PARALLEL ART FOUNDATION
Árpád Forgó & Abel Jallais
Objective case
2024, Oct 11 - Nov 9
Gallery East of Eden, Budapest
opening: 2024, Oct 11., 6-8pm
Following the 2024 Art Brussels OFF program, Gallery East of Eden in Budapest hosts the joint exhibition of Árpád Forgó and Abel Jallais.
At the exhibition, through exciting constellations, Forgó’s delicate shaped canvas compositions get in dialogue with the monochrome ceramic objects of Abel Jallais. Despite of working with different medium, their approach and processes share several similarities. They create non-representational objects, which do not intend to generate direct associations; the content of the work is its colour, shape, texture, size and scale.
Both artists developed his own basic forms, from which they build the artworks: Jallais is using additions, cut-outs and repetition in his “Bonbonne” series; Forgó is applying different reflection methods, as well as shifting. They create simple and visually controllable pieces that need to be observed and discovered.
Árpád Forgó works with basic geometric forms and through isometric transformations; he builds shaped canvas compositions, visualising structures, shapes, measurements and rhythm, as well as planar and spatial relationships. He developed shaped canvas modules in order to build block-like or hollow, symmetrical or asymmetrical compositions. In the recent years, he experiments intensively with different compound painting processes in order to challenge the viewer’s perception not only by the structure but also by the material.
Abel Jallais has an attraction to facing unknown objects; therefore, he peals off the functional territories of the archaic objects and transforms them into a free form of interpretation. They become a fictional territory again to explore, offering the opportunity to the passive user to open a new dialogue with the form. Sighing with the eyes, turning around, manipulating to return to a primitive form of primitive apprehension. His practice moves in this interstice. The fictional sense becomes the functional sense.
Both artists work with traditional materials, aiming for industrial perfection, still keeping the craftsmanship of the process.
Árpád Forgó is a Budapest-based artist. After his studies, he soon started to focus on geometric abstraction and made paintings with tactile feature. He has always been interested in the periphery of painting and sculpture. Since 2015, he creates shaped canvas works and modular compositions. He has exhibited widely, including solos shows at Anya Tish Gallery in Houston; Schlieder Contemporary in Frankfurt; Viltin Gallery, Budapest and Rómer Flóris Museum of Art and History in Győr, Hungary. He has participated in group shows, including Ludwig Museum and Vasarely Museum in Budapest, Museum Ritter in Waldenbuch, Germany. Artist residency programs play an important role in the artist’s career, he was invited to Norway, Australia, Spain, China and several times to the United States. In 2019-2020, he was a grantee of The Pollock-Krasner Foundation.
Abel Jallais is a French-born ceramic artist living and working in Brussels. After his studies at the College of Fine Arts in Angers, where he concentrated on sculpture and drawing, he spent a year in Colombia, where he did an internship at Campo de Gutierrez artist residency centre, where ceramics played a major role. He had already been working with clay since his teenage years, and this experience strengthened his desire to explore this material further. On his return to Europe, he joined the master’s programme in ceramics at La Cambre National College of Visual Arts in Brussels, graduating in 2018. Since then, he has divided his time between his art practice at Espace Triphasé art studio and his work as a teacher at the Brussels Art Academy and as a teaching assistant at the ceramics department at La Cambre. His works have been exhibited at numerous galleries and art spaces in Brussels, including Galerie Cohérent, Musée du Cinquantenaire, Puls Ceramics Gallery and Espace La Vallée, as well as at international ceramics platforms in Belgium, The Netherlands and France.
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The program is realised in cooperation with Gallery East of Eden.
Curator: Gábor Pintér, Barna Erdész
Supported by Liszt Institute - Hungarian Cultural Center Brussels
Gallery East of Eden
1061 Budapest, Paulay Ede u. 67.
galleryeastofeden@gmail.com
+36 30 99 00 650
Opening hours: Tue-Thu 12-6pm, Sat 12-4pm
>>> www.eastofeden.hu
Kata
György
Light-cone
PUCCS Contemporary Art
2024 10 22-11 08
Opening event: 2024, October 21, 6-7.30pm
In the space-time coordinate system, time is measured on the vertical axis and distance on the horizontal axis. Kata György's cone of light is a spherical surface on which an event that can be represented outside and an event at the origin of the coordinate system, i.e. at the apex of the double cone, cannot affect each other.
Outside the cones we stand in "timelessness".
Some of Kata György's works deal with spatial and temporal positioning. These are mostly works that are created through the active participation of the viewer. As the definition of place or position is - besides the abstract system of natural science - also a social issue, she is also concerned with subjects related to the possibility of memory and the change of memory.
She creates installations and spatial formations in a variety of techniques, ranging from small-scale sculpture to architectural scale. The materials and techniques used are determined by the issues addressed.
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www.gyorgykata.com
Puccs Contemporary Art, 1084 Budapest, Víg u. 22.
Supported by Józsefváros Municipality
Emese Kádár
Ghost Traces
Cairo Contemporary, Budapest
1071 Budapest, Lövölde tér 7.2024, November 1 - December 1
On view: 0-24h
Most of our memories of our deceased loved ones are stored in virtual space, the accessibility of which is at the mercy of factors beyond our control. A data breach, malware or a defunct social media platform can easily cut us off from the photos, messages or videos that we felt were the last link we had with a person. In their place, flashing error messages or icons of corrupted files remain as ghosts, reminding us of the loss of connection.
Although the process of memory blurring and disappearance is natural in a grieving process, the digital corpses of memories that are left behind make their absence more obvious. As time passes and untended gravestones are overgrown by vegetation, traces of lost memories become a thickening pile of data fragments wedged between the memories that remain. Is it the disturbance in virtual space that hinders the processing of grief, or is it the retrievability that locks one into an endless hell of nostalgia?
Ghost Traces is an installation that attempts to memorialise the fading of memory, preserving the slightest traces of its disappearance through the creation of woven tombstones and a space of remembrance.
Emese Kádár (1995) graduated from the Painting Department of the Hungarian University of Fine Arts in 2019. After graduation, her works were exhibited in Hungary, Germany and Austria. In Budapest, she had solo exhibitions at Labor in 2017, at Pince in 2019, and at The Space Gallery in 2024. She has also participated at group exhibitions at MODEM, Ludwig Museum, Q Contemporary, Danube Museum and Postal Museum. She has won numerous awards and fellowships, including the American Tapestry Alliance Student Award in 2019, the Smohay Prize, the Esterházy Art Dating Grand Prize in 2023 and the Derkovits Gyula Fellowship in 2024. He was shortlisted for the Esterházy Art Award in 2021 and the MODEM Prize in 2024.
The installation at Cairo Contemporary is a further reflection of the NOT_FOUND series, with additional elements.
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Curator: Gábor Pintér
Supported by Erzsébetváros Municipality
Cooperation partner: Bischitz Johanna Integrated Human Service Centre
instagram.com/Cairo.Contemporary
instagram.com/parallel.art.foundation
Christoph Dahlhausen [DE]
Placing Colours and Light
PUCCS Contemporary Art
2024, 11 15-12 12
Opening event: 2024, Nov 14, 6-7.30pm
Light, colour and space are the guiding principles of Christoph Dahlhausen’s work. Light in particular, both natural and artificial, as well as the interaction of light with reflective and translucent materials, have long been the focus of the artist’s interest. For his expansive light installations - work group 'Stabilizing Light' - he uses special blue fluorescent light tubes, whose blue appears light and fleeting, and at the same time - similar to Gothic art - refers to the spiritual, which is integrated into the art. He uses this special synthetic-looking blue also because it has almost no correspondence to nature and is therefore largely free of context.
The scaffolding-light installations pretend to be a functional structure, but are mainly aesthetically concerned with space, rhythm, light and colour. The rhythm of the glow sticks contrasts with the rhythm of the scaffolding. Although the installations are three-dimensionally oriented and perceptible in space, the artist is less interested in the sculptural aspect than in the graphic and painterly. He is also interested in questions about the deconstruction of space and the interaction of material, including light, with the surrounding space. For about 2 years now, he has been combining the scaffolding light installations with transparent acrylic glass surfaces that reinforce the painterly aspect. These works have the title 'Placing Colours and Light'.
For the art space PUCCS in Budapest, Christoph Dahlhausen designed an installation from the work series 'Placing Colours and Light' that captures and colours the relatively small space. Since the space can be seen very well from the outside through its shop windows, the combination of light rods, scaffolding poles as linear elements and the flat coloured acrylic glasses also show a sensual and space-defining play of colour and light from the street.
Christoph Dahlhausen (1960) visual artist, curator and author living and working in Born, Trier and Melbourne, Australia. Since 1989, his works have been extensively exhibited worldwide in museums, art foundations and galleries, including Kunstmuseum Bonn; Museum Ludwig Koblenz; Museum am Ostwall Dortmund; Weserburg Museum Bremen; Kunstmuseum Ahlen; Wilhelm Hack Museum Ludwigshafen; UMAG, Hong Kong; Borusan Contemporary Museum, Istanbul; Centre of Contemporary Art, Christchurch, New Zealand,; National Gallery of Victoria and the Museum of Modern Art, Melbourne, Australia.
He was granted and awarded numerous scholarships and prizes, including the Art Prize of the City of Bonn, Ramboux Prize of the City of Trier, and he was finalist of the 1st International Light Art Award in 2014.
As a curator, he works worldwide in the field of non-objective art. Recently, in cooperation with RMIT University in Melbourne, he managed to establish Artothek, Australia's first art library by donating a large part of his private art book collection.
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Puccs Contemporary Art, 1084 Budapest, Víg u. 22.
Supported by Józsefváros Municipality
[photo © Christoph Dahlhausen and VG Bild Kunst, Bonn]
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Edson Chagas [ANG]
Tipo Passe
Cairo Contemporary, Budapest
1071 Budapest, Lövölde tér 7.2024.12.04 - 2025.01.05.
On view: 0-24hTipo Passe by Angolan photographer Edson Chagas, is a series that addresses questions of history, culture and identity. The artist’s birthplace of Angola was subjected to colonial rule by the Portuguese from 1575 until independence in 1975. The culture and traditions of the local population were largely disregarded and ‘unseen’ by the European colonialists.
Edson Chagas stages portraits of models wearing traditional African masks borrowed from a private collection. The artefacts have been extrapolated from their history and context; the sitters are dressed in contemporary clothes from street markets, complementing the colours and forms of the masks. These objects with immense ritual meaning and a compelling presence are suspended between worlds, and prompt the viewer to question the reality of what he or she is perceiving
The images in this series are photographed in the style of passport photographs. Chagas has used this format, perhaps the most common form of photography, and transformed it into large-scale portraits. A globally recognised form of identification and the fundamental document to enable migration and movement across borders, passport photograph has an increased significance in the twenty-first century.
Edson Chagas was born in 1977 in Luanda, Angola, and lives between Angola and Portugal. He studied photography at the University of Wales in Newport, London College of Communication, and Portugal's Escola Técnica de Imagem e Comunicação and Centro Comunitário de Arcena.
In 2013, Chagas’ Found Not Taken series was exhibited at the Angolan Pavilion at the 55th Venice Biennale, winning the Golden Lion for best national pavilion.
Solo exhibitions have taken place at the Zeitz Museum of Contemporary Art Africa, Cape Town; Museu Coleção Berardo, Lisbon; Kunst Haus Wien, Vienna; Instituto Camões – Centro Cultural Português, Luanda; and Belfast Exposed Photography. Shortlisted for the 11th Novo Banco Photo Award; recipient of the 2018 African Art Award presented by the Smithsonian National Museum of African Art.
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Curator: Gábor Pintér
Supported by Erzsébetváros Municipality
Cooperation partner: Bischitz Johanna Integrated Human Service Centre
instagram.com/Cairo.Contemporary
instagram.com/parallel.art.foundation
[image: Edson Chagas: Emmanuel C. Bofala, Tipo Passe, 2014]