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"

Therefore the artists’ symposium and its sculptural section - which was in the decades of socialism a scene of relatively free creation withdrawn from the strict control - just like at Nagyatád and Villány, could not function without conflicts in Győr either. The creative work at the symposium opened up special opportunities of creation for the artists working in the medium of sculpture: the artists managed to realize their material-, energy and technique-intensive, large-size, often monumental compositions to the exclusion of customers, control and regulation of cultural and art policy/ideology.

The control was limited to rather uncertain designation of the invited artists, the subsequent modification of the symposium’s profile, nevertheless up-to-date, progressive works representing the autonomous programme were born in these spaces from the second half of the seventies to the political transformation and change of the regime, as well as in completely different circumstances to our time. Following the operation of the RÁBA-team, which can be qualified as relatively uniform, in the eighties the activity of the symposium’s sculptural section became more diverse and complex.

In this period sculptors of opposite mentality or following parellel careers worked in Győr, who had dissimilar attitudes to renewing initiatives and naturally characteristic individual profiles of creation, such as György Galántai and Ferenc Lebó, László Győri and Edit Rácz or István ef Zámbó, Gabriela Fekete, Valéria Sass, Tamás Trombitás, representatives of different generations, whose start (academic or self-education) and attitudes diverged.

This complex overall picture of sculpture was supplemented by the appearance of further masters in Győr in the nineties: the works I’m Laid Out Here, Industrial Object, Serial Object by Tibor Budahelyi, Altar by Tamás Gaál, Resumption, Hurling Over by István Haraszty (returning with new works to Győr after the „heroic age”), Idol and Construction by Gábor Heritesz, Composition by Ferenc Nemes, Turning Round of a Plane by János Szász, Variable Relief by Ildikó Várnagy, Objekt by Gábor Mihály Nagy presented at the exhibition also prove this. The importance and place of the creations, up-to-dateness and topicality of the Hungarian artists are finetuned by works of artists coming from the European countries to Győr, such as Anu Tuomisaari’s Motifs, Frits Vanén’s Baroque Motifs, Wolfgang Prager’s Serial Object, Jan Baetsen’s Hungarian Tulip, Dan Steffan's Without Title, Kerstin Stökkel’s Present, Elsa Mäkelä’s Bird, Ingrid Gibbels’s Organic Form.

Among temporary symposia of artists, looking back on noteworthy past, which functioned in the last third of the 20th century and have come to an end by today or operating even these days, Győr has achieved a special status: whereas these artistic organizations generally restricted their activities to a single medium of art - and above all painting and graphics, perhaps applied arts - the West-Transda-nubian city received both applied artists and sculptors. Examining the activity of the sculptors, we can observe interesting specificities of Győr: statuettes desig-nated by

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