Faur Zsófi Gallery presents the group exhibition 'Transitions,' showcasing works by Katerina Belkina, Anna Tihanyi and Bence Bakonyi. The images in the exhibition examine examples of transitory experiences in life, be it on a personal or an abstracted, universal level.
Exhibition period
Mar 28th – Apr 10th 2019
Online Exclusive
Faur Zsófi Gallery presents the group exhibition 'Transitions,' showcasing works by Katerina Belkina, Anna Tihanyi and Bence Bakonyi.
Belkina's still life series, entitled Repast, explores three different stages of life - childhood, adulthood and old age. The three cycles, simultaneously corresponding to three different times of the day, convey the change in one's life that may be influenced both by the state of physical health and directions of self-reflection. In the selection of images from her Empty Spaces series the emphasis is placed upon the individual who, while looking for a sense of permanency in the urban environment, is constantly confronted with contrasts of motion and stillness, isolation and public display, as well as with the sense of not belonging anywhere. The cityscapes that the pictures depict are somewhat stereotypical, which may allude to an abstracted, generalised vision of human experience in the urban environment.
A selection of photographs from Anna Tihanyi’s Berlin bhf. series also tackles the subject of the city as a place of transition, but does it in a way that foregrounds the personal, intimate experience of loneliness instead of a stereotyped concept of imaging the human in transitory spaces. Some of Tihanyi’s subjects come from marginalised groups of urban societies, such as the giant or the elderly lady, thus further emphasising the sense of isolation in the images and the experience of momentariness in individual contexts. The photographs appear to be heavily staged, which also underpins the alienation that may be felt in a city where one has no roots.
Photographs from Bence Bakonyi’s Segue series are imprints of the artist’s year-long stay in China. At the beginning of his travels, Bakonyi avoided the crowded cities and spent more time in the countryside, while towards the end of his visit he would find himself in metropolises. The absence of human figures in the images may convey the difficulties of communication in a foreign environment, a concept which, according to the artist, became more and more difficult to follow as his journey was coming to an end. Bakonyi’s travel from the countryside to large cities may also reflect a transition from the natural world to the man-made environment, which inevitably brings with itself disorder and destruction. In this sense, the images point beyond the impressions of the artist’s personal experience, and may suggest underlying issues of transition in the history of humankind.
