Soft and Creamy on their way to Pillow-Peak
7 December 2006 – 13 January 2007

Are the tales tales? Only if we want. Those open to it are able to descend to the hidden layers deep in the naive stories. This is what V. J. Propp, the first great researcher of tales did, who disjointed and analyzed the folktales. And this is what the psychoanalysts did (C. G. Jung, among others), who unwrapped the eternal archetypes from them. After all, there's no new tale, only the decoration, reliving, retelling of the old ones. And it stands for the Grimm tales based on German folklore, the love stories of Hollywood, the Japanese animes and the modern art as well. Since the eighties, when Donald Duck appeared on the t-shirts of older men as well, it's not a shame to travel in tales, after the avantgarde adult heroes, the cruel or nostalgic reflections telling about childhood also took root. As our exhibition shows, naive storytelling isn't unfamiliar in the circle of young Hungarian artists. But beware, it would be a good thing to get ready: lupus in fabula - there are real wolves prowling around at the end of the tales.

Although he hasn't got his diploma at the MKE yet, Krisztián Sándor (1975) can claim an unmistakable painting style, in addition to several awards of merit. (To mention a couple of them: the Amadeus scholarship - 2004, the Ludwig scholarship - 2006). The circuitous, thick contours and the homogeneous colour patches conjures up the exotic colourfulness, paradise-like world of the half year's stay in Thailand. Whatever he paints, a crowded airport, sirening Thai police-car, a rafter, an amusement park in a tornado, or a harbour reflected in the water, he adjusts the motif to his characteristic exotic-decorative approach. Krisztián Sándor is a par excellence painter: for whom sight is nothing else but sight. He enjoys dipping in the kaleidoscopic ornamentation of almost-abstract beauty, melting the fabulous scenes to colour and form experiences.

Emil Für (1973), the adventurous, perpetual-motion painter found his own language of forms in the sunlit Izrael after his college and university studies. On his pictures, a one-man dreamland lives its everyday life in front of the orange-coloured base invoking the blinding sand, and the course white background, with radioactive contaminated dogs, the clown-rabbi carrying the Tora scrolls, and the angels using cell phones among fiends. Emil Für's playful figures invoke the big-nosed, mock-up characters of the classical joke-magazines. But there's no joke here! The strange creatures are coming out of the artist's inner self with a hip seriousness, searching for a place for themselves in the so-called everyday reality. This tale is a - sometimes seemingly surrealist - personal analysis, telling, unstoppable 'inner drive' dressed in ironic, serious, metaphoric robe.

Tamás Ilauszky (1970) is a young sculptor, graduated from the university of Pécs. In his post-conceptual, 'Stone and Go' styled works he melds the traditional stonework techniques with the abstract thinking. In 2003, he left Studio Gallery to carry around his own moving sculpture, Lapis Mobilis in the town. In the summer of 2006, he erected an almost unobservable tiny monument in the monstrous shadow of the Gellért Hill (and the Statue of Liberty), called Minimentál. He created his strange invention, the genre of comics-statue, with the help of mixing traditional comics with monumental masonry. Small tales arise from the idiomatic punch-lines, with the help of the bubbles carved in limestone, the images and the cartoon characters. Although the narration, as tautological self-reference, keep turning into itself - no matter how high Ambition and Position get, ultimately they both relapse onto earth.

Rieder, Gáborart historian, curator