Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2008)
ANNUAL REPORT • A 2008. ÉV - MÓNIKA KUMIN: On the New Exhibitions of the Vasarely Museum
displayed at the exhibition are similar experiments in American Minimal Art, primarily evocative of Dan Flavin's works. In summer 2008 two exhibitions — Vera Molnár: Hommage a Dürer — Variations and Francois Morellet —Signals —w r ere jointly staged. The œuvres of Molnar and Morellet, by now regarded as classics, verge on the borderland of science and art. Both artists are founding members of the 1961 Group de Recherche d'Art Visuel, an art group that has set itself the goal of constructing the methodology of visual arts. The magic square of Dlirer's Melancholy has engrossed Molnar's attention since 1948. Works by the youngest generation of concept art, some of them previously on display, were exhibited in the closing event in 2008 entitled Constructive —Concrete Wanted 1. Levente Bálványos's right angle structures arranged into series (Black-grey Reliefs 1-9) explored the possibility of exiting a system. Agnes Eperjesi used "the inner layers" of a photograph, i.e. photographic paper exposed with colour light, to create the compositions of her abstract series entitled Colour Mixing with Tracing Paper. Gábor Erdélyi and Agnes Deli explore the interaction between perception and material through experiments with various materials and colour qualities. The strict principles of concrete art laid down in the thirties could hardly be detected in the exhibited works. Instead, they provide reflective readings (Ádám Csábi, Tamás Jovánovics, András Kapitány, Szabolcs Kispál), and contemporary reinterpretations of the concept of constructive-concrete art. VERA MOLNAR. GRIDS. 1970/2007 Mónika Kumin
