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Csaba Filp Data est defectus                                                           


Csaba Filp’s Data est defectus – Absence is Given (2013) exhibition suggested a peculiar, archaic atmosphere. There were non-curtain curtains, half-armors, angels standing on columns, monumental table-show-case, decorated with angels, having buckles inside, which were about connections and joining. Csaba Filp was already known as a painter, but the challenge of the space made him realize an installation.






–2 February

Curated by  Judit Lorányi

Luca Korodi  Elementary Particles



Luca Korodi’s Elementary Particles (2014) exhibition is similar to the previous one, as she is primarily a painter, so she displayed paintings in the sanctuary. However, in the nave there was only one, large installation, which showed the relief map of Antarctic, put together from glass crocks, and a hanging projector produced the picture of Antarctic on the glass surface. Ultra-violet light illuminated the landmark, this way the whole object was shining in a peculiar light.


The world is absurd. Constant rethinking. Revalued anyway.
"The sense of consciousness and self-consciousness, that is subject to any knowledge of itself and of the unity of knowledge is the highest ..."
"... With as much certainty about himself, subjectivity or objectivity as being one and the same thought ..." GW Hegel




31 January–10 March

Curated by Fitz Péter

Tamás Jovanovics Swing Out

 installation, paintings

Tamás Jovánovics’ Swing Out (2014) exhibition is the result of a very consequent painting program: he is concerned about tiny motions, the gentle movements of lines. Stepping out from plane to space is the exiting field of his painting activity. This process was presented in the paintings placed in the sanctuary. His works first emerged from plane in reliefs, then in the nave nine red and white, spirally striped columns rose and disappeared high. The row of columns had a slight curve, which gradually bent and tilted from the vertical order. The material of the columns – the visitor could not guess it for the first sight, only when he approached those – was the row of plastic ribbons which were applied at road-constructions and buildings, and these red and white striped, partly transparent ribbons were fixed onto annuli in eighteen meters heights. The stripes of ribbons were fixed strictly side by side, so red and white, spiral forms of columns came to light.







3 April–27 April


Curated by Judit Lorányi


Budapest, Patron City the Arts 
The Municipal Gallery

An exhibition of the New Budapest Gallery and the Municipal Gallery
in the BÁLNA





3 April 3–30 August

Curated by Péter Fitz and Péter Mattyasovszky Zsolnay

Mariann Imre Transience seized

Mariann Imre’s Transience Seized (2014) installation joins strictly to the consequently minimalist oeuvre. In the centre of her activity there is the search for new environments and making new connections referring to the very tiny, everyday signs, scribbles, embroideries, etc. Her exhibition at Kiscell followed this conception, too. In the entrance hall of the sanctuary there was the Transience Seized, a wooden table, while a colored concrete embroidery in it gave the title and start of the project. In the nave of the Templespace she built up a part of a room of her studio, and in its wall the gentle signs, concrete embroideries as scribbles kept on. The closing part of her project was her sketch-book, placed in a little niche under the tower.



16 May–31 August

Curated by Anikó B. Nagy

Installations in the Municipal Gallery


The almost fifty installations unambiguously indicate that the spots in Kiscell nearly wish and want the artistic solution of thinking in space. Certainly, we cannot say that the most important spot of installations, let them be national, and partly international, is the Templespace, but its role cannot be negligible.

Certainly, spiritually and formally several assemblages were on show, originating from the oeuvres and activities, and there were some expressively executed for the given spot and there were “marginal cases”, too. The Installations in the Municipal Gallery 1992-2014 exhibition, and the joining book, tries to document this activity.

The present exhibition material is actually a documentation, though it is impossible to line up 48 assemblages. That’s why the exhibition itself is an installation as well, while five projectors show the photo documentation of the forty-eight installations on the walls, on a mirror pyramid and on a screen.

An era is closed by this act, the curators, Péter Mattyasovszky and Péter Fitz retire. Hopefully the successors will continue the program of more than two decades, giving space to newer installations in the spot of the Municipal Gallery.






2 October–16 November


Curated by Péter Fitz and Péter Mattyasovszky Zsolnay


The Black is Beautiful

György Buczkó , István Haász,  Miklós Szüts,
Erzsébet Vojnich , Gábor Záborszky



–2 February

Curated by Judit Lorányi

A selection from the Levendel Collection











27 March–8 June

Curated by Judit Lorányi

Anja Luithle Running around

12 June–21 August


Curated by Anikó B. Nagy, Alexander Tolnay