30.01.2013

10.03.2013

Salón Nitrianskej galérie, Župné námestie 3, Nitra

“Sharing” (Dám ti to šérovať, dám ti to zdieľať)

Sharing common exhibition space. Sharing ideas and artistic standpoints. Sharing time. Sharing a touch. Sharing taste. Sharing morning. Sharing ellipsis at the end of a sentence...

 

Author: Stanislav Barta, Erik Fehér, Peter Pauko, Vladimír Stacho, Viliam Šulík

Exhibition Opening: January 30, 2013 at 5.00 p.m.
Curator: Ján Kurinec
Duration of the Exhibition: Until March 10, 2013
Venue: Nitra Gallery Salon

The members of Bečica collective exhibited together for the first time in the Nitra Gallery, in the Youth Gallery, in 2006.

The word “sharing” could be the most sincere expression of the main concept of the exhibition. During their studies Stanislav Barta (1977, Martin), Erik Fehér (1981, Želiezovce), Peter Pauko (1982, Martin), Vladimír Stacho (1981, Žilina), Viliam Šulík (1978, Šurany) shared a rented apartment, they shared studios at the university and their works reflected on this momentum. All exhibiting authors graduated from Constantine the Philosopher University in Nitra. Each of them also works as a teacher.

Seven years have passed since their first common exhibition and now they would like to resume again their visual encounters and share the exhibition premises of the Nitra gallery.

Sharing common exhibition space. Sharing ideas and artistic standpoints. Sharing time. Sharing a touch. Sharing taste. Sharing morning. Sharing ellipsis at the end of a sentence.

Five young artists cannot be identified by austere, verified approaches…

They do not corrupt metaphors, and naive landscapes do not preside over their paintings, they do not look for their own identity in their works, their paintings do not contradict the ephemeral, they do not disquiet spectators just to disquiet them, they do not have their favourite colour, they do not recognize the present imperative, they do not influence the art market, they do not copy replicas, they do not make copies, they do not make copies of copies, they do not make nice pictures, they do not assert illusion as a requirement for painting, they do not postulate counterfeit, they do not steal, they do not despair, they do not exhibit regularly, they are not written about in art journals, they do not sell their paintings to financial institutions nor to collectors, they are not invited for exhibitions, they are not interested if it is art, they do not search for the tension between desire and insiatiability, they do not end where a man ends, they are not included in dictionaries, they do not have “recipes” that function, they do not invent new forms of interaction, they do not paint for everybody, they do not foreground form over the idea, nor the other way round, they are careless about ambivalence. They do not have to. They do not calculate, do not play with puberty, they do not display their affects. They rely on themselves, they are not acquainted with Ivan Csudai, their studios are not sunny, they do not lag behind, they do not wear “Arafat” scarves. They do not smile at exhibition openings.

Their paintings emanate sincerity, they do not “make poses”, and although they are playful they are not infantile, tacky or obtrusive. They are buoyant, but not lawless. They admit they are rooted in the past, but without being archaic. They are youthful and lively, but they have passed puberty a long time ago.

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