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György JOVIÁN 










 February 12

Curated by Magdolna Simon

Fire in the Museum
Monument To The Rabble

In the Monument To The Rabble the idea of the large, rustic stone, over-quoted and over-refined through correction, is now in our midst as an unarticulated non-memorial. Rather than offering the theatrical quality that we expect from memorials, it tends to cause confusion. This makes it a viable candidate to be the symbol of an unconfronted past in general. The silence that constricts our throats is there in the unmarked, unspeaking shape that is a ball kneaded out of fear, self-exoneration, and hope. This piece is on the spot in Budapest where the "rabble" left the head from the toppled statue of Stalin, and transformed the Free People
appropriated by the ruling power into just The People.

February 23–March 18

curated by Anikó B. Nagy



video and sound installation

The exhibition’s title is borrowed from the first station: 5 x 5 matrix through a piece of reflector-touch leters  are, so everybody knows your message sent to huge sizes int he air. Satisfying, the ancient desire of people, their size too, from the top of the ”space” to read signs of light. Light will be the words of the great dome of the apse illuminate letters. The only words ont he spot, moments can be seen, their appearance will disappear after a secret, like the name of lovers, written int he sand, or secret message written in invisible ink.



April 5–May 13

curated by Peter Fitz





The exhibition and the catalogue, presenting the new acquisitions, is the temporal continuation of the publication, which summarized the collection between 1985-1995. On the other hand, some works of art are also included, though former acquisitions, but they were inventoried in this period. There are some works of art as well, their purchase dated 1995, which got to the collection after the publication of the previous catalogue. While the photos show the works which were on display at the Continuation, New Acquisitions exhibition in September 2012.


August 30–September 30


curated by Magolna Simon

Janos Ber

Kiscell Consolation


painter from France


Intervene as a painter of architectural space, which in itself has expertise, not-yet-seen situation can be created. Because it's not enough just to point out the value of a picture is hung up it is a "nice" wall decor or "beautify" the building. It must search the encounter, the relationship between the two design language. This intersection can sometimes see a new map. If this occurs, indicating the presence of an emotion.












October 12–November11

curated by Magolna Simon

Villő Turcsány  Pendulum tunning                                                           
installation, voice

Pendulum Tuning

The church tower’s time indicator function figures as the conceptual basis of the piece.


The sculptures are suspended at the highest point of the temple space, allowing them to make pendulum movements. Their design represents advancement against the physical drag. The pendulums’ paths develop a moving structure and create a rhythm; they are constantly changing and thus retune the space of the viewer. The installation makes an attempt to change the personal perception of time.


Computer software controls the cycles of the spatial choreography, determining the rhythm and intensity of each of the four sculpture’s movement.



November 29–20 January 2013

Curated by Peter Fitz