22 February 2011 – 11 March 2011

"Reuse" has become a movement, a popular term these days, with well-known content. Usually we use it to describe restored commodities, along with the word "renew." It's worth googling the words "reuse shoes", and the search will bring up incredibly various design products made of materials used for different purposes than originally intended to. Among them, there is a piece, Nike shoes in a frame, which parallels to the works of Krisztián Sándor, although in a much simpler form.

Reused, in this case, apart from the reused shoes and various objects (e.g. electric cords, wooden slabs), also means the reuse of the artist's old works in new ones, and as an exhibition, it focuses on a so far unknown side of Krisztián Sándor.

The extraordinarily unique, recognizable style and saturated paitning of the narrative panel pictures, treating the headlines of current event, daily news, are now replaced by objects that mostly present the artistic creative process, by stepping out of the two dimensions, in relief, by building in the found objects and the earlier pieces in an organic, barely recognizable way. These objects are direct sequels to collage portraits, that make figurative pictures, although their shapes are strongly abstracted; and they are also colour-compositions.

The concise expression of artistic freedom and spontaneity has become the most important for Krisztián Sándor, which was already present in the earlier years, in the method of small, torn, framed newspaper-collages along with the paintings.

The workshop, the secret place of self-expression for men, is transferred to the exhibition space in this case, where we can take a closer look to the artist's thoughts, his ideas of art. The objects as results of the creative process show a unique resistance to the two-dimensional paintings, whose long repetition could cause a kind of creativity-decrease, exhaustion, emptying, and an alienation from one's own work. Only a radical change can help avoid this state, which Krisztián Sándor wants to express in the way that the exhibition presents. According to his intentions, the works will mean the same liberation for the audience than the artist during the creative process.

The visual appearance of the works resembles the works created in the movement Art Brut, hall-marked by Jean Dubuffet's name, expressing a brute force, spontaneity and playfulness, or the movement Dada, enforced by the verbality of Tristan Tzara. The source of inspiration needs to be searched in these ones too, but the daily motivations provide a stronger connection, from the alternative graphic and visual self-expressions, through the African (musical) culture, to he torn street-posters. (The historical roots considerably affirm the artist's intentions just like the grounds of the finished objects.)

Apart from the artworks, the opening of the exhibition will also be irregular, because it will be accompanied by rap music, that expresses today's relaxed, perhaps far too sincere and masculine forces. This music makes it possible for its composer to express himself in the same direct and easy way as the artist felt while he was creating.

Brigitta Muladi