Two Days, Two Weeks

TWO DAYS, TWO WEEKS

ATTALAI Gábor
GÉMES Péter
Vera MOLNAR
SZÍJ Kamilla
TÜRK Péter

2 – 26 June 2020

The exhibition can be visited online
https://vintage.hu/exhibitions/two-weeks-two-days

And during opening hours
tuesday-friday 2-6pm

Please visit the exhibition according to the current health precautions.

Vintage Galéria’s new exhibition borrows its title from two works by Gábor Attalai. The showcased artworks were produced by artists using different types of repetition within various creative strategies. Repetition plays an elemental role in art, as well as in everyday life, and by its very principle of operation always presupposes a kind of temporality. Gábor Attalai (1934-2011) arranged various segments of time within a shared space in his “time stamp” works (One Day, Two Days, Two Weeks, 1972) through repetition. The stamp was an indispensible tool at the time, in some instances Attalai used the stamp to impress a certain moment, while in other cases, he captured a fragment from the course of time. Péter Gémes (1951-1996) in his work entitled Diary – One Week (1994) created rhythmic articulation, another form of repetition. The individual images succeed one another in a linear sequence; upon viewing them creates the quality of temporality. The work can also be interpreted along more subjective lines in the context of Gémes’s oeuvre: as an experiment to face the passing time and to render time visible. Péter Türk (1943-2015) took advantage of symmetry – also a form of repetition, in which mirrored units follow one another – when creating his series entitled Under his shadow I delighted to sit... (1993-1994). Türk worked in accordance with a predetermined sequence of movements. In the garden of his house in Balatonszepezd, he painted the shadows of foliage that were cast onto the paper with brushstrokes, and then, by folding the paper that contained black enamel paint, he pressed the surface together. In Kamilla Szíj’s (1957) work, the same thing can be perceived repeatedly in space and time: the line. The modules of the work, consisting of nine sheets and arranged into a matrix, can be positioned in any spot and orientation within the system, and by avoiding closed repetition, the series could be continued in space and time to infinity. With the help of the computer and an algorithm, Vera Molnar (1924) created her series entitled Electra (1983) in a generative way, and by bringing chance into play, resulting gradual variations and transformations in the artworks. The mechanism of repetition also contains non-repetitive elements: the exceptional and the unexpected.