Magyar Nemzeti Galéria English

Aktuális időszaki kiállítások

"Perception in terms of movement, in terms of a series of non-isolated phenomena, is a life philosophy."

According to the aesthetic expectations of the sixties' Hungary, the borders delimiting the different media were to be taken seriously, yet he did not comply with their compulsory agency. Kovásznai paid scrupulous attention so that the given form would never become an end in itself but only a means. He preserved his initial standpoint as a painter, constantly pondering his painterly vision and art history as two dialectical points of reference. For him the closest genre to fine arts is animation. "A complex Self should be approached by a complex genre, which is animation. But we don't consider it as an autonomous genre; instead, we take it for a technique that leads us back to the lost, classical, true genre."

"This film is but a painting brought into a single movement. The colours are restlessly and incessantly searching for a kind of harmony that would most truthfully convey the painterly imagination. We intend to depict the characteristic movements of a male and a female portrait while searching for a relationship between them and the surrounding world", this is to be read at the opening sequence of Kovásznai's first metamorphic film painting called Metamorphoses. The method itself also determines the nature of the content as long as it is able to capture a relational system or a phenomenon in constant flux. The different techniques of classical painting are his point of departure: the subject of the film or the camera is the constant movement of colour and brush; that is, the process of painting itself. It can be contended that the film interprets the painting as a performative act, or a process. His approach to the work process is that of an action painter; his attitude is undeniably kin to the abstract expressionists. The dimension of time is turned into an organic part of the painting, which dissolves and relativises the generic preconceptions that determine the medium of painting. Improvisation is developed into a comprehensive technique in terms of both the music and the picture: it is according to free associations that the relationship among the sounds as well as the formation of the spectacle is determined.