'Concrete Photo, Photogram Exhibition', Vasarely Museum Budapest

"The exhibition running at the Vasarely Museum presents works of art by the most outstanding representatives of the photogram, as yet not so well known to the Hungarian public. The photogram, which oscillates on the borderline between photographic art and the fine arts, will guide visitors into the world of freedom, creativity and experimentation through 80 works of art by some 40 artists in the Zichy Museum in Óbuda.













Thomas Freiler

Modern art where there was no longer a borderline between genres evolved in the 1920s with one of its prominent representatives being László Moholy-Nagy, perhaps the most well known Hungarian artist worldwide. Concrete Photo, Photogram will exhibit his works together with those by Lucien Hervé, Pierre Cordier, Thomas Freiler and Balázs Czeizel.














Jaroslav Rössler

CONCRETE PHOTO, PHOTOGRAM
In the first decade of the 20th century painters Wassily Kandinsky and Theo van Doesburg coined the term “concrete art” for a still vigorous abstractionist trend that proposes an autonomous inner organisation in painting and plastic art independent of the external visual reality. Concrete photography and the photogram appeared alongside concrete painting. International contemporary art exhibitions display photographs in which the light and shade of visual forms have an autonomous pictorial meaning, as well as photograms, which are photo-works, images and objects made without a camera.

The photogram is a broad term covering diverse image-production techniques ranging from traditional object-light imprints to chemograms, luminograms, thermograms and other new, explorative methods. The artist encounters light, light-sensitive materials, chemicals and their coefficient inner regularities using a minimum of artistic tools.

György Kepes

László Moholy-Nagy

In the 1920s the adherents of modern art, stepping across the borderlines between genres, turned their attention to the century-old technique of imprinting with light. Pioneering figures of the movement included László Moholy-Nagy, Christian Schad and Man Ray. The innovative fields of photo-, lumino-, and chemograms have captured the imagination of generations of artists, including many Hungarians, with renewing impetus since the very beginning. Some artists build their entire oeuvre on this art form, while others regard it as a means to link analog and digital visuality.

The exhibition can be viewed daily from 10 a.m. to 5.30 p.m. until 26 September, except Mondays. Address: Budapest, III. Szentlélek tér 6."

http://www.szepmuveszeti.hu/web/guest/articleview?mi_article_id=696

BÖLCSKEY Miklós, CSÁBI Ádám, CZEIZEL Balázs, Pierre CORDIER, Inge DICK, EPERJESI Ágnes, ERDÉLY Miklós, FELEDY Balázs, Winfred EVERS, Thomas FREILER, GYARMATHY Tihamér, Heinz HAJEK-HALKE, Heinrich HEIDELBERGER, Lucien HERVÉ, Karl Martin HOLZHÄUSER, HÜBNER Teodóra, Gottfried JÄGER, Herwig KEMPINGER, KEPES György, KEREKES Gábor, Miroslav KOVAL, LENGYEL Lajos, Franz LINSCHINGER, LŐRINCZY György, MAURER Dóra, MEGYIK János, Uwe MEISE, Antoni MIKOLAJCZYK, MOHOLY NAGY László, Sabine RICHTER, Józef ROBAKOWSKI, Jaroslav RÖSSLER, Jack SAL, SZELÉNYI Károly, TÜRK Péter, VESZPRÉMI László

http://www.osas.hu/konkretfoto_2010/konkretfoto_2010.htm

The term 'concrete art' was coined by painters Wassily Kandinsky and Theo van Doesburg in the first decades of the 20th century, referring to the still-ongoing endeavour of abstract art to create an autotelic inner order of pictures and sculptures, independent of the seen world. Concrete photography and photogram represent a phenomenon parallel to concrete painting.

Concrete Photo, Photogram features works by contemporary international artists; partly photographs in which the light-and-shade relations of forms are endowed with autonomous pictorial meanings, and partly photographic artworks – pictures or objects – made without a camera, that are termed photo-grams. Photogram is an umbrella term embracing various imaging methods from traditional imprints of light and objects, through chemogram and luminogram, to thermogram and further, still-unknown, new possibilities. It is without almost any tool or apparatus that the artist handles light, photosensitive materials, and chemicals, or rather, their interactions following from internal laws.