Mészáros Júlia, N.: 35 éves a Győri Művésztelep. Történeti áttekintés, művek, életrajzi adatok, beszámoló a jubileumi találkozóról - Győri művészettörténet 4. (Győr, 2003)

N. Mészáros Júlia: A Győri Művésztelep működésének és alkotótevékenységének 35 éve

Interactive and meditative space works, environment-experiments, small and large-size sculptures, works elaborating directly fresh impressions, motifs of local forms, environmental elements as well as natural conditions seeking for dialectical connections between the city’s past and present were born (9).

Part of the creations in radical contrast to the previous ones was not originally made for exhibitons, rooms of museums but for streets, squares, natural and built environment as well as the unutilized synagogue to be renovated. Some examples: Hildegard Bauschliecher created her sensitive collages from used materials thrown away in the busiest pedestrian precincts of the city. Ulf Raecke made maplike crayon drawings reconstructing Győr’s various city structures of the past in imagination, Sabina Hunger’s objects welded of iron, rhyming with the baroque and rococo motifs of cast iron fences, Matthias Geitel lithographs using frottages of 19-century sewer covers. Laurent Reynes Leyer erected a meditative monument of an element of a wall and pottery fragments. Ilona Suonio stopped the gaps of the surface of Széchenyi tér with colour paper pulp and covered the bars around the trees in Városház tér with exquisitely done self-cast red paper, then placed plates representing Turkish and Hungarian soldiers, printed from 18-century cardblocks on hand-made paper along walls and bastions of the one-time inner city reconstructed by her, addressing the passers-by, watching their reactions as well as holding a dialogue with them about the past of the city (Arrabona Wall Project). The strict geometric sculptor Frits Vanén experimented with the disruption of his clear geometric module system by organic arches under the influence of local baroque architecture and synthesized his experiences in a monumental work of several pieces (Red Construction) as well as his sculptures entitled ’Gate’ and ’Vectors’. Tamás Trombitás and Tamás Gaál welded large-size cast iron sculptures consisting of several pieces (Diagonal Crossing) as well as lithographs immortalizing the phases of thinking about them, Ildikó Várnagy made a relief welded of identical elements and their variations, variable at will from free-standing elements painted coloured, and large-size plaqettes. Endre Koronczi, Jenő Lévay and Imre Tolnay mounted as a joint exhibition their works rhyming with one another and the sacral space of the one-time synagogue, based on translucence and light.

The similar thinking of the artists from different countries, their noteworthy interest in the city and motivation by the local environment gave the encouragement to the symposium’s baroque theme in the third year, in the framework of which the conceptual artist Will Brands erected a pergola placed on a concrete base and iron frame, entwined by real plants and made its geometric version formed of bars painted red as well as created the St Stephen Throne realized of reinforced concrete, to be placed in front of the apse of the cathedral. Besides Ágnes Péter’s bronze and metal sculptures resembling cultic spaces, Felix Sommer evoked the sensual experiences connected with the

83