The first solo exhibition of textile artist Judit Gink (1953-2009) at the acb presents an exciting selection of works from the final phase of the versatile artist’s career. In recent years, through the acb ResearchLab’s research, the gallery has published several monographs and organised a number of solo exhibitions of outstanding Hungarian experimental textile artists, which also highlights the fact that Hungarian textile art is now integrally integrated into contemporary art history. Judit Gink’s exhibition in the Attachment space of the acb is part of this discourse.
Judit Gink graduated from the Hungarian Academy of Applied Arts in 1978 with a degree in print design. During her artistic career, she has created conceptual, installation-based works in which she has transferred painting quotations and photographs onto textile fabric, adding new dimensions to traditional textile art. Her conceptual approach and installation approach have made him one of the most prominent artists of a generation seeking to ‘reinterpret’ textile art.
In the mid-1980s, she experimented with xerox, photographic and installation techniques, while her work was dominated by personality and precision. A recurring motif was the rose, which carried a variety of meanings in his art. From the early 2000s onwards, her work became increasingly intimate and patient. The earlier, generous reproduction of graphic techniques was replaced by meticulous processes that were not tied to a particular genre or medium, such as delicate wire-weaving.
Among Gink’s lyrical, wire-based works, his iconic installation at the Fészek Gallery in 2005 is included in the exhibition, which with its unique tone and formal language occupies a special place in the history of a generation that sought to “reinterpret” Hungarian textile art.