Seeking Concrete Constructive Structural 2

Exhibition of the Vasarely Museum

20 May 2009 - 20 June 2009

The second exhibition in the series presents the work of 11 artists of the younger generation involved in concrete-constructive, structural art, a direction that has been present in European Art continuously for around 100 years. As in the first exhibition, where the paintings, plastics, and installations of Hungarian artists only were on show, here too we investigate where this direction is going, how it will develop further, whether it will develop further, and how it is present in the work of this new generation, but this time looking for its character-traits in a wider, international context.

Visitors to the Vasarely Museum in Budapest can acquaint themselves until the middle of Sepetember with internationally recognized young artists like Esther STOCKER and Franz RIEDL from Austria, Karina BISCH and Nicholas CHARDON from France, Pavel HAYEK of the Czech Republic, Robert URBÁSEK from Slovakia, Ursula NEUGEBAUER and Axel ROHLFS from Germany, Krystian CZAPLICKI (truth) from Poland, and Hungary's Attila CSÖRGŐ and Dániel ERDÉLY. The exhibition provides an opportunity for visitors to see for themselves the latest manifestations of this direction in larger ensembles of the artists' work.

Organized by: The Open Structures Art Society (OSAS),
curator: Dóra Maurer
Further information:

The Open Structures Art Society – OSAS for short – was formed two and a half years ago by older and outstanding Hungarian representatives of constructive geometric art: Tamás Konok, Katalin Hetey, Tibor Gáyor, István Haraszty, Dóra Maurer, István Nádler, István Haász, and members such Vera Molnár and Judit Nemes, who live in Paris, the art collector András Szőllősi-Nagy, the director of the City Art Museum in Győr Júlia N.Mészáros and Zoltán Prosek, the head of the renewed Paks Gallery. The Society was formed to organize its members' oeuvres, form a collection of their art and related documentation, preserve theses for future generations, open it up to researchers and show from time to time various correlations.

As is well known, Hungarian geometric-constructivism did not come to an end with the work of activists like Kassák, Moholy-Nagy, Kepes, Schöffer, Vasarely and others but continued through the 1960s and to the present day there are young artists who pursue this non-figurative, restructuring and research based form of creating art.

The Society has organized several exhibitions in Hungary at the Vasarely Museum in Budapest – part of the Museum of Fine Arts, - and at the invitation of foreign institutions for the past two and a half years. The exhibitions present the thematically organized work of younger and older artists living in Hungary and other European countries. Among the themes explored are: light and movement, real and apparent, colour, black/white, and conceptuality. Informative colour catalogues are produced to accompany each exhibition, and in relation to the themes we have published Josef Albers' study The Interaction of Color in Hungarian (with the Hungarian University of Art and the Aktisz Studio) and László Beke's collection of writings from 1971, Imagination: the Beginnings of Hungarian Concept Art is in preparation in a facsimile edition (jointly with

The work of artists aged between 26 and 40, both better and less known, were on show at the first "Seeking Concrete Constructive Structural 1" exhibition at the Vasarely Museum in September and October 2008. The strict principles of concrete art that were formed in the 1930s were hardly to be found in either the new or the older works on display: many of the latter had already been on show in various other contexts elsewhere. And we were not expecting that they should be, but rather that the work should expand the definition and sphere of the creation of concrete art from the approach of today with its human stance and a character promising research not salvation. The title encompassing these works stemming from various modes of thinking both reinterpreted and amplified the autonomous reality of the works.