{"id":9590,"date":"2018-05-20T22:00:45","date_gmt":"2018-05-20T20:00:45","guid":{"rendered":"https:\/\/balkon.art\/home\/?p=9590"},"modified":"2019-06-02T15:36:13","modified_gmt":"2019-06-02T13:36:13","slug":"gado-flora-magangyujtemenyek-dialogusban","status":"publish","type":"post","link":"https:\/\/balkon.art\/home\/gado-flora-magangyujtemenyek-dialogusban\/","title":{"rendered":"Mag\u00e1ngy\u0171jtem\u00e9nyek dial\u00f3gusban"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

K\u00e9tfej\u0171 gyufa<\/em> | V\u00e1logat\u00e1s n\u00e9gy kort\u00e1rs rom\u00e1n mag\u00e1ngy\u0171jtem\u00e9nyb\u0151l<\/h3>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”25″][vc_column_text]\n

Kur\u00e1torok: Diana Marincu \u2013 Szegedy-Masz\u00e1k Zsuzsanna<\/h4>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”25″][vc_column_text]\n

\u00daj Budapest Gal\u00e9ria, Budapest
\n2018. febru\u00e1r 16 \u2013 m\u00e1jus 27.<\/h4>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”25″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” top_padding=”0″ bottom_padding=”0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Az ut\u00f3bbi \u00e9vtizedben a rom\u00e1n m\u0171v\u00e9szet sikere, mondhatni, t\u00f6retlen \u2013 legyen sz\u00f3 filmr\u0151l, sz\u00ednh\u00e1zr\u00f3l, vagy k\u00e9pz\u0151m\u0171v\u00e9szetr\u0151l. Az idei Arany Medv\u00e9<\/em>t Adina Pintilie<\/span> els\u0151filmes rendez\u0151 alkot\u00e1sa nyerte a Berlin\u00e1l\u00e9n, de olyan alkot\u00f3kkal, mint Cristi Puiu<\/span> vagy Corneliu Porumboiu,<\/span> a rom\u00e1n \u00fajhull\u00e1m m\u00e1r \u00e9vek \u00f3ta a filmes \u00e9lmez\u0151nybe tartozik.<\/p>\n

Andrei \u015eerban<\/span> \u2013 aki m\u00e1r t\u00f6bbsz\u00f6r is rendezett Magyarorsz\u00e1gon \u2013 nemr\u00e9g \u00e1ll\u00edtott sz\u00ednpadra a Radn\u00f3ti Sz\u00ednh\u00e1zban Shakespeare III. Rich\u00e1rd<\/em>j\u00e1t.1<\/span> Hasonl\u00f3 p\u00e9ld\u00e1k hozhat\u00f3ak a k\u00e9pz\u0151m\u0171v\u00e9szet ter\u00fclet\u00e9r\u0151l is, ahol p\u00e9ld\u00e1ul a kolozsv\u00e1ri \u00e9s egyben berlini kirendelts\u00e9g\u0171 \u2013 a ki\u00e1ll\u00edt\u00e1son is megjelen\u0151 \u2013 Plan B Gal\u00e9ri\u00e1nak2<\/span> k\u00f6sz\u00f6nhet\u0151en Adrian Ghenie<\/span> \u00e9s Victor Man<\/span> k\u00e9pz\u0151m\u0171v\u00e9szek is nagy ismerts\u00e9gre tettek szert. Sz\u00e1mos hazai t\u00e1rlaton tal\u00e1lkozhattunk m\u00e1r a K\u00e9tfej\u0171 gyufa<\/em> ki\u00e1ll\u00edt\u00e1son is l\u00e1that\u00f3 m\u0171v\u00e9szekkel, \u00edgy p\u00e9ld\u00e1ul a M\u0171csarnok Eur\u00f3pai utasok<\/em>3<\/span> ki\u00e1ll\u00edt\u00e1s\u00e1n (2012) amely Angel Judit<\/span> rendez\u00e9s\u00e9ben mutatta be \u00e1tfog\u00f3 m\u00f3don a kolozsv\u00e1ri m\u0171v\u00e9szeti sz\u00ednteret. 2015-ben pedig Ciprian Mure\u0219an<\/span>nak4<\/span> a Ludwig M\u00fazeumban, majd Mi Kafchin<\/span>nak a Traf\u00f3 Gal\u00e9ri\u00e1ban5<\/span> volt \u00f6n\u00e1ll\u00f3 bemutatkoz\u00e1si lehet\u0151s\u00e9ge.<\/p>\n

Az \u00daj Budapest Gal\u00e9ria K\u00e9tfej\u0171 gyufa<\/em> c\u00edm\u0171 ki\u00e1ll\u00edt\u00e1sa a B\u00e1ln\u00e1ban6<\/span> n\u00e9gy fontos rom\u00e1n mag\u00e1ngy\u0171jtem\u00e9nyb\u0151l \u2013 Mircea Pinte, Ovidiu \u015eandor, R\u0103zvan B\u0103nescu<\/span> \u00e9s a Plan B Alap\u00edtv\u00e1ny<\/span> kollekci\u00f3j\u00e1b\u00f3l \u2013 mutat be v\u00e1logat\u00e1st, Diana Marincu<\/span>7<\/span> \u00e9s Szegedy-Masz\u00e1k Zsuzsanna<\/span> rendez\u00e9s\u00e9ben. Egy ilyen t\u00edpus\u00fa v\u00e1logat\u00e1s t\u00f6bb k\u00e9rd\u00e9st is felvet: az, hogy a bemutatott anyag n\u00e9gy mag\u00e1ngy\u0171jtem\u00e9ny alkot\u00e1saib\u00f3l \u00e1ll \u00f6ssze, \u00e9rtelemszer\u0171en valamennyire limit\u00e1lja a kur\u00e1torok d\u00f6nt\u00e9seit, v\u00e1laszt\u00e1si lehet\u0151s\u00e9geit. Lehet, s\u0151t val\u00f3sz\u00edn\u0171, hogy ez\u00e1ltal kimaradnak olyan m\u0171v\u00e9szek vagy m\u0171vek, amelyeket am\u00fagy a rom\u00e1n kort\u00e1rs szc\u00e9n\u00e1t tekintve fontosnak, reprezentat\u00edvnak \u00edt\u00e9ln\u00e9nek. Viszont az is igaz, hogy egy ilyen szelekci\u00f3 \u00e9ppen arr\u00f3l mutathat \u00e1tfog\u00f3 k\u00e9pet, hogy melyek azok a m\u0171v\u00e9szek, tendenci\u00e1k, ir\u00e1nyzatok, amelyek m\u00e1r \u201e\u00e1tt\u00f6rtek\u201d egy bizonyos szintet, beker\u00fcltek egy adott gy\u0171jtem\u00e9nybe \u2013 azaz r\u00e9sz\u00e9v\u00e9 lettek egy saj\u00e1tos piaci logik\u00e1nak \u2013 \u00e9s elindultak a kanoniz\u00e1ci\u00f3 \u00fatj\u00e1n. Emellett a mag\u00e1ngy\u0171jtem\u00e9nyek nyilv\u00e1nos bemutat\u00e1sa egy int\u00e9zm\u00e9nyben mindig fontos l\u00e9p\u00e9st jelent a k\u00fcl\u00f6nb\u00f6z\u0151 szerepl\u0151k (m\u0171v\u00e9sz, gy\u0171jt\u0151, kur\u00e1tor, muzeol\u00f3gus) szemsz\u00f6g\u00e9b\u0151l n\u00e9zve, \u00e9s a kapcsolatok aktiviz\u00e1l\u00e1s\u00e1t tekintve. V\u00e9gs\u0151 soron pedig hangs\u00falyozza azt is, hogy noha az, hogy ki mit gy\u0171jt, sz\u00e1mos k\u00fcl\u00f6nb\u00f6z\u0151 szempont alapj\u00e1n \u00e1ll \u00f6ssze, m\u00e9gis mindig tartalmaz egyfajta szubjektivit\u00e1st, szem\u00e9lyess\u00e9get. \u00c9ppen ett\u0151l a t\u00f6bbir\u00e1ny\u00fa mozg\u00e1st\u00f3l v\u00e1lik izgalmass\u00e1 a mag\u00e1ngy\u0171jtem\u00e9nyek bemutat\u00e1sa \u00e9s vizsg\u00e1lata, amely ugyanakkor az \u00daj Budapest Gal\u00e9ria k\u00f6vetkezetes ki\u00e1ll\u00edt\u00e1spolitik\u00e1j\u00e1nak r\u00e9sze is egyben.8<\/span><\/p>\n

A d\u00f6nt\u00e9s a kur\u00e1torok r\u00e9sz\u00e9r\u0151l egy ilyen ki\u00e1ll\u00edt\u00e1s rendez\u00e9sekor abban is \u00e1ll, hogy megtartj\u00e1k-e ezt az egys\u00e9get, \u00e9s a gy\u0171jtem\u00e9nyek szerint mutatj\u00e1k be az anyagot, vagy saj\u00e1t tematikus kateg\u00f3ri\u00e1kat hoznak l\u00e9tre, \u00e9s ezekbe helyezik be a m\u0171veket. Jelen ki\u00e1ll\u00edt\u00e1s eset\u00e9ben ez ut\u00f3bbira esett a v\u00e1laszt\u00e1s \u00e9s igen szerencs\u00e9s m\u00f3don: az \u00f6t tematikus egys\u00e9g \u2013 \u00dctk\u00f6z\u0151p\u00e1lya, A reflekt\u00edv \u00e9n, Vegy\u00e9l nekem rejtelmet, A csend temploma, Az \u0171r perem\u00e9n<\/em> \u2013 kifejezetten \u00e1tgondolt koncepci\u00f3t t\u00fckr\u00f6z, \u00e9s sikeresen, \u00e1m nem didaktikusan pr\u00f3b\u00e1lja \u00f6sszefoglalni a kort\u00e1rs (\u00e9s helyenk\u00e9nt kor\u00e1bbi) rom\u00e1n k\u00e9pz\u0151m\u0171v\u00e9szet legf\u0151bb tendenci\u00e1it, \u00e9rdekl\u0151d\u00e9si ir\u00e1nyait, meghat\u00e1roz\u00f3 alkot\u00f3it. Ahogy a ki\u00e1ll\u00edt\u00e1si koncepci\u00f3 is hangs\u00falyozza, az \u00f6t tematikus szakasz \u2013 melyek a diktat\u00fara ut\u00e1ni \u00fajrakezd\u00e9sre, az ehhez kapcsolhat\u00f3 t\u00e1rsadalmi, t\u00f6rt\u00e9nelmi \u00e9s gazdas\u00e1gi v\u00e1ltoz\u00e1sokra, valamint mindebben az egy\u00e9n szerep\u00e9re k\u00e9rdeznek r\u00e1 \u2013 fejezetekk\u00e9nt, illetve egy \u00f6sszef\u00fcgg\u0151 narrat\u00edva r\u00e9szek\u00e9nt is \u00e9rtelmezhet\u0151k. \u00c9s ez val\u00f3ban \u00edgy is van, mivel az egys\u00e9gek pont a megfelel\u0151 m\u00e9rt\u00e9kben \u00e1rnyalj\u00e1k \u00e9s eg\u00e9sz\u00edtik ki egym\u00e1st, ez\u00e1ltal ink\u00e1bb egyfajta konstell\u00e1ci\u00f3t, mintsem line\u00e1ris t\u00f6rt\u00e9netet hozva l\u00e9tre. Ek\u00f6zben azt is \u00e9rezhetj\u00fck, hogy melyek azok a \u201ekulcs\u201d munk\u00e1k, amelyek ak\u00e1r t\u00f6bb tematikus egys\u00e9ghez is tartozhatn\u00e1nak, illetve melyek azok, amelyek az adott gy\u0171jtem\u00e9ny profilj\u00e1t ugyan \u00e1rnyalj\u00e1k, a ki\u00e1ll\u00edt\u00e1st azonban kev\u00e9sb\u00e9 teszik izgalmass\u00e1.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0″][divider line_type=”Small Line” line_alignment=”default” line_thickness=”4″ divider_color=”accent-color” custom_height=”20″ custom_line_width=”100″][vc_column_text]\n

1<\/p>\n

http:\/\/radnotiszinhaz.hu\/repertoar\/lll-richard\/<\/a><\/p>\n

2<\/p>\n

http:\/\/plan-b.ro\/<\/a><\/p>\n

3<\/p>\n

Eur\u00f3pai utasok. Kolozsv\u00e1ri k\u00e9pz\u0151 m\u0171v\u00e9szet az ezredfordul\u00f3 ut\u00e1n, M\u0171csarnok, Budapest, 2012. \u00e1prilis 19 \u2013 j\u00falius 8. (http:\/\/mucsarnok.hu\/kiallitasok\/kiallitasok.php?mid=561c3525eebf4&tax=<\/a>), ld. m\u00e9g: Hornyik S\u00e1ndor: Alternat\u00edv id\u0151utaz\u00f3k \u2013 Posztkommunizmus, figurativit\u00e1s, \u00e9s dekolonializ\u00e1ci\u00f3. Balkon,<\/em> 2012\/7,8., 2-11. (https:\/\/issuu.com\/balkon_2012_7_8<\/a>)<\/p>\n

4<\/p>\n

Ciprian Mure\u0219an: Egzisztenci\u00e1tokat szerz\u0151d\u00e9s szavatolja,<\/em> Ludwig M\u00fazeum \u2013 Kort\u00e1rs M\u0171v\u00e9szeti M\u00fazeum, Budapest, 2015. janu\u00e1r 16 \u2013 m\u00e1rcius 22. (https:\/\/ludwigmuseum.hu\/kiallitas\/ciprian-muresan-egzisztenciatokat-szerzodes-szavatolja<\/a>), ld. m\u00e9g: Szip\u0151cs Krisztina: N\u00e9h\u00e1ny sz\u00f3 az elnyom\u00f3 rendszerekkel szembeni harck\u00e9ptelens\u00e9gr\u0151l. Balkon,<\/em> 2015\/5., 9-13. (https:\/\/issuu.com\/balkon_2015_05<\/a>)<\/p>\n

5<\/p>\n

Mihu\u021b Bo\u015fcu Kafchin: Ford\u00edtott \u00f6ntervez\u00e9s.<\/em> Traf\u00f3 Gal\u00e9ria, Budapest, 2015. szeptember 19 \u2013 okt\u00f3ber18. (http:\/\/trafo.hu\/hu-HU\/mihut_boscu_kafchin<\/a>)<\/p>\n

6<\/p>\n

http:\/\/budapestgaleria.hu\/uj\/2018-kiallitasok\/ketfeju-gyufa-valogatas-negy-mai-roman-magangyujtemenybol\/<\/a><\/p>\n

7<\/p>\n

Diana Marincu t\u00f6bbek k\u00f6z\u00f6tt a 2017-es az Art Encounters<\/em> t\u00e1rskur\u00e1torak\u00e9nt lett ismert. Ld. m\u00e9g: Egy szem\u00e9lyesebb n\u00e9zet | Besz\u00e9lget\u00e9s Diana Marincuval (https:\/\/balkon.art\/home\/egy-szemelyesebb-nezet-beszelgetes-diana-marincuval\/<\/a>)<\/p>\n

8<\/p>\n

http:\/\/budapestgaleria.hu\/uj\/2018-kiallitasok\/ketfeju-gyufa-valogatas-negy-mai-roman-magangyujtemenybol\/<\/a>
\nhttp:\/\/budapestgaleria.hu\/uj\/2014-kiallitasok\/kortarsak-gyujtok-es-muveszek\/<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”35″][vc_column_text]\n

\u00a9 Fot\u00f3k: Eln Ferenc<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”5″][image_with_animation image_url=”9591″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

APPARATUS 22: Vegy\u00e9l nekem rejtelmet,<\/em> 2015, (r\u00e9szlet), fa, sz\u0151rbund\u00e1k, neon felirat | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”35″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” top_padding=”0″ bottom_padding=”0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Az Apparatus 22<\/span> Vegy\u00e9l nekem rejtelmet<\/em> c\u00edm\u0171 nagym\u00e9ret\u0171 install\u00e1ci\u00f3ja er\u0151s ind\u00edt\u00e1sa a ki\u00e1ll\u00edt\u00e1snak. Ennek az els\u0151 tematikus egys\u00e9gnek a munk\u00e1i ironikusan \u00e9s viszonylag k\u00f6nnyed hangnemben reflekt\u00e1lnak a \u201989 ut\u00e1ni v\u00e1ltoz\u00e1sokra, a fogyaszt\u00f3i kult\u00fara megoszt\u00f3 szerep\u00e9re \u00e9s mindennek a m\u0171v\u00e9szetre val\u00f3 hat\u00e1s\u00e1ra. Az Apparatus 22 munk\u00e1ja, c\u00edm\u00e9hez h\u00edven, kiss\u00e9 enigmatikus: egy f\u00e1b\u00f3l k\u00e9sz\u00fclt \u00e1gyt\u00e1ml\u00e1ra egym\u00e1shoz varrt sz\u0151rmebund\u00e1kat aggattak, mely ruhadarab \u00e1ltal\u00e1ban az \u00fajgazdag moh\u00f3s\u00e1g, birtokl\u00e1si v\u00e1gy asszoci\u00e1ci\u00f3t \u00e9breszti fel. A \u201990-es \u00e9vek hirtelen meggazdagod\u00f3 r\u00e9teg\u00e9nek a \u201enyugathoz\u201d val\u00f3 felz\u00e1rk\u00f3z\u00e1si k\u00eds\u00e9rlete \u00e9s annak lehetetlens\u00e9ge fogalmaz\u00f3dik meg a m\u0171ben, amelyet a c\u00edmad\u00f3 mondat paradox \u00e1ll\u00edt\u00e1sa gondol tov\u00e1bb: a nem materi\u00e1lis dolgok megv\u00e1s\u00e1rl\u00e1sa mint realit\u00e1s \u00e9s\/vagy ill\u00fazi\u00f3.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”35″][image_with_animation image_url=”9623″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Mircea CANTOR: Gy\u00e9m\u00e1nt kukorica,<\/em> 2005, \u00f6nt\u00f6tt krist\u00e1ly, kartonpap\u00edr posztamens | M. P. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” top_padding=”0″ bottom_padding=”0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]Egy \u00e1tvezet\u0151 foly\u00f3s\u00f3ra szorult ugyan, de a ki\u00e1ll\u00edt\u00e1s egyik legizgalmasabb \u00e9s legjobban kifejtett alr\u00e9sze a Reflekt\u00edv \u00e9n<\/em>-szekci\u00f3. A legdomin\u00e1nsabb m\u0171faj itt a portr\u00e9, az \u00f6narck\u00e9p, mely k\u00fcl\u00f6nb\u00f6z\u0151 koncepci\u00f3kon \u00e9s st\u00edlusir\u00e1nyzatokon kereszt\u00fcl jelenik meg: l\u00e1thatunk performansz-dokument\u00e1ci\u00f3t, absztrah\u00e1lt portr\u00e9t, bels\u0151 \u00e9nk\u00e9peket, vagy a genderrel val\u00f3 j\u00e1t\u00e9kot is. Felbukkannak olyan ismert m\u0171v\u00e9szek, mint a m\u00e1r eml\u00edtett Adrian Ghenie, akinek C\u00edm n\u00e9lk\u00fcl (Darwin)<\/em> c\u00edm\u0171 2014-es absztrakt munk\u00e1ja baconi sz\u00ednkezel\u00e9s\u00e9vel radik\u00e1lisan ny\u00fal a portr\u00e9 m\u0171faj\u00e1hoz, vagy Ion Grigorescu,<\/span> akinek \u00d6narck\u00e9p mint Tutanhamon<\/em> c\u00edm\u0171 1976-os fot\u00f3j\u00e1n a m\u0171v\u00e9sz nyak\u00e1n a f\u00e1ra\u00f3 halotti maszkj\u00e1nak lenyomata l\u00e1that\u00f3, \u00f6sszemosva a m\u0171v\u00e9sz \u00e9s a teremt\u0151\/uralkod\u00f3 m\u00edtosz\u00e1t. A maszk, lenyomat k\u00e9rd\u00e9se m\u00e1s munk\u00e1kban is megjelenik: Alex Mirutziu<\/span> \u2013 \u00c9l\u0151 maszk a m\u0171v\u00e9szr\u0151l mint 29 \u00e9ves \u00f6nmaga<\/em> (2011) \u2013 saj\u00e1t arc\u00e1nak \u00fcveglenyomat\u00e1t k\u00e9sz\u00edtette el egyfajta halotti maszkk\u00e9nt, k\u00eds\u00e9rteties hat\u00e1st keltve hever, alulr\u00f3l megvil\u00e1g\u00edtva egy posztamensen. Hasonl\u00f3 unheimlich \u00e9rz\u00e9st v\u00e1lt ki a ki\u00e1ll\u00edt\u00e1s m\u00e1sik er\u0151s, m\u00e1r-m\u00e1r t\u00fals\u00e1gosan is hangs\u00falyos install\u00e1ci\u00f3ja, Iona Nemes<\/span> A feh\u00e9r csapat (S\u00e1t\u00e1n)<\/em> c\u00edm\u0171 2009-es munk\u00e1ja. A rom\u00e1n paraszti kult\u00far\u00e1b\u00f3l sz\u00e1rmaz\u00f3 \u2013 a bus\u00f3j\u00e1r\u00e1s sor\u00e1n haszn\u00e1ltakra eml\u00e9keztet\u0151 \u2013 ritu\u00e1lis maszkok, kisaj\u00e1t\u00edt\u00e1suknak k\u00f6sz\u00f6nhet\u0151en, kiss\u00e9 idegen\u00fcl hatnak: p\u00f3zn\u00e1kra szerelve egyszerre ijeszt\u0151nek, s ugyanakkor erej\u00fcket vesztettnek t\u0171nnek a gal\u00e9ria t\u00e9rben. Noha egy m\u00e1sik alegys\u00e9ghez tartozik, \u00e9rdemes idek\u00f6tni a m\u00e1r eml\u00edtett Mi Kafchin Az altertest alk\u00edmi\u00e1ja<\/em> c\u00edm\u0171 2013-as festm\u00e9ny\u00e9t, amely a maga furcsa \u00f6sszevisszas\u00e1g\u00e1ban egy ember \u00e9s egy robot kapcsolat\u00e1t, aff\u00e9le kort\u00e1rs Frankenstein-sztorit id\u00e9z, amely szint\u00e9n olvashat\u00f3 egyfajta kritikus \u00f6nportr\u00e9k\u00e9nt is. [\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”35″][image_with_animation image_url=”9633″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Ioana NEME\u0218: A feh\u00e9r csapat (S\u00e1t\u00e1n),<\/em> 2009, sz\u0151r, b\u0151r, szarv, arany, epoxid | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-0-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9629″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Alex MIRUTZIU: TAH29. \u00c9l\u0151 maszk a m\u0171v\u00e9szr\u0151l, mint 29 \u00e9ves \u00f6nmaga,<\/em> 2011, \u00fcveg | O. S. Gy\u0171jtem\u00e9ny \/\/\/ Adrian GHENIE: C\u00edm n\u00e9lk\u00fcl (Darwin)<\/em>, 2014, olaj, v\u00e1szon | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9603″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Alex MIRUTZIU: TAH29. \u00c9l\u0151 maszk a m\u0171v\u00e9szr\u0151l, mint 29 \u00e9ves \u00f6nmaga,<\/em> 2011, (r\u00e9szlet), \u00fcveg | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9636″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Adrian GHENIE: Tanulm\u00e1ny az \u00d6narck\u00e9p mint Charles Darwin-hoz,<\/em> 2013, sz\u00e9n, pap\u00edr | O. S. Gy\u0171jtem\u00e9ny \/\/\/ Rudolf BONE: Geszteny\u00e9s \u00f6narck\u00e9p,<\/em> 1983, f\u00e9nyk\u00e9p | R. B. Gy\u0171jtem\u00e9ny \/\/\/ \u0218tefan BERTALAN: N\u00f6v\u00e9nyi \u00f6narck\u00e9p,<\/em> 1985\u201386 k., vegyes technika | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9637″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Adrian GHENIE: Tanulm\u00e1ny az \u00d6narck\u00e9p mint Charles Darwin-hoz,<\/em> 2013, (r\u00e9szlet), sz\u00e9n, pap\u00edr | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9640″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Ion GRIGORESCU: \u00d6narck\u00e9p mint Tutanhamon,<\/em> 1976, fekete-feh\u00e9r f\u00e9nyk\u00e9p | M. P. Gy\u0171jtem\u00e9ny \/\/\/ Sorin NEAM\u021aU: Egy k\u00e9p vissza\u00e1ll\u00edt\u00e1sa,<\/em> 2014, print transzfer, olaj, fat\u00e1bla | R. B. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9643″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Cornel BRUDA\u0218CU: C\u00edm n\u00e9lk\u00fcl,<\/em> 1994, olaj, v\u00e1szon | M. P. Gy\u0171jtem\u00e9ny \/\/\/ Gheorghe ILEA: Szem\u00e9t (A Tronicart 1300 sorozatb\u00f3l),<\/em> 2011, olaj, motorh\u00e1ztet\u0151 | Plan B Alap\u00edtv\u00e1ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9642″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Mi KAFCHIN: Az alter-test alk\u00edmi\u00e1ja,<\/em> 2013, akril \u00e9s olaj, v\u00e1szon | O. S. Gy\u0171jtem\u00e9ny \/\/\/ Ioana B\u0102TR\u00c2NU: Beker\u00edtett kert,<\/em> 1994, olaj, v\u00e1szon | Plan B Alap\u00edtv\u00e1ny \/\/\/ (el\u0151t\u00e9rben) Andra URSU\u021aA: C\u00edm n\u00e9lk\u00fcl,<\/em> 2015, aqua-resin, O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9644″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Dan PERJOVSCHI: V\u00e1zlatf\u00fczet \u2013 Tate el\u0151k\u00e9sz\u00fcleti rajzok,<\/em> 2006, O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”35″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” top_padding=”0″ bottom_padding=”0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]A portr\u00e9-szekci\u00f3 folytat\u00e1sak\u00e9nt jelenik meg A csend temploma<\/em> c\u00edm\u0171 blokk, amelyben az elmag\u00e1nyosodott egy\u00e9n v\u00edv\u00f3d\u00e1sai, eml\u00e9kei, t\u00f6rt\u00e9nelemk\u00e9pe \u00e9s az arra val\u00f3 reflexi\u00f3 ker\u00fcl el\u0151t\u00e9rbe. Ez a r\u00e9sz izgalmasan vegy\u00edti a l\u00edrai (\u00e9s am\u00fagy a t\u00e1rlaton t\u00fals\u00falyban lev\u0151) festm\u00e9nyeket \u2013 mint p\u00e9l\u00e1dul \u0218erban Savu<\/span> vagy Mircea Suciu<\/span> m\u0171veit \u2013 azokkal a fot\u00f3alap\u00fa munk\u00e1kkal, amelyek a rom\u00e1n forradalom ut\u00e1ni t\u00e1rsadalmi v\u00e1ltoz\u00e1st, \u00e9s az id\u0151 terekben meg\u0151rz\u0151d\u00f6tt lenyomatait \u00f6r\u00f6k\u00edtik meg. Ilyen p\u00e9ld\u00e1ul Michele Bressan<\/span> fot\u00f3sorozata, amelyben a k\u00fcl\u00f6nf\u00e9le szabadid\u0151 \u00e9s turista k\u00f6zpontok \u00e1talakul\u00e1s\u00e1t dokument\u00e1lja, a magyar k\u00f6z\u00f6ns\u00e9g sz\u00e1m\u00e1ra is ismer\u0151s atmoszf\u00e9r\u00e1t felid\u00e9zve. A m\u00e1r eml\u00edtett Suciu Hajolj<\/em> meg (2007) c\u00edm\u0171 festm\u00e9ny\u00e9nek g\u00f6rnyedt f\u00e9rfialakja pedig mintha egy korszakokon \u00e1t\u00edvel\u0151, mindig visszat\u00e9r\u0151 mozdulatsort ragadna meg, amely alkalmazkod\u00f3k\u00e9pess\u00e9ge seg\u00edts\u00e9g\u00e9vel t\u00fal\u00e9l minden rezsimet.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”35″][image_with_animation image_url=”9703″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Gili MOCANU: Ipari templom,<\/em> 2008, akril, v\u00e1szon | O. S. Gy\u0171jtem\u00e9ny \/\/\/ Mircea SUCIU: Hajolj meg,<\/em> 2007, olaj, v\u00e1szon | R. B. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9646″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Simon Cantemir HAU\u0218I: \u00dasz\u00e1s szervezett helyen<\/em>, 2009, olaj, v\u00e1szon | M. P. Gy\u0171jtem\u00e9ny \/\/\/ Michele BRESSAN: Fast Eco Building,<\/em> 2012, Wellness,<\/em> 2011, Wellness,<\/em> 2011, lambda print | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9726″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

K\u00e9tfej\u0171 gyufa<\/em> | A csend temploma<\/em> (r\u00e9szlet a ki\u00e1ll\u00edt\u00e1sb\u00f3l)<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” top_padding=”0″ bottom_padding=”0″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”2\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]E sorok \u00edr\u00f3ja a l\u00e1togat\u00e1s v\u00e9g\u00e9re hagyta az \u0170r pereme<\/em> nevet kap\u00f3 tematikus egys\u00e9get, amely \u00f6nreflex\u00edv, helyenk\u00e9nt ironikus alkot\u00e1sokon kereszt\u00fcl t\u00f6bbek k\u00f6z\u00f6tt mag\u00e1t a m\u0171v\u00e9szeti k\u00e1nont, az hommage k\u00e9rd\u00e9s\u00e9t, a m\u0171v\u00e9sz poz\u00edci\u00f3j\u00e1t, illetve mindennek t\u00e1rsadalmi, gazdas\u00e1gi vet\u00fclet\u00e9t emeli ki. Ezek a munk\u00e1k kifejezetten alkalmasak arra, hogy k\u00e9rd\u00e9sfelvet\u00e9seikkel, dilemm\u00e1ik kimond\u00e1s\u00e1val a t\u00e1rlat z\u00e1r\u00f3egys\u00e9g\u00e9t k\u00e9pezz\u00e9k. Ciprian Mure\u0219an<\/span> munk\u00e1ja, melyben egy Andr\u00e9 Cader\u00e9<\/span>r\u0151l sz\u00f3l\u00f3 album oldalait rajzolja egym\u00e1sra, palimpszesztk\u00e9nt m\u0171k\u00f6dik \u00e9s st\u00edlszer\u0171en Cadere 1973-as p\u00e1rizsi akci\u00f3j\u00e1nak fot\u00f3dokument\u00e1ci\u00f3ja mell\u00e9 ker\u00fclt. A m\u0171 esz\u00fcnkbe juttathatja Esterh\u00e1zy P\u00e9ter Ottlik G\u00e9za<\/span> Iskola a hat\u00e1ron<\/em> m\u0171v\u00e9r\u0151l k\u00e9sz\u00fclt \u201em\u00e1solat\u00e1t\u201d is. Mindez kieg\u00e9sz\u00fcl Mure\u0219an egy m\u00e1sik ismert, \u00e1m a leheletfinom grafikai st\u00edlust elhagy\u00f3 munk\u00e1j\u00e1val, amelyben tulajdonk\u00e9ppen Yves Klein<\/span> m\u0171v\u00e9t j\u00e1tssza \u00fajra, azaz folytatja: Ugr\u00e1s a semmibe, h\u00e1rom m\u00e1sodperccel k\u00e9s\u0151bb<\/em> (2004) c\u00edmmel. A f\u00f6ld\u00f6n fekv\u0151 alak visszaz\u00f6kkent a val\u00f3s\u00e1gba: ki\u00e1br\u00e1nd\u00edt, \u00e9s egyben szembes\u00edt. Hasonl\u00f3an, mint a ki\u00e1ll\u00edt\u00e1s c\u00edmad\u00f3 munk\u00e1ja: Mircea Cantor<\/span> egyszer\u0171s\u00e9g\u00e9ben frapp\u00e1ns gesztussal utal a gyorsan el\u00e9rni k\u00edv\u00e1nt v\u00e1ltoz\u00e1sok, sikerek \u00e1tmenetis\u00e9g\u00e9re a k\u00e9tfej\u0171 gyufa paradox t\u00e1rgy\u00e1val.<\/p>\n

Cristi Pog\u0103cean<\/span> 2544<\/em> c\u00edm\u0171 vide\u00f3ja m\u00e9lt\u00f3 z\u00e1r\u00e1sa a ki\u00e1ll\u00edt\u00e1snak. Egy f\u00e9rfi l\u00e1thatunk, amint egy z\u00e1szl\u00f3val a kez\u00e9ben m\u00e1szik meg egy hegyet \u2013 a le\u00edr\u00e1sb\u00f3l kider\u00fcl, hogy itt maga a galerista \u201eh\u00f3d\u00edtja meg\u201d Rom\u00e1nia legmagasabb cs\u00facs\u00e1t, z\u00e1szl\u00f3j\u00e1n pedig egyik m\u0171v\u00e9sz\u00e9nek arck\u00e9pe l\u00e1that\u00f3. A sikert \u00e9s a h\u00edrnevet sz\u00f3 szerint sz\u00e1ll\u00edt\u00f3, a m\u0171v\u00e9szt a \u201elegmagasabbra\u201d viv\u0151-juttat\u00f3 gal\u00e9riatulajdonos m\u00edtosza, illetve az ez ir\u00e1nti v\u00e1gy, valamint az ezzel kapcsolatos ill\u00fazi\u00f3 \u00e9s mindennek a neh\u00e9zs\u00e9ge \u00f6tv\u00f6z\u0151dik ebben az ironikus, 2006-os vide\u00f3munk\u00e1ban, amely ugyanakkor mag\u00e1ra a mag\u00e1ngy\u0171jt\u00e9s gesztus\u00e1ra, \u00e9s annak nyilv\u00e1nos t\u00e9rbe val\u00f3 helyez\u00e9s\u00e9re is utalhat.<\/p>\n

A ki\u00e1ll\u00edt\u00e1st v\u00e9gigj\u00e1rva nem az \u00e1llhat \u00f6ssze a l\u00e1togat\u00f3 fej\u00e9ben, hogy melyek az egyes mag\u00e1ngy\u0171jtem\u00e9nyek f\u0151 jellemz\u0151i \u2013 b\u00e1r k\u00e9ts\u00e9gtelen, hogy kirajzol\u00f3dnak bizonyos jellegzetess\u00e9gek \u2013, sokkal ink\u00e1bb egyfajta h\u00e1tt\u00e9rk\u00e9nt, fel\u00fcletk\u00e9nt m\u0171k\u00f6dnek ezek a v\u00e1logat\u00e1sok, melyek kiemelik a kort\u00e1rs rom\u00e1n m\u0171v\u00e9szeti sz\u00ednt\u00e9r legizgalmasabb aspektusait, tendenci\u00e1it, m\u0171v\u00e9szeit. A tematikus blokkok j\u00f3l vezetik a n\u00e9z\u0151t, r\u00e1mutatnak a legl\u00e9nyegesebb k\u00e9rd\u00e9sekre, \u00e9s noha a szelekci\u00f3 \u00e9rtelemszer\u0171en nem t\u00f6rekedhetett teljess\u00e9gre, m\u00e9gis egy izgalmas, tov\u00e1bbgondol\u00e1sra k\u00e9sztet\u0151 \u00e9lm\u00e9nnyel t\u00e1vozunk.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” top_margin=”0″ bottom_margin=”0″ el_class=”box-l20″ width=”1\/3″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none” offset=”vc_col-sm-offset-0 vc_hidden-sm vc_hidden-xs”][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”35″][image_with_animation image_url=”9705″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Ciprian MURE\u0218AN: Andr\u00e9 Cader\u00e9r\u0151l sz\u00f3l\u00f3 k\u00f6nyvb\u0151l v\u00e1logatott k\u00e9pek,<\/em> 2017, ceruza, pap\u00edr | O. S. Gy\u0171jtem\u00e9ny \/\/\/ Andr\u00e9 CADERE: Ki\u00e1ll\u00edt\u00e1s a Galerie des Locataires-vel, Avenue des Gobelins,<\/em> 1973, f\u00e9nyk\u00e9pek | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9708″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Ciprian MURE\u0218AN: Andr\u00e9 Cader\u00e9r\u0151l sz\u00f3l\u00f3 k\u00f6nyvb\u0151l v\u00e1logatott k\u00e9pek,<\/em> 2017, (r\u00e9szlet), ceruza, pap\u00edr | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”65″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9712″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Ciprian MURE\u0218AN: Ugr\u00e1s a semmibe, h\u00e1rom m\u00e1sodperccel k\u00e9s\u0151bb,<\/em> 2004, f\u00e9nyk\u00e9p, ki\u00e1ll\u00edt\u00e1si p\u00e9ld\u00e1ny | M. P. Gy\u0171jtem\u00e9ny \/\/\/ Gabriela VANGA: Pavel,<\/em> 2006, \u00fcveg, feh\u00e9r homok | M. P. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9709″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Gabriela VANGA: Pavel,<\/em> 2006, \u00fcveg, feh\u00e9r homok | M. P. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9719″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

K\u00e9tfej\u0171 gyufa<\/em> | Az \u0171r pereme<\/em> (r\u00e9szlet a ki\u00e1ll\u00edt\u00e1sb\u00f3l)<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][layerslider_vc id=”28″][vc_column_text]\n

Drago\u0219 ALEXANDRESCU: A kudarc gyakorl\u00e1sa,<\/em> 2013, vide\u00f3, 5\u201933\u2019\u2019 (filmk\u00e9pek) | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9724″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Cristian RUSU: Tiroli pavilon,<\/em> 2007, beton objekt \u00e9s f\u00e9nyk\u00e9p | M. P. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9720″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Radu COM\u0218A: F\u00e1zis 3-5-7,<\/em> 2014, beton \u00e9s olaj-alap\u00fa fest\u0151 toll, lenv\u00e1szon | R. B. Gy\u0171jtem\u00e9ny \/\/\/ Radu COM\u0218A: \u00c1t\u00edr\u00e1s (Beethoven 5. szimf\u00f3ni\u00e1ja),<\/em> 2013, olaj, v\u00e1szon | R. B. Gy\u0171jtem\u00e9ny \/\/\/ Ioana NEME\u0218: C\u00edm n\u00e9lk\u00fcl (p\u00e9ntek 11. 01. 2008.),<\/em> 2008, epoxid, fest\u00e9k, lakk | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9721″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Ioana NEME\u0218: C\u00edm n\u00e9lk\u00fcl (p\u00e9ntek 11. 01. 2008.),<\/em> 2008, (r\u00e9szlet), epoxid, fest\u00e9k, lakk | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9594″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Mircea CANTOR: K\u00e9tfej\u0171 gyufa,<\/em> 2002\u20132003, A rom\u00e1niai Szamos\u00fajv\u00e1ri Gyufagy\u00e1rban k\u00e9zzel gy\u00e1rtott 20.000 doboz gyufa | M. P. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”9600″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Mircea CANTOR az \u00daj Budapest Gal\u00e9ri\u00e1ban, Budapest, 2018. 05. 27., 15:30:03<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”65″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Cristi POG\u0102CEAN: 2544,<\/em> 2006, vide\u00f3, 5\u2019 (filmk\u00e9pek) | M. P. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][vc_gallery type=”flickity_style” images=”9795,9796,9797,9798,9799,9800″ flickity_controls=”material_pagination” flickity_desktop_columns=”3″ flickity_small_desktop_columns=”2″ flickity_tablet_columns=”1″ flickity_autoplay=”true” flickity_box_shadow=”none” onclick=”link_no” flickity_autoplay_dur=”8000″ img_size=”600×435″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”80″][image_with_animation image_url=”9729″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Mikl\u00f3s ONUCSAN: \u00c1ll\u00f3 balett a sz\u00e1zadv\u00e9g\u00e9rt,<\/em> 1996, filmre vett akci\u00f3, vide\u00f3 14\u2019 | Plan B Alap\u00edtv\u00e1ny \/\/\/ Ana LUPA\u0218: Identit\u00e1s ing (m\u00e1sodik gener\u00e1ci\u00f3),<\/em> 1969, sz\u00f6vet, c\u00e9rna, izzads\u00e1g, v\u00e9r | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][divider line_type=”No Line” custom_height=”50″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text]\n

Mikl\u00f3s ONUCSAN: \u00c1ll\u00f3 balett a sz\u00e1zadv\u00e9g\u00e9rt,<\/em> 1996, filmre vett akci\u00f3, vide\u00f3 14\u2019 (filmk\u00e9pek) | Plan B Alap\u00edtv\u00e1ny<\/p>\n[\/vc_column_text][vc_gallery type=”flickity_style” images=”9802,9803,9804,9805,9806,9807″ flickity_controls=”material_pagination” flickity_desktop_columns=”3″ flickity_small_desktop_columns=”2″ flickity_tablet_columns=”1″ flickity_autoplay=”true” flickity_box_shadow=”none” onclick=”link_no” flickity_autoplay_dur=”8000″ img_size=”600×461″][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” scene_position=”center” text_color=”dark” text_align=”left” class=”full-5-25″ overlay_strength=”0.3″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”left-right” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”80″][image_with_animation image_url=”9730″ alignment=”center” animation=”None” img_link_large=”yes” border_radius=”none” box_shadow=”none” max_width=”100%” el_class=”full-img”][vc_column_text]\n

Ana LUPA\u0218: Identit\u00e1s ing (m\u00e1sodik gener\u00e1ci\u00f3),<\/em> 1969, (r\u00e9szlet), sz\u00f6vet, c\u00e9rna, izzads\u00e1g, v\u00e9r | O. S. Gy\u0171jtem\u00e9ny<\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” vertically_center_columns=”true” scene_position=”center” text_color=”dark” text_align=”center” color_overlay=”rgba(255,255,255,0.92)” overlay_strength=”0.95″ shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_link_target=”_self” column_shadow=”none” column_border_radius=”none” el_class=”p-3-0″ width=”1\/1″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”]

<\/i>