Gegenüberstellung des Gemäldes »Synthese Kreis« von Attila Kovács (1973/93) mit der Skulptur »L’air« von Louise Bourgeois (1962) und dem »Portable Ocean« von Paul Thek in der Vitrine (1969)
Gegenüberstellung der Zeichnungsserie »Synthese Kreis« (1973) von Attila Kovács mit Rechenmaschinen, der Werk- und Formensammlung Schriefers
2002 Attila Kovács
6 December 2002 to 28 February 2003
Attila Kovács – Studies and Sequences
Stars for Kolumba – Part 3
»Since the middle of the 1960s I have been thinking about time structures«. This statement was not made by a physicist or mathematician or philosopher, but by a painter whose works display a distinctive hand: The hand of Attila Kovács. His painting is not based on the abstraction of perceivable reality but on rational definitions alone, which – similar to mathematics – are generated synthetically. On the basis of logical parameters an additive programme is developed whose realisation is the picture as a visible form of a structure. By investigating the correlation of structural requirement and visual perceptibility Kovács lets the beauty of relativity in his pictures become apparent – because structure is not identical with form! This most important discovery demands universal validity. While Kovács’ epistemological approach was acknowledged in an essay by Max Bense in as early as 1970, his quality as a painter is still to be discovered today. The 48 studies which are now being shown for the first time were painted in total artistic isolation in Budapest from 1958 onwards. In a very impressive way, they testify to the strict manner in which Attila Kovács has developed his oeuvre. As part of our poetic series, the exhibition itself promises us a view into a starry winter sky. As a result of a search for form which evolves from the struggle with the subject-matter two sculptures by Louise Bourgeois and Heinz Breloh form deliberate counterpoints in the third part of “Stars for Kolumba”.
(Workbook)
Attila Kovács – Studies and Sequences
Stars for Kolumba – Part 3
»Since the middle of the 1960s I have been thinking about time structures«. This statement was not made by a physicist or mathematician or philosopher, but by a painter whose works display a distinctive hand: The hand of Attila Kovács. His painting is not based on the abstraction of perceivable reality but on rational definitions alone, which – similar to mathematics – are generated synthetically. On the basis of logical parameters an additive programme is developed whose realisation is the picture as a visible form of a structure. By investigating the correlation of structural requirement and visual perceptibility Kovács lets the beauty of relativity in his pictures become apparent – because structure is not identical with form! This most important discovery demands universal validity. While Kovács’ epistemological approach was acknowledged in an essay by Max Bense in as early as 1970, his quality as a painter is still to be discovered today. The 48 studies which are now being shown for the first time were painted in total artistic isolation in Budapest from 1958 onwards. In a very impressive way, they testify to the strict manner in which Attila Kovács has developed his oeuvre. As part of our poetic series, the exhibition itself promises us a view into a starry winter sky. As a result of a search for form which evolves from the struggle with the subject-matter two sculptures by Louise Bourgeois and Heinz Breloh form deliberate counterpoints in the third part of “Stars for Kolumba”.
(Workbook)