Novotny Tihamér szerk.: 10 + 1 éves a Szentendrei Grafikai Műhely (Pest Megyei Múzeumok Igazgatósága, Szentendre, 1991)

We have chosen a much simpler solution instead, Which terms have been usea to aenote the aiversity ana versatility so characteristic of Szentenare arttoday? It is worth collecting the linguistic formulae used in art history essays in oraer to confirm our statements and allude to the fact that it is not merely the differences between the features that are dominant in Szentenare art, but there are stylistic connections among some persons ana even relative similarities awaiting a precise description. We intend to enumerate the following attributive structures in a grouping that makes it easier to point out these connections ana tendencies: 1. Attitude concentrating on the sight: aifferent degrees of faithfulness to nature e.g. on the pictures of János Pirk, Pál Miháltz, Piroska Szántó, Imre Szántó and Judit Kaponya. 2. The geometrical or anthropomorphic transposition of the characteristic elements of SzentenPre architecture in the works of Jenő Barcsay, Pál Deim, László Balogh, János Aknay. Constructivism is a flourishing trend in Szentendre art in diverse forms like the esoteric-tantric version of Deim, the decoratively geometrical Neo-Geo of Ottó Vincze, the angular Constructivism of Balogh, Tamás Konok and Endre Lukoviczky, the Surreal-Constructivist sign language so characteristic of Aknay, József Bartl, István Gy. Molnár, the subtle version of Balogh and the puasi-mythological puality of László Hajdú, 3. The classic ana Neo-Dadaist arsenal ana creative principles characterise the work of Enare Bálint, Dezső Korniss, István efZámPó, László feLugossy ana Simon Csorba. Surrealism of a critical tone with a preference for the absura falls within the same category represented by Csaba Ásztai, György Holdas, András Wahorn ana Viktor Lois, and so aoes Surrealism feeding on the roots of suburban folklore, city subcultures, the graffiti ana Primitivism (Wahorn, efZámbó) ana Surrealism in its eclectic version icluding elements of rural-agricultural culture as created by Imre Bukta. 4. The concept which feeds on the symbols of the rests of myths and those of the universal kulturkreis in an emblematic (László Pirk, Krisztina Rényi) or organic (Sándor Krizbai, Rudolf Pacsika) and emblematic-Surrealistic way (János Szirtes). But Borgó's (Csaba György) heraldic private mythology and the works of artists in search of mysticism, fantasticality, totemism or auasi-religiousness (Gábor Magyar, Krizbai, Dezső Mészáros, Gábor Matyó(falvi), Ervin Páljános) fall into the same category. 5. Artists using the classic arsenal of lyrical abstraction proceeding towaras more ana more expressive tones and using also gestures: Erzsébet Vaszkó, Piroska Jávor, Ildikó Bálint, Ilona Keserű, István Nádler etc. 6. Ironic ana pseudo-naive art using Pop Art ana Post-Pop Art instruments (Imre Kocsis, István Regős). 7. Art using the photo as a document or objet trouve or ready made to be manipulated and reinterpreted (Ásztai, feLugossy, Kocsis, Szirtes, Aladár Garaa, Lois). This versatility that is so characteristic of the last decade could only be of individual origin, however impossible a complete enumeration is. This kind of art constructs really „subjective" oeuvres: each artist's work is different, Despite the above statement there seems to be two main trends in contemporary art in Szentendre which, apart from the „suPjective isolation" contains collective features as well as it is apparent for all who are familiar with local art ana graphics, These collective stylistic features - certainly to be viewed from the aspect of subjective careers - point out a virtually functioning Avantgarae ana a Neo-AvantgarPe