We see ants hurriedly rescuing their puppets back into the safety of deeper passages. In a matter of minutes, the scene is cleared. The intruder is the camera and, of course, the man behind the camera. The ants were probably carrying on with the usual morning activities of the colony, when the artist, without any bad intention, spontaneously lifted the small stone slab that is the memorial of Walter Thiemann, a German airborne scout who died in Brăila in 1917 at the age of 26.
Every human move in the interaction between man and nature has consequences - this is one of the definitions of the Anthropocene. However, the metaphor of intrusion captured in the video also applies to relationships between people: through our very existence, we, willingly or unwittingly, constantly interfere in the lives of others. We are all affected by everyone else's lives. This implication can be direct or indirect, beneficial or destructive. If it becomes a direct connection between two people, it could lead to an alliance and ultimately to the building of a community.
The awareness of such interconnectedness and the search for connection or alliance is at the core of the artist’s program, as he is convinced that where there is no community, there can only be indifference (Covenant). This program permeates the works presented at the exhibition, which provide an insight into Nemere Kerezsi's more than twenty years of creative activity. The works are based on a direct observation of reality and, in many cases, on its long, in-depth research.
In the Three shoes ensemble, the artist creates a personal post-mortem relationship through sculptural tools: taking the wooden shoes created by his shoemaker grandfather as shop-window advertisement as models, he creates the monument of movement. In Double Denial, he correlates two moral standards, the principle of "tooth for a tooth", against the belief of the ancient Egyptians that only those whose hearts are lighter than a feather can cross into the afterlife.
There are several works about human intervention in nature (In the Apiary) or in (human) society (Thiemann-Etüde, Caprices de Berlin). The latter raises the artist's narrative to a historical scale. It goes from the scientific level research of the arc in the cloud, the symbol of God's covenant with man after the Flood, all the way to waiting for this sign (various forms of the halo phenomena) to appear above emblematic sites of historical trauma inflicted by the Nazis and Soviets in Berlin. In his latest work featured in the exhibition, the video taken in Brăila this April, the drone that sweeps the city from the port to the distant shimmering night lights of the Ukrainian border region can be both an artistic and a military tool.
The Vertical Independent process work, which the artist began at the age of 23 in the garden of the University of Fine Arts in Budapest, provides one possible model of individual freedom: a departure from earthly possession. The vertically erected cropland cannot be owned, and it gradually disintegrates. (The 19-year process of natural erosion was abruptly interrupted a few months ago when the work disappeared under unknown circumstances.)
Returning to the images of Caprices de Berlin: the arc in the cloud is hopeful, carrying the possibility of a new beginning. Kerezsi stresses, however, that we must pay attention to its specific nature: halo phenomena appear before the rain, not after it, like a rainbow. Thus, it is not a reward after the storm, but a symbol of an alliance in which us humans are partners and have the freedom to decide against evil. We could say that it is up to us what kind of rain will follow.
The exhibition is dedicated to the memory of László Beke (1944-2022), an art historian who was an activist of friendship and alliance building.
Nemere Kerezsi was born in 1979 in Sfântu Gheorghe, Romania, he is currently living and working in Berlin, Germany. He studied graphic arts, intermedia, sculpture and visual art education at the University of Fine Arts in Budapest, where he also finished his DLA studies in 2010. He was an assistant lecturer in the class of György Jovánovics at the sculpture department of the University of Fine Arts in Budapest. Nemere was the recipient of several art awards, and he also presented his works at numerous group and individual exhibitions in France, Hungary, Japan, Northern Ireland, Romania, Switzerland, and the United Kingdom, as well as participated in artist residencies and scholarship programs in Germany, Greece, Iceland, the Netherlands, Poland, Slovenia, and the USA. His current artistic research interests include topics such as memory of the place, exploitation of natural resources, atmospheric optical phenomena and researching the question of ideal living space and adaptation in the life of honey bees.
The Spring Auction is getting close! The auction will take place between 8-10th April 2022 and will be held exclusively online on our gallery's website: www.licitatie.galeriaquadro.ro. The exhibition can be visited between 28th of March - 8th of April, Monday to Friday, 10 am to 6 pm.
We offer for sale 236 artworks with starting prices between 20 and 12000 EUR.
In photography, it is the details that make the overall image meaningful and expressive, and the uncompromising attention to detail is revealed to be the principle that Tamás Szabó has consciously and persistently followed in his career as a photographer. Constantly concerned with the photographic rendering of captured scenes in a way that makes the viewer aware of their ability to reveal with authenticity and sincerity the subject, the character, Szabó has approached a broad range of photographic themes and genres. Capable of a multidimensional understanding of his environment, he was to tackle – each time paying close attention, in a documentary spirit, to the story behind the image or, rather, crystallized in the image – genres such as the nude, the portrait or aerial photography.
The narrative aspect, at once documenting and revealing identity, is manifested in a peculiar way in the photographic portraits he creates. Looking at them closely, it becomes obvious that the human, emotional, personal relationship between the photographer and the portrayed subject is the primary, essential source in the image-making process.
Among the multitude of portraits in the exhibition Coming Up Close – a selection which comes from the Szabó Tamás Collection of the Quadro Archive – we find an impressive number of prominent figures of the cultural world of Cluj, friends of the photographer, whose world Szabó could freely access, immortalizing intimate, candid moments. Sometimes the characters are captured in family contexts, sometimes in a work environment (workshop, office), sometimes in contexts intended for relaxation (garden); each time, what is essential and seductive in the image is precisely the lack of the subject’s “posing attitude”, the freshness with which a personality, not a social figure, reveals itself.
The exhibition proposes precisely such photographic works, made during the 70s and 80s, which are best described conceptually by the word “closeness”, which in the context of the exhibition can be understood in a double sense: on the one hand, the works are about the closeness between the photographer and the subject, on the other, this first closeness makes possible the second, that between the viewer and the person portrayed. Exhibited as small-scale images, which enhances both their intrinsic intimacy and their power to capture attention, Tamás Szabó’s works on display discreetly and convincingly demonstrate how atmospheric photography can become photo-memory, photo-person.