January 31, 2024 - March 9, 2024
Rita KOSZORÚS presented her work at the first time in VILTIN in a group exhibition entitled absurdity is my favourite feeling, then with Andreas Werner in a duo exhibition entitled What we built and what was built for us. The artist's first solo exhibition, A home full of doors, is a site-specific installation of objects and paintings related to memory, identity and the notion of finding one's home.
Collage, in her works appears as a theme and as a form of tool as well to be interpreted as an analogy of modern human existence in a world of choices. The position of the painting as a non-static-object and the presence of the compositional or media mix of collage evoke the intertwined 'story fragments' that are stabilized in the processes of artistic decision.
The 'collage aspect' also acts as a visual ammunition to reveal the ambiguities of memory, questioning the present, the future and the past, the constant movement of the individual's search for a place and home, and the familiar nostalgia of the hopefulness of infinitely combinable elements. The momentary and experimental nature of the collage construction appears as a fully-formed result on the canvas. The pictorial elements, like the paintings and objects in the installation, are arranged in a map-like manner, hence erasing the boundaries of the paintings that can be reduced to their building parts. By exploring that potential of abstraction which creates meaning for the individual works not through pairs of opposites, but through complex compositions of notion.
In KOSZORÚS's most recent paintings, floating and hovering also play an important role as a motif of displacement, levitation, movement and rearranging force. Arrangements with softer shapes and silhouettes take on symbolic forms, while a lack of figurality fills the spaces. The atlas-like elements of the abstract artworks, realized on the laws of collage, shift from their usual positions towards the vague option of narrative. They do not necessarily seek the possibility of storytelling, but rather define a flow towards concreteness through the use of pictorial space. The softness of the raw linen, created by folding, creasing and ironing, is transformed into a solid object and lives on as the carrier of a new story. Fragments of utopian and imaginary landscapes, places with both familiar and unfamiliar atmospheres, appear as symbols of an elusive idea of a home. The remembrance, slipping on the balance mechanisms of the contrasting images of kind and not so kind memories, arrived to the benevolent shadow through the contemplative 'time travel'.
The compositions signalling in one direction avoid absurd situations, simultaneously highlight the over-romanticised grips of the past and the 'promises' of future. More concrete fixed points, discernible relations take centre stage in the paintings, which are also finely tuned markers of the continuity of change and postulates of the reality-present lurking in its totality.