing the substance inherent in the material from its own qualities.

András Ernszt is an artist living and working in Pécs, Hungary.He was awarded the Mihály Munkácsy Prize in 2022 and was among the winners of the Strabag Painting Prize in 2003. His non-figural works are characterised by structure, dynamism and layering, which reinforce the illusory nature of the dance and proximity of nature. In the two works on display in the exhibition, the dynamics and momentum of the painted surfaces create a sense of movement. The painterly surfaces of the paintings are decorated with motifs reminiscent of plant forms, the combination of which evokes the memory and illusion of a natural spectacle.

His work is characterised by an analytical approach to painting, dealing with fundamental problems of painting such as the relationship between colour, form and colour, colour values, surfaces and composition, or the problem of representing space through different painting media, which he explores through a series of non-figurative series and cycles, often based on theories of colour and space.

Jérémie Setton questions painting and its existence outside the picture. His "two-sided modules" are wooden volumes placed in a lateral light. At the top, they have a mysterious monochrome surface... that doesn't exist. This surface is in reality made up of two faces that have been meticulously painted so that the clear colour placed in the shade is seen as the dark colour applied in the light. In this way, the volume disappears in favour of a captivating colour. It becomes like a 'ghost', present and absent at the same time.

The works submitted to the Lokart exhibition are the latest in a series of images from the last few years. They combine and condense my efforts so far. They are abstract paintings that explore the act of painting, the layering of the image. The different formal elements and image-making strategies interact with each other, overwriting and reinterpreting each other. What we see is at once concretely defined and ongoing, evolving.

I am concerned with the eternal problem of the representability of existence, which I try to reflect in the theatrical, dramatic or idyllic situations in the studio or in the landscape, full of strong gestures, which I return to "chosen traditions" to represent. I am a recurring character in my paintings, sometimes multiplied, sometimes with others.

Marc Desgrandchamps, a leading artist on the French art scene, plays with the concepts of transparency and superimposition. In his figurative paintings, bodies and objects are indeed recognised, perspective is often distorted, space is indeterminate and sudden anomalies arise.

Péter Tamás Halász has been exhibiting regularly at Hungarian and international exhibitions since the early 2000s. Although he graduated as a painter, he started making objects and installations after university. In the last ten years his works have increasingly focused on social and environmental issues

In 1980, he became assistant animator at the Pannonia Animation Studio. He has been making independent films and paintings since 1982. His first international recognition came in 1988 with Pictures, which won an award at the prestigious media arts festival Ars Electronica in Linz, and in 1989 he won the category's grand prize, the Golden Nica, for his computer graphics Gramophone.

Romhány Vera is a visual artist living and working in Brussels. She graduated as a painter and art teacher from the Hungarian University of Fine Arts. She has been an active member of MŰTŐ since 2017 and a member of the Studio of Young Artists Association since 2011.

He studied in Budapest and Helsinki, and worked as a curator at the Hungarian Cultural Institute in Berlin. He has participated in numerous international projects as an artist and curator. His work often reflects current issues, mainly using digital tools and animation.

Illusion is an important word for understanding this work. Photography occupies an important place in it, notably because of its proximity to painting. I stopped at each moment where the image emerges from the play of illusion. The images sometimes lend their verisimilitude to the narratives that come to life around them.

Jérémy Liron's painting is almost entirely focused on landscape, the subject of landscape, the genre of landscape, the landscape as a whole. He creates his works from photographs and not from landscapes painted on the subject.

As a photographer and video maker, Balley has been pursuing her own style of image-making for twenty years. Working in series with a large format camera, her work explores the representation of personal or communal rituals.

I watch my children's experiments in free-floating blurring with curiosity, often using their clear sketches (free of expectations, learned, practiced lines) to move forward with the dynamics of these instinctive forms. Recently, I was introduced to the carpet maker I've recently developed a carpet-making thread gun, which I use to make brightly coloured wool carpets.

Szegedy-Maszák's artistic approach is characterised by experimentation closely linked to technical media, using a wide spectrum of media in her work, from traditional chemical-based photographic processes to painting and printmaking, interactive virtual and augmented reality installations.

The artist and designer Ërell is openly experimenting with a form of ephemeral appropriation of urban space.

After his studies at the Ecole des Beaux-Arts in Mâcon, Philippe Droguet's visual work turned towards a systematic accumulation of traces of the century's shift into the unspeakable.

In his work, Frelih often explores analogue media and their communication, translatability and compatibility. The final product, the artwork, is often an aesthetic by-product, whether it is a video, video installation, photograph, web, computer program, object or painting. The individual and the community, society, are inseparable elements of his artistic and pedagogical thinking. Trtovac studied painting at the Academy of Fine Arts in Belgrade. He then continued his studies at the Düsseldorf Academy of Arts. He is a member of the IKG (International Art He was the founder and co-founder of Independent Art. He was awarded a doctorate in Fine Arts from the Sculpture Department of the Faculty of Fine Arts in Belgrade.

Les courants vaganbonds His works show a tendency towards authenticity, spontaneity and fluidity, the creation of emotional connections. He mainly creates videos in which he repeatedly stages a group of young people evolving in a wild environment.

The nature of the gaze on the female body, especially in the media, including cinema and advertising, is systematically deconstructed in Hélène Hulak's work. Her work is inspired by banal images that promote the objectifying eroticism of the body.

Karim Kal has been working from a documentary perspective for about fifteen years. The descriptive nature of his images the nuance of his photography is his work in light and composition. His photographs provide an indexical understanding of the and seeks a balance between elements that allow for a social and political reading of the subject and formal economy, drawing on the vocabulary of abstraction.

His art is a blend of the chiropractic phenomenologist, the hot and the cold conceptualism, thick-skinned and thin-skinned realist artistic attitudes. The starting point is mostly the relationship of man to himself and the spaces around him, objects and people. The possibilities of a common definition of the other and the same or or the impossibilities of the possible and the impossible, are the simplest possible cases of perception studies.

His work focuses mainly on astronomical connections to focusing on how space and time around us can be explored and represented space and time. In his projects, he primarily uses technical media in the form of approaches to explore the interrelationships that reveal the hidden processes underneath the layers of normal functioning. In his creative work, he combines analogue and digital and digital imaging, he experiments with various light and sound installations.

RENCONTRE is a series of hand embroideries on Jouy fabrics. It tells the story of the meeting of two countries, a meeting of cultures, a link between this typically French fabric and Persian miniatures. Both bring together scenes of everyday life, characters, animals and landscapes. Stories that could take place somewhere else, on the other side of the world. The elements of the Persian miniature try to penetrate this already existing world, while preserving their originality. This work represents a process of integration, which requires a great deal of effort and time, just like the hand technique chosen, embroidery.

The sensitive visual language of his photographs is one of the most important but rather a way of acting, is the observation of perception. In this way, as this is done through the medium of photography, it is also the medium itself, and the images the reception and perception of the medium. The present exhibition is a space for his previous works and his most recent works repositioning of his recent and recent works.

In his works he often uses everyday objects with a personal touch. Accordingly, he is extremely free to vary forms: object, sculpture, photography, animation, video, drawing, painting, kinetic and digital solutions, astonishing balance situations. Despite a broad spectrum of expression, a single work of art, animation, sculpture, animation, sculpture, kinetic and kinetic objects, kinetic and kinetic expressions technically sophisticated computer installation, there is still some kind of media without, (immediate), energetic appearance, as in his simplest line drawings.

T(n)C was founded in 2017 by Agnes Varnai and Tina Kult. They live and work in Vienna and experiment with a wide range of media, including virtual reality, 3D, installation and fashion. By combining the different disciplines, they are researching immersive experiences to connect the digital and physical levels of realities. T(n)C believes in the power of joint efforts. Their aim is to expand the practices of collective storytelling with a collaborative approach. https://tnctnctnc.com/

Each of his works justifies different tools that he uses or combines, be it drawing, photograms, classical methods of sculpture or modern computer software and programming languages. In his artistic practice he explores the relationships between sight, vision and interpretation. His aim is not to explain or create illusions of human experience, nor to interpret human vision. Instead, he treats our eyes, our vision and our brains, as one medium among many. His work is an experiment with this particular medium.

Gábor Koós's work is characterised by an impulse to preserve places and objects of biographical relevance, and at the same time to approach the more general interest of exploring, reproducing and thus appropriating space and its defining structure. When talking about her drawings, Kamilla Szíj//A uses, for example, the following words: cold needle, paper, pencil, reduction, structure, rules, decisions, element, line, densification, thinning. Taken separately, these words do not, by themselves, contain the essence. His drawings are concentrates; he tries to create with them a part that refers to the whole.

Algorithmic art, systems thinking, workshops: artistic visualisation and real-time sonification with code. Grassroots communities, decentralised networks, exploring autonomy and resilience on the liminal web and beyond.

Animation film director. In 2020, his diploma film won the Jury Prize at the 60th Annecy International Animated Film Festival in France. He believes in the potential of interdisciplinary thinking and believes in free interchangeability between genres. For him, animation as a genre perfectly encapsulates this kind of thinking. In addition to moving image and music, he also works as a visual artist, working with traditional graphics, with an interest in abstraction.

Ferenc GRÓF Artist, teacher and curator, living and working in Paris since 2001. As a member of the Société Réaliste and later as a solo artist, he has participated in several solo and group exhibitions in France and abroad. His work explores ideological imprints in graphic design and the intersection of design and spatial experience. His practice is consequently genre diverse, drawing on elements of language and typography, cartography and heraldry. Zsófia GYENES graduated as a fine artist in Paris and was accepted at the Arts Deco (ENSAD) in textiles. In addition to various methods of industrial textile design, she is also a master of traditional handicraft techniques. She has worked as a designer for several fashion and interior design companies. In spring 2022, she set up her independent studio in Paris.

It's just a picture, it can't hurt you, we think, and we open the article with photos of the disaster or end the day with a film about serial killers. We count on the images we create to aestheticise and make reality comfortable. They create the illusion that, with the right filter, anything is tolerable.

She is a fourth year student at the Hungarian University of Fine Arts. She makes sculptures from filigree, unrolled, translucent three-dimensional meshes and explores the possibilities of transparency to present an alternative universe. She often illuminates her work with point light, the resulting shadows turning the form into a plane on the wall, a carrier and projector of dimensions. Her theoretical research is concerned with virtuality, forgetting, different layers of cognitive psychology and the relationship between space and the human being.

He studied at the Department of Graphic Arts of the Hungarian University of Fine Arts. The common intersection and coherence of his diverse works is the perception and cognition of time in different ways and the search for our place in it. This can take the forms of remembering, recording, contemplation, procrastination and waiting while engaging with the works in the slow process of their conception.

Eszter Metzing's art conveys the suggestions of an unknown universe. The call of a totally unknown world, dark extremes that insidiously creep into broken and fractured minds. Surrendering to this transformation, we realize that we were the alien universe all along.

Animation director, character designer, multiplatform artist. Her work has created a unique visual universe, boldly using different platforms and experimenting with new technologies. Her quirky and humorous work fits perfectly into any format, be it GIF, NFT or even AR. Giphy's profile stands at 21 billion views and she has worked with brands such as Warner Bros, Adult Swim and MTV. In addition to her artistic career, Juli also inspires new generations as an instructor in the animation department at the Moholy-Nagy University of Art and Design.

Melinda Kádár is a Romanian-born animation director and filmmaker. Her experimental animation thesis film has been awarded at several international festivals, she often works as a collaborator in animated audiovisual installations and as an art teacher at the Moholy-Nagy University of Art and Design in Budapest. At the heart of Melinda's work is a tirelessly moving contradiction, a desire to both push boundaries and pay homage to Platonic ideals of beauty, goodness and truth.

Freelance animation film director and illustrator. Humour is important in her work, she reacts ironically to the often alarming phenomena around us, with a surreal disconnection from reality. She is also very fond of the sci-fi genre because it allows her to take painful, current events one step removed, set in fictional locations, and thus examine them from a new perspective. In addition to filmmaking, she regularly illustrates for HvgExtra Psychology magazine and teaches at MOME's animation department.

The pusheen loop is part of the "folded roads" series 2022. The series deals with the merging of digital and real spaces, infusing the works with visual humour and paradoxes. The pusheen loop presents a popular internet motif with repetition typical of old pop-up windows or solitaire games.

The nature of the gaze on the female body, especially in the media, including cinema and advertising, is systematically deconstructed in Hélène Hulak's work. Her work is inspired by banal images that promote the objectifying eroticism of the body.

I watch my children's experiments in free-floating blurring with curiosity, often using their clear sketches (free of expectations, learned, practiced lines) to move forward with the dynamics of these instinctive forms.

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