Szilasi Ágota, H.: Víz - fény-szín-tér. Stílusvariációk egy technikára. Egri Országos Akvarell Biennálé 1968-2004 a Dobó István Vármúzeum kortárs akvarell gyűjteménye (Eger, 2006)
spaces while pleasant were not suitable for an exhibition of its size. At a venue where pictures had to be hung on screens, the biennial always felt that it was little more than a guest. It was never possible to arrange things as one would have wished or create an intimate exhibition space, let alone be able to welcome visitors in a manner befitting a host. For a time there were hopes that a venue had been found that could really be called home, namely Tábornok House (1996, 1998, 2000), a building well suited for an event which could claim to be more cultivated, more exciting and more popular than ever. The venue problem continued however until the Trinitarian Church, which had been left unused forfouryears, became available. While its magnificent interior has now been used on two occasions (2002, 2004), the building is still not entirely suited for exhibition purposes, certainly not in its present condition. Furthermore the small-scale works characteristic of this intimate and translucent medium get lost in what is a monumental and cavernous space. In recent years it has been realized that the adjustments which have been made to the canon have resulted in a major change in artistic approach. The technical clarity, the regularity and the harmony are things of the past. It is now difficult to decide exactly what a watercolour is and a major debate has arisen on this very question. Indeed, it is interesting to question the legimacy of „mixed media" works whose only claim for inclusion at the biennial is a formal interest in the unclear and the indistinct or in surface effects. From what has been said thusfar it is now seems that it is simply not enough to assume „that paper, water and water soluble paints are given." (Tibor Wehner) The materials have changed, one cannot even assume that the paintings will be painted on paper. They may be painted on wood, textile, stone or some other material which will allow the various types of water soluble paint to behave in the way the artist wants. Whether applying washes or paint, there are any number of water soluble materials which can be mixed together in any number of ways. Even one of the very basics of painting, the flat surface is being called into question. To this one can add an increase in scale, and the inclusion of the frame in the work. Indeed, one can argue that the works are sometimes offering a challenge to the cabinet painting or indeed the contemporary installation. The mode of depiction has also changed a great deal. The 21
