Waiting for the unknow:
Federico Luger is pleased to present Waiting For The Unknown, the first solo show in Italy by Hungarian artist Attila Szücs. The exhibition features a selection of new paintings, oil on can- vas, realized in the past two years. Women, children, family subjects are captured in key mo- ments, images able to convey an extraordinary emotional charge. A fascinating dialog between dreams and memories.
Attila Szűcs was born in Miskolc, Hungary and currently lives and works in Budapest. He is one of the leading painters of his generation in Hungary. His work has been shown in numerous solo and group exhibitions (KW Institute for Contemporary Art, Berlin; Ludwig Museum, Buda- pest; Künstlerhaus Bethanien, Berlin; Tylers Museum, Haarlem, The Netherlands). His works are also held in permanent collections such as Neue Galerie am Landesmuseum Joanneum in Graz (Austria), Hungarian National Gallery, Ludwig Museum in Budapest, Frissiras Museum in Athens. He is currently included in the group exhibition The Nude in London’s S/2 Gallery. He is preparing a solo show at the Ludwing Museum in Budapest for 2016.
Since the early 90’s I’ve been making traditional oil-canvas paintings. As a starting point, I often use media images, newspaper cut-outs, postcards, film-stills. When painting, I concentrate on such high density moments, when our everyday experiences and viewing practices become obsolete while decoding. I create empty spaces around the objects of thoughts and figures without defining them in a preconceived notion. It is the distance and the concentrated attention on absence that rules my relationship with painting. What I am most interested in is the search of interpretation of knowing and not-knowing, the way they are able to extinguish one another. I collect inspiration from the rubbish of collective memory, which I then re-interpret through the reality of painting. I attempt to dissolve the already defined and often false structures, and introduce new types of looking in a peculiar formal and compositional levitation, where the paintings’ vacuum-like state partially originates in the loneliness of represented elements, and partially from the transformation of metaphysical into universal.