TRANSITIONS exhibition of Alicja Gaskon and Forgó Árpád


Wednesday 2 March, 7:00 pm — Thursday 31 March 2016

1061 Budapest, Andrássy út. 32


Exhibition of Alicja Gaskon and Forgó Árpád in Platan Gallery

Opening March 2th, 7pm

Opening speech by Sipos Tünde art historian

On view till March 31th.

Works from the series Transitions refer to change that in consequence opens up a variety of possible outcomes. The works are captured in a state of becoming something different. Processes of transition are so prevalent in our lives that they are an integrated part of our existence.  One can think of them in a very general way as change. But change can be troublesome when it’s all too sudden, while transition means there is time. It’s a conversation with life,  in which “however”, and  “besides” bring on other ideas, all in the same frame of one sentence. “A transition period is a period between two transition periods.”  G. Stigler


Transition is a consistent process of change, rendered so by the existence of time. Word “transition” comes from the Latin word transire, meaning “to go across”; transitions are bridges that carry us from one point to the other. 

Alice Gaskon, born 1985 in Warsaw, Poland. In 2010, she received her Masters of Fine Arts from the Department of Painting (Specialization: murals, sculpture, animation), at the Academy of Fine Arts in Warsaw, Poland. Gaskon has been exhibited widely in numerous solo and group shows in Europe and in the US. In addition to multiple awards and scholarships, she has shown her work at multiple prestigious international art fairs. “My primary media are painting, installation, video, and drawing. Film is always complementary to the other work and it usually shares the same title. I work in series, and projects. The main source of my inspiration is always an idea. As the Polish-born chemist Marie Curie once said: “Be less curious about people and more curious about ideas.” My paintings are often geometric and abstract, and almost never representational. I consider art a form of a thought. Ideas are put in form of objects, that can be seen and touched, but there is always something beyond that. They often exist to intrigue, provoke, or confuse. They are fleeting as shadows despite their physical reality; they operate between metaphor and open narration.” (Alice Gaskon about her work, January 2015) 

Gaskon’s art takes place between different media and explores spaces of transition and openness. Her work is often suspended between abstraction and representation, form and formlessness, ideas and their material manifestations. Artworks often interact and engage with the exhibition space, paintings are complemented with sound, opening up questions of relations between different media, art and space, ideas and their emergence in specific media. In exploring these borders, Gaskon hints at the possibilities of art as much as at its impossibilities, at what happens and gets lost in the process of artistic production. Gaskon's strategy is often one of reduction. Frequently using simple forms such as a line or a square, Gaskon grapples with the most basic tools of artistic creation, exploring their limits as forms of expression. For Gaskon, creation and destruction as well as invention and subversion take place simultaneously. In her series Unfolded for instance, Gaskon combines different techniques and materials (collage, print, drawing; enamel, gesso, aluminum, wood, lacquer, glue) to explore the conceptual and spacial limits of the picture frame and art. By destroying and undermining its conventional understandings and uses, Gaskon succeeds in creating contesting and difficult artworks that challenge the viewers sense of perception, confronting them with a challenging and liberating openness. 

Árpád Forgó / A progeny of the Hungarian Neo-Avant Garde movement, Forgó constructs subtly kinetic paintings and shaped canvases that embody the concepts of cardinality, unity, division and plasticity. Traditions of Suprematism, Concrete Art, and Spatialism are discernable in each of Forgó’s polished, minimal works, promoting universality through deft reduction to the essentials of form, color, and line. Retreating from the classical handling of oil paint, the artist uses the medium for its flexibility, and augments the canvas itself into twisting segments and three-dimensional, wall dependent forms. Forgó’s shaped canvases are supported by several carefully constructed stretchers, undulating in concert to and from the wall while emphasizing the artist’s exceptional craftsmanship. Statuesque shapes emerge from the canvas, simultaneously creating both peace and tension on the surface. These fluid relationships between the whole and the segment become the crux of Forgó’s practice. Each piece reveals abundant variations of compositions as it is moved about, creating what the artist calls “illusory drift”, and initiating a malleable space that gradually unfolds and transforms. Árpád Forgó has exhibited in many international venues across four continents, among them the Anya Tish Gallery, Houston; SNO Gallery, Sydney; the Griffin Gallery, London. He has been awarded with numerous grants and residencies, including the Visegrad Artist Residency Program, Warsaw, Poland; the Vermont Studio Center, Johnson, Vermont; and most recently a residency at The Golden Foundation, New York.