In February 2017, we opened our project gallery, called Hybridart Space, at Galamb Street 6. In addition to hosting classic exhibitions in the white cube-type space, we’ve also held design events, book launches, diploma exhibitions, sustainability hackathons, project kick-offs, art dinners and Sunday lunches, and even shot a film once.
Simplicity, reduced gestures, repetition, specifically processed surfaces, monochrome palette or line-led drawing. These keywords could be used to define the four young contemporary artists shown in the Unbound - The Unexpected Constellation exhibition, which was curated by Zita Sárvári.
The exhibited works showcase geometric elements evoking architectural effects alternating with organic freehand forms. Identical and repetitive forms of the self-referential works reveal a re-designed and stylized version of our own environment. The environment surrounding us is an inspirational source for all four exhibitors. In the works of Zsófi and Anna-Bella, the city and its structural system, its network structure and repetitive patterns, are shown in a completely abstract form. In Bruno and Adrian's artefacts, we can find more specific references to these and the historicity of the re-contextualized version of the objects.
The art of Bruno Baptistelli (1985, BR) is based on the meticulous observation of the functions of urban spaces and the conclusions drawn from it. His activity is similar to the practice of urban archaeology, except that he uses their presence as a comprehensive cultural and sociological picture of certain aspects.
Zsófi Barabás (1980, HU) has found her voice through the field of abstract painting, but figurative drawing also plays a major role in her art. Repetition, rhythm, as one of the principles of art, is also the driving force behind Zsófia's art. Again and again she takes on the organic shapes, the rugged surfaces, breaking the plasmatic wave movements with sharp geometric details.
Anna-Bella Papp (1988, RO) lives and works in Antwerp. In recent years, she has gained international recognition with her largest pieces of clay board objects. Her uniform book-like boards highlight the infinite variation spectrum of clay, from the very simple geometric solutions to the more complex figural, hand-scratched motifs.
Adriant Kiss (1990, RO) cannot be presented with the conceptual framework of traditional genres. The genres of applied arts are as obvious in their sculptural and installation works as the formal elements of architecture or the automotive industry. But he also pays special attention to simple objects of our prosaic everyday life, such as a basketball, a fan, or a vase that he uses in a re-contextualized form in his works.