Mészáros Júlia, N.: 35 éves a Győri Művésztelep. Történeti áttekintés, művek, életrajzi adatok, beszámoló a jubileumi találkozóról - Győri művészettörténet 4. (Győr, 2003)
Wehner Tibor: "A győri példa"
There are also serial works among the ones presented, but compositions made up from several elements are more typical (the works by Agnes Péter and Tamás Gaál). The dominance of minimalist approach is important: the reduced or at least restrained processing and shaping are emphatic principles of creation. In the works of the 80s, meticulousness, craftsmanship, elegance of style was replaced by rusticity, often a rough mode of expression. In the spirit of new ambitions, the relation of the sculpture to space also changed: the „sculpture” is not a mass of object placed in space but one connecting space with the system of effects of the work, permeating space and coexisting with it. This is especially applicable to mobiles and space installations. A natural concomitant of the relation to space is that the work placed in a traditional situation of exhibition, on a pedestal is more and more pushed into the background, artists seek for and find for their compositions ever new positions and as well as elements associated with the surroundings, articulating new viewpoints of a spectator-recipient instead. All these materials and displacements, renewals and qualitative changes in techniques, mass shaping, object forming placement in and organization of space are bound up with the artists' intentions directing the projection of the contents, planes of meanings, methods of embodiement and transubstantiation of material of the works, which pushed sensuality - also in spheres of realization, expression and effect - behind intellectuality and conceptuality, slightly into the background. The work of the sculptural section of the artists’ symposium of Győr as well as the significant material of relics created by the artists working here, today preserved as part of public collections represent the artistic processes and history of art of the period from the second half of the seventies to the years after the millennium - determined by not in the least uniform historical background, social circumstances. The overall picture is sensitive and plastic: it indicates first of all that luckily „sculpture” in these spaces and times was busy exclusively with sculpture. In the spirit formulated by the sculptor István Haraszty in his writing An Example from Győr published in 1977 (in a foldout of the one-time Józsefváros Exhibition Room in Budapest), „The most important objective of actual art is to convey information on the time spirit it was born in. The documentary character of expressiveness is increased if the artists find a way to make their works applying the most up-to-date technology, up-to-date materials. If we consider the quick changes of technological development it turns out that it is beyond the power of an individual or a team to keep up to the minute with technology. I do not believe that it would be a solution if in works the unattainable and so unrealizable up-to-dateness as a problem of age manifested itself. Nothing is left but track down the solution at the expense of the least possible compromise. It seems to be a good solution to convert one or another comer of larger factories to temporary studios. And here is the example from Győr ...As the result of up-to-date technology, opportunities, unobjectionable atmosphere, our aims have been realized. We are only taking leave of our coauthors for a short time. The lesson is: mutual confidence, organization free of 17
