Point, Line in Movement

At this exhibition, artworks that have never been presented together enter into a surprising – but valid – relationship with each other. Jeno Barcsay’s late, dark images and Gábor Bódy’s experimental film, Miklós Erdély’s “sacred line” and Katalin Haász’s curves that return into themselves, István Haraszt˙’s wandering magnetic points and the laboursome stabilisation of Ladislav Galeta’s ball are all, for example, very different works in terms of genre, style and technique, but nevertheless share something in terms of their essence.

They all work with fundamental units of the visual arts, with the time and memory of a point in movement, with the birth of the real and virtual line, as well as the nearly infinite and non-systematisable possibilities of the nonrepresentational line.

While the exhibition raises the notion of returning to elementarity, it does not endeavours to equate the various artistic intentions or to present all imaginable possibilities. Nor does it venture to pair up related works; this is left to the discretion of the viewer.