…n‡ll— ki‡ll’t‡sok / One-man Shows
kritikai szemelvŽnyekkel / with critical
excerpts
1984 - 1994
1984. m‡j. 25.-jœnius 30. òjpesti
MinigalŽria, Budapest
1985. szept.25.-okt. 10. Kreuzkirche, Dresden
1986. jan. 10.-febr. 2. Ernst Mœzeum,
Budapest gyűjtemŽnyes ki‡ll’t‡s / retrospective exhibition
...nem sokat tšrődik azzal, hogy a kŽpei milyen
megvil‡gosod‡sokat v‡ltanak ki a nŽzőben. L‡that—an j—l Žrzi mag‡t
b‡lv‡nyai kšrŽben, akik az Žvek sor‡n egyre
šsszetettebb szemŽlyisŽgre tettek szert... A művŽsz legœjabb b‡lv‡nyai
mozgalmasabbak, hars‡nyabbak elődeiknŽl. Mintha œj
t’pusa volna szŸletőben a kifogyhatatlanul v‡ltozatos Žs izgat— b‡lv‡nygalŽri‡nak.
...does not care
much about what enlightment his paintings will
induce
in the viewer. Obviously he feels very well in the company
of
his idols who during the years have acquired ever more
complicated
personalities... The latest idols of the artist are
more
dynamic, more stentorious than their predecessors. It seems
a
new type is being born of the inexhaustibly variagated and
thrilling
idol-gallery.
Vargha Bal‡zs. Uj TŸkšr, 1986. jan. 12.
...Arcukat
mŽred arcodhoz...
nŽzŽsŸkkel te nŽzel/ kšzšnyŸkkel
te v‡laszolsz -
te v‡laszolsz -
’rta R‡kos S‡ndor, akinek —ce‡niai műford’t‡sait
a festő illusztr‡lta - Veress P‡l kŽpeihez. Ez a vallom‡sszerű, de
mŽgis szemŽrmes szemŽlyisŽg teszi egysŽges vil‡gœv‡ a mœzeum termeiben sorakoz—
kŽpeket, Žs mintegy m‡sodlagoss‡ azt, hogy a művek
mennyi technikai štletet, œj’t‡st tartalmaznak... KŽpeinek rendszere szervesen
alakult ki az egyŽnisŽg tŸkšrkŽpekŽnt, mint Rembrandt mind bšlcsebb
šnportrŽinak sora..."
...You compare your face with theirs... you
are looking by their regard / you are answering by their indifference - this is how the poet S‡ndor R‡kos,
whose Oceanian translations were illustrated by the painter - wrote on the
paintings of P‡l Veress. This personality, confessional yet shy, brings about
the homogenity of the world represented by the pictures lined up on the walls
of the museum, and reduces somehow to secondary importance all the ingenious
technical novelties the works contain... The order of his pictures grew
organically as the mirror-image of the personality,
similarly to the series of ever wiser self-portraits by Rembrandt...
SzŽkely Andr‡s, NŽpszabads‡g, 1986.febr.4.
...Ahogyan
kompoz’ci—iban Veress ‡thidalta a geometrikus Žs a
l’rai tartalom ellentŽtŽt, ezeken a salakreliefeken kibŽk’tette az intenz’v
szinek
Žs a sz’nredukci— ellentmond‡sait
is. A reliefek tudniillik csak œgy magukban ŽlŽnk sz’nűek voln‡nak Žppen,
de hat‡rozottan tomp’tja, reduk‡lja őket az Žrdes
felŸlet fŽnyt nyelő optikai hat‡sa. Mondhatn‡m, valamennyi művŽnek
fortŽlya a statika Žs az expresszivit‡s, az šrškŽrvŽnyűsŽg
Žs a mozgalmass‡g furcsa Žs oly ritka egysŽge...
Frank
J‡nos, katal—gus-elősz—
...Just as Veress succeeded in his
compositions to bridge the gap between geomatric and lyrical content, on these
slag-reliefs he reconciled the contrast of intensive colour and colour
reduction. The colours of the reliefs in themselves would be lively but the
light-absorbing effect of the rough surface dims and reduces them to a large
degree.
The secret of virtually every one of his
works consists of the curious and so very rare union of the static and the
expressive, of the eternal and the dynamic.
J‡nos Frank, Introduction to the
catalogue
"...
Veress sštŽt dr‡m‡t vizion‡l, amelyben alig van d’szlet, Žs amelyben - tšbben
meg’rt‡k m‡r - a humor az egyetlen ŽlŽnk’tő elem.
Ez a festő nem misztifik‡l. Tudat‡ban van annak: az
ember legkomorabb pillanataiban is kŽpes elmosolyodni. Az elmœl‡s, amit az ő szemŽben ezek a b‡lv‡nyok megtestes’tenek, nem a
tragikus vŽgzet beteljesŸlŽse, hanem –hihetetlen volta folyt‡n –
tragikomikus jelenet, amelynek sor‡n az ‡larcos šrdšgšk elrabolj‡k az embert...
...Veress has the vision of a sinister drama,
nearly without dŽcor and with one single element to animate it, as
written by several critics already: humor. This painter does no mistification.
He knows that man is capable to smile even in the darkest moments. Passing away
personified in his eyes by these idols is not the fulfilment of any tragic fate
but - just because of being unbelievable - a tragicomic scene, where man is
kidnapped by
masked
devils...
Vadas J—zsef, ƒlet Žs Irodalom, 1986. jan. 24.
1986. szept. 25. - okt. 10. CeglŽd, Toldy
Ferenc k—rh‡z
1987. nov. 20. - dec. 12. Gul‡csy
GalŽria, Budapest
...HonnŽt
sz—l’tja elő a művŽsz ezeket az archetipikus
alakzatokat? A gyškerek Žs fagšrcsšk kalandos form‡inak vil‡g‡b—l, a folkl—r
tšbbjelentŽsű mezejŽről, t‡voli kultœr‡k mŽlytengerŽből, a fŽrfi
Žs női princ’piumok ősi Žs megv‡lthatatlan dualizmus‡b—l, az Žlet forr‡svidŽkŽről. Veress P‡l művŽszete
emlŽkezŽs.
Az
emlŽkezŽs erejŽvel elősz—l’tott alakok nem lŽpnek be hŽtkšznapi vil‡gunk
racion‡lis terŽbe, nem kšrŸlšttŸnk, hanem bennŸnk Žlik
ŽletŸket. A művŽsz b’zv‡st lemondhat t‡vlatr—l, t‡jr—l, csendŽleti
asztalr—l, mert alakzatainak tere az idő, az a ny‡ri Žjszaka,
melyet egyik legszebb kŽpŽnek c’me nevez meg, s amely bensősŽgesen kicsiny
mŽretei ellenŽre monument‡lis kontœrokkal Žp’ti fel minden emberi tšrtŽnŽsek
kulissz‡it...
...Wherefrom does the artist call into being
these archetypical figures? From the world of adventureously shaped roots and
gnarled wood, from the ambiguous field of folklore, from the deep sea of
far-away cultures, from the age-old and unredeemable dualism of the female and
the male principle, from the sources of life. The art of P‡l Veress is
remembrance. The figures evoked by the force of remembrance do not enter the
rational space of our everyday world, they live their
lives not around us but within us. The artist can safely renounce perspective,
landscape, the table of still-life, because the space of his figures is time,
that Summer Night evoked by the title of one of his best paintings,
which, in spite of its intimately small scale, builds a monumental setting for
all human events...
Luk‡csy
S‡ndor, òj Ir‡s, 1988. m‡jus
1988. febr. 10. - m‡rc. 1. S‡gv‡ri MűvelődŽsi
H‡z, PŽcs
grafikai ki‡ll’t‡s graphic works
1988. jœl. 5. - jœl. 31. îbudai
PincegalŽria, Budapest
...Val—di
szŸksŽgben Žs szorongattat‡sban az Žletšsztšn elemi műkšdŽse kell ahhoz,
hogy valaki, mikšzben menteni pr—b‡lja a menthetőt, az ellentmond‡sok
ilyen szšvevŽnyŽbe keveredjŽk; hogy jellŽ kšnnyebbŸlt jellemalakja b‡lv‡nykŽnt
megjelen’tve sœlyosan testes legyen; hogy a kšrvonal Žs a felŸlet kŽtsŽgbevonva
gazdag’tsa egym‡st; hogy a kőszerűen rideg form‡nak f‡hoz illően
eleven erezete t‡madjon; hogy t‡blakŽpe reliefkŽnt viselkedjŽk; hogy festői
minősŽgŽben ny’ltan kimerŽszkedjŽk a tŽrbe...
...Nothing but the elementary action of vital
instinct can explain how someone in real distress, being really et bay - while
trying to rescue what is recoverable - should find himself in such a tangle of
contradictions: that his human figure distilled to the lithness of a sign
represented as an idol should receive heavy corporality; that contours and
surface should mutually call in doubt and yet enrich each other; that the
stonelike rigid form should develop a vivid network normally befitting wood;
that his panel painting should behave like a relief; that in his capacity as a
painter he should openly venture to penetrate into space...
Orb‡n
Ott—, ƒlet Žs Irodalom, 1988. jœl. 8.
...Expressz’v
anyaghaszn‡lata kŸlšnšs kultikus erőt kšlcsšnšz a termŽszeti nŽpek
mot’vumkincsŽből sokat mer’tő b‡lv‡ny-‡br‡zol‡sainak. ... ezeknek
a folytat‡sai(vagy ihletői ?) a termŽszet puszt’totta-alak’totta
fadarabokb—l šsze‡ll’tott plasztik‡k.
A tal‡lt t‡rgyakhoz - a kiv‡laszt‡s Žs a c’mad‡s esztŽtikai műveletŽn
k’vŸl - j— esetben nem tesz hozz‡ semmit, m‡skor, mint a bombasztikus ’zű
PromŽtheusz esetŽben, egy rŽgi kŽpkeretbe foglal‡ssal "rontja el" a művet;
megint m‡skor a hozz‡ad‡steremtő gesztus, szik‡r Žs erőteljes; ilyen
az osztott kŽpmezőbe foglalt, ereklyeszerű Maszk Žs l‡ng, mely ak‡r egy Pilinszky-hommage is lehetne.
...His expressive use of material gives a
curious cultic force to his idol-images that draw heavily on the decorative
motives of nature people... the continuation (or inspiration
?) of these are the plastic works assembled from pieces of wood
destructed and formed by nature. In lucky cases he does not add anything to the
found objects - except the aesthetic act of choosing and giving a title. In
other cases, as with the somewhat turgid Prometheus, he "spoils" the
work by putting it into an old frame. In further cases the addition is a
creative gesture, dry and forceful, as with the Mask and Flame, put into a divided field and resembling a reliquiary, that could well
be an Hommage to the poet Pilinszky.
Boros
GŽza, òj TŸkšr, 1988. jœl. 24.
1989. m‡rc.1. - 30. V‡rkonyi N‡ndor Kšnyvt‡r, PŽcs
grafikai művek graphic works
1989. szept. 14. - okt. 1. Budapesti MűvelődŽsi
Kšzpont
grafikai művek graphic works
1991. m‡j. 8. - m‡j. 22. Gul‡csy GalŽria,
Budapest
...Veress
alkot—i vil‡g‡n belŸl ez a ki‡ll’t‡s egyben megœjul‡s Žs kiteljesedŽs is.
KiteljesedŽs, mert az ŽrzŽkeny, artisztikus Žs virtu—z
technikai kivitelezŽs... olyan mag‡t—l Žrtetődően termŽszetes, ahogy
a mad‡r Žnekel, ahogy a minden szŸksŽges technika Žs kifejező eszkšz
birtok‡ban levő előad—művŽsz eggyŽv‡lik a hegedűjŽvel.
Megœjul‡s..., mert megjelentek művŽszetŽben a
mozg‡st, v‡ltoz‡st, disszonanci‡t, belső dr‡m‡t kifejező alkot‡sok.
RŽgebben ez a vil‡g j—indulatœ b‡lv‡nyokkal nŽpesŸlt be. LŽnyei, ha b‡nt‡s Žrte
őket, šnmagukba fordultak, becsuk—dtak. òj ki‡ll’t‡s‡n nemcsak a szenvedŽst mutatja fel, hanem a hol heroikus, hol groteszk
viaskod‡st, a megtšretett Žs œjj‡szŸlető lŽlek erejŽt is.
... within the
creative world of Veress this exhibiton signals both a renewal and a
fulfilment. Fulfilment, because the sensitive, artistic and accomplished
technical execution...is as self-evidently natural, as the bird sings or as the
virtuoso, in possession of all necessary technics and means
of
expression becomes virtually one with his instrument.
Renewal...because...in his art there appear
works that express movement, change, dissonance, internal conflict. Formerly,
this world was populated by benevolent idols. Hes creatures, if offended,
turned inside, closed themselves. At this new exhibition the artist shows up
not only the suffering but also the alternately heroic or grotesque struggle,
the force of a broken soul being reborn.
KerŽkgy‡rt—
Istv‡n, òj Magyarorsz‡g, 1991. m‡j. 22.
1993. jœn. 5. - jœn. 26. Budapesti
TšrtŽneti Mœzeum
AkadŽmiai
"szŽkfoglal— ki‡ll’t‡s" Academic "inaugural show"
Veress
b‡lv‡nyai - aligha tagadhatjuk - hozz‡tartoznak ŽrtelmisŽgi lŽtŸnk
"kŽpzeletbeli mœzeum‡hoz"..., egy modern
szellemisŽgű kultur‡lis neveltetŽs autentikus emlŽkkŽpei. VŽgŸl is nem
szŸksŽges..."művŽszi alkot‡sokkŽnt" szemlŽlni őket (œgy is
lehet persze), ha nem mint az ősrŽgit, a kemŽny kŽreggel, kiŽgett rŽteggel
elfedett valaha-voltat a maival, a kšzvetlen elevensŽggel štvšző emberi
lŽt egyes ŽlmŽnykšreit, ‡llapotait kšzvet’tő, ŽrzŽkeltető, jelkŽpező
- nem lŽlektelen - dolgokat, amelyek l‡tsz—lagos idegenszerűsŽgŸk ellenŽre
ez‡ltal a kŸlšnleges sugalmaz— erő ‡ltal v‡lnak a szemlŽlet otthonos
t‡rgyaiv‡...
...the
"idols" of Veress - we can hardly deny it - are part and parcel of an
"imaginary museum" belonging to our lives as members of the
intelligentsia... they are authentic recollections of a cultural education in a
modern spirit. After all, it is not necessary to view them as "creations
of art" (although that is, of course, also possible)... but as - not
soulless - objects that convey, suggest and symbolize certain experiences and
states of human existence in which the primitive, the immemorial covered by a
hard crust, by a burnt-our layer is alloyed with the immediacy of todays life.
In spite of their apparent strangeness and through this unique suggestive force
these things turn into familiar objects of our vision...
Mezei
Ott—, òj MűvŽszet, 1993. nov.
Csoportos
ki‡ll’t‡sok
101
t‡rgy. îbudai GalŽria, Budapest 1985
XIV.Orsz‡gos
Grafikai Bienn‡lŽ, Miskolc 1987
Tavaszi
T‡rlat, Műcsarnok Budapest 1988
XXVI.Szegedi
Ny‡ri T‡rlat, M—ra Ferenc Mœzeum KŽpt‡ra, Szeged 1988
PŽcsi
Grafikai Műhely ki‡ll’t‡sa, PŽcsi KisgalŽria, PŽcs 1989 dec.- 1990 jan.
L‡that—
Hangok - a Soros-Alap’tv‡ny kedvezmŽnyezetteinek kamaraki‡ll’t‡sa,
Kod‡ly-iskola, KecskemŽt 1989
XV.Orsz‡gos
Grafikai Bienn‡lŽ Miskolc 1991. nov.-1992. jan.
ŐsisŽg
Žs ModernsŽg, MŽdium GalŽria, Szombathely 1992. m‡rc. - ‡pr.
Az
idegen szŽp.
KŽpzőművŽszeti Főiskola, Budapest 1992
Hung‡ria
24 (az Eur—pa 24 magyar tagozata) ki‡ll’t‡sa,
Debrecen
1993. m‡rc. - ‡pr.
Participations
101 Objects, Gallery of îbuda
14. National Biennale of Graphic Art, Miskolc
Spring Exhibition, Palace of Art, Budapest
26th Szeged Summer Exhibition, Gallery of the
M—ra Ferenc Museum, Szeged
Show of the PŽcs Graphic Workshop, Small
Gallery of PŽcs
Visible Sounds - intimate show by the
beneficiaries of the Soros-Foundation, Kod‡ly School, KecskemŽt
15. National Biennale of Graphic Art, Miskolc
Archaism and Modernity, Gallery Medium,
Szombathely
The Alien is beautiful, Academy of Plastic
Arts, Budapest
Exhibition of Hungaria 24 (Hungarian section of Europe 24),
Debrecen