EXERCISE | Adam Wsiołkowski, Joanna Zemanek, Elżbieta Zrobek, Lilla Kulka, Izabela Apanańska, Jolanta Kuśmerska, Krzysztof Marchlak, Krystyna Malinowska, Roman Fleszar, Zbigniew Bajek, Teresa Kotkowska, Joanna Wężyk, Iwa Kruczkowska - Król, Katarzyna Karpowicz, Horváth Daniel, Kolonics Kitti, Sztruhár Zsuzsa, Süveges Rita, Bánfi Brigitta, Kamondi Gabriella

Wednesday 18 February, 7:00 pm — Thursday 12 March 2015

1061 Budapest, Andrássy út. 32


To ‘take’ or to ‘do’ exercises always means to ‘work’.

The exercises can be of a different nature: physical , manual , intellectual  or, last but not least,  spiritual .  All of them are indispensable in order  to perfect through them one’s character – strong will without which we cannot achieve any noticeable progress.

Perfecting skills in a chosen area and moving upwards should lead to attaining the goal, what is possible only when we act in accordance with a given talent.

Among artistic professions, musicians-instrumentalists experience difficulties the most, as from the early childhood they practice regularly to attain the highest level of their concert repertoire performance. Practice is the  inevitable necessity.

I was growing up among music and I heard when during some exercises new musical forms were born, in addition I personally experienced such hardships of practice while  playing different musical instruments. I know what it means when you urge others to practice  and    care of their right exercises.

We can overcome all difficulties and problems   only when  there is an appointed worthy  all this effort goal.


Mélyi József art historian opening speech // 14th April 2015//
Ladies and Gentlemen!
I thought over all the tricks. Quoting Heidegger. Following a circular approach and eventually conducting everything from Zygmunt Bauman and the globalization. Lamenting a lot in Hungarian, diplomatically beating around the bush in Polish. Describing an artwork and compressing in a symbolic way. Realizing that actually all the exhibited works can be closely connected to gravitation. Recalling the most memorable events of Polish-Hungarian friendship. Talking about the rhymes of Polish and Hungarian young poets and stuffing ’cs’ and ’zs’ in each Hungarian word. Making fun of everything and singing the songs of Hungarian miners lowering to the Wieliczka salt mines. Using metaphors for everything. ’Artists were going to evoke the diverse relationship of human and nature without resolving tension even in terms of manifold methods of expression.’ ’Citing exercises in style. Repeating the same text several times. Then I rejected all the tricks. Because tricks cannot help, it must be stated that this exhibition simply does not work. Generally, it can be stated that exhibitions are always successful: visitors happily view the possible dimensions and context of the works hanging next to each other even before the opening ceremony. However, it is an irregular exhibition, I mean, irregularly unsuccessful. We cannot draw anything special considering the context of these works. It is possible to view these artistic creations separately, there are innovative and thoughtful works among them, the artists made a lot of effort to creation, nevertheless, they are not able to convey an original, new idea. Polish-Hungarian – two good friends. Practice makes you perfect. At this level it is too difficult to find a passage between the two groups of works. If we have honestly faced this fact, namely, I haven’t been pushed away from the microphone yet, we can take the next step. Since art always makes it possible to take the next steps. I can imagine three escape routes. The first one: from this moment the whole exhibition serves the aim to think of the impossible nature of exhibitions. Perhaps it is not so important to shape anything; maybe it is more important to raise a problem. They are not expected to be successful but rather scratchy from a particular point of view. They should separate from harmony and the expectation of seamless fitment. They should make it understandable that the almost automatically supposed common international denominator just simply does not exist. Consequently, the other route is: understanding. Polish people do not understand what the bucket on Szentjóby’s head means, we do not understand what Polish private photos mounted between wallpaper patterns mean. However, the exhibition can be about understanding all of this. About spiritual (or) mental practice. Actually, everything talks about this. I don’t know, who of you has read Daniel Stein, the interpreter by Ljudmila Ulickaja. The book focuses on a Polish Jewish man who works in Israel as a Catholic monk. As a matter of fact, we do not need an interpreter here, but the practice of interpreting. As the third route leads through the works themselves. Long-term exhibitions are useful as they make it possible to talk permanently about each creations – definitely about the creations. Or mumbling about them to ourselves in the street, at home, on the bus or train, when playing table tennis, dressed up or without clothes. Concentrating, running against then trying it again and again. Exercising on motives, on visual turnarounds, a broken glass, a spiral line, the thread-weaved pictures. Taking the word ’exercise’ seriously. Not only making puns but cultivating it. Repeating. Do not excluding anything. 
I am opening the exhibition.