Csaba Nemes - Side Sectional View

Opening: Wednesday, Jan 29, 2017, 7 pm 
March 30, 2017 - June 03, 2017

  • Csaba Nemes, A Forgotten Empire, 200x150 cm, 2016
  • Csaba Nemes, Post-War Swimming Pool, oil on canvas, 40x50 cm, 2016
  • Csaba Nemes, Who (02), oil on canvas, 110x150 cm, 2017
  • Csaba Nemes, Side Sectional View, oil on canvas, 90x120 cm, 2016
  • Csaba Nemes, Deeper and deeper (03), oil on canvas, 70x50 cm, 2016
  • Csaba Nemes, Who, mixed media on paper, 29,7x42 cm, 2016
  • Csaba Nemes, Refusal (04), oil on canvas, 100x120 cm, 2017
  • Csaba Nemes, Deeper and deeper, oil on canvas, 90x60 cm, 2016

Knoll Gallery is pleased to announce the solo show Side Selectional View of Csaba Nemes. The exhibition shows paintings and drawings which deal with the refugee crisis in Hungary in 2015.
Nemes: „During the massive refugee crisis I was walking across the Keleti railway station in Budapest, where hundreds of people settled down in the underpass, when a strong visual reference came to my mind: the shelter drawings of Henry Moore which he made in the London tube during the bombardment of the WW2. The war atmosphere has arrived into isolated Hungary and people had to face the „real history” after so many years."

With these experiences in mind Nemes startet to work on the paintings and then decided to change his painting manner. He found adequate references in the post- war painting and he was interested again in works of his favorite painters from that time, like Auerbach, Kossoff, Schönebeck and the early Baselitz. „The result of this contemplation was, that I’ve started to create massive, thick painted surfaces step by step. Quite often I repainted forms and colors on my canvases. Although I used my photos (as references) for the paintings (which were taken at the Keleti railway station and the border of the Hungarian state) the result went far from their origins."

"At the beginning I depicted, what I saw and experienced on the emblematic venues but later on I created more metaphorical images. The falling churches, which could represent the instrumentalised Christian institutions, manipulated by present politics, for example. Another series of paintings are over painted with crosses. They can recall the strong feeling of anger and refusal. And I lately have started to work on paintings and drawings, connected to the civil war in Aleppo. Meanwhile I was googleing images on the war, I’ve realized, many of them show an emotionally strong situation: man brings out a child from the chaotic destroyed city. (Man and child together are not so often depicted, it’s not a common iconographical type.) On this particular picture an unknown man carefully holds a child in his arms, almost like mothers do. The cityscape in the background is like an abstract or informed composition. The ruins create central perspective space and the man who is standing in its focus saves the future itself.”