Time-geometries

Starting from 1958, and later between 1964 and 1970, Attila Kovács created a unique artistic language that he named ‘Frame of Reference and Statuesque Transmutation’. In this series, he built his own system of non-Euclidean sequential geometric abstractions by mathematical coordinates along an YXZ time axis. This infinitely variable series is defined by the artist in ‘The Function Table of Relativisation and Synthetisation of Visual Structures’ (1973-76). The selected sequences were executed on canvas, mounted on wooden board or paper.

His works are usually realized on two-dimensional levels. Other times they start out on one plane, then following the mathematically fixed rhythm of sequential movement, build into spatial form and create a kind of geometric frieze on the wall. The works of Attila Kovács are born in an emblematic visual world, their geometric symbol system and their purity are the accomplishments of the artist’s almost superhuman dexterity. All the panels of the artist – similar to icons – are unique paintings on carriers using multilayered foundations. His works on paper include ink and pencil drawings. The current exhibition presents a selection of graphic art: silkscreens from the late 60s using some of the most exciting colouring method of the time, as Attila KOVÁCS was among the first pioneers who worked with the just invented luminous paint.

The oeuvre of Attila Kovács is parallel with the oeuvre of significant artists of minimal and concept art – like Sol LeWitt, Donald Judd, Larry Bell, or Ad Reinhardt. Although the formal resemblances are obvious, his concept differs. While minimal art is based on reduction, the visual media concept developed by KOVÁCS in the late 1960s shows an endless, expansive visual world, and thus is rather parallel with conceptual art. According to Henry Flynt (a theorist of concept art), “Concept art” is first of all an art of which the material is “concepts,” as the material of for ex. music is sound.’ Flynt declared in 1961 that concept art had nothing to do with pre-20th century traditional art, but was more closely related, or traditionbound to mathematics.

In Kovács’ art, the musical sounds are replaced by thousands of mathematical equations, and each of them serves as a base for a variation of visual artworks. Using his symbol system, he elaborated 2025 variations of the square structure of Josef Albers – the pioneer of minimal art – in 1974-75, that was exhibited in 1976 in the Ludwig Museum, Cologne, and later, another comprehensive series was exhibited in 1977 at documenta 6, in Kassel, Germany.