Exhibition of selected luminokinetic works form the Emilia Suciu, Germany, and the Szöllősi-Nagy – Nemes, Hungary, Collections at the Vasarely Museum Budapest and the Budapest Gallery held concurrently. 

The Latin-American luminokinetic art is very strongly represented at the exhibition that is quite unique. At least in Hungary.

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There are some discernible points of convergence in the collection anchored by the works of internationally renowned artists of Hungarian origin. First, there is, as an overarching theme, geometric-concrete art with works ranging from the 1970s to current, fresh non-objective examples. 

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Then there is a group of either kinetic or optical works built around world-famous artists of Hungarian origin, notably Nicolas Schöffer and Victor Vasarely, into which, with the course of time, international artists have been introduced including, among others, a host of Latin Americans such as Carlos Cruz-Diez and Jesús Rafael Soto. Also featured in this fraction of the collection are founding figures of optical art (Julio Le Parc, for example) as well as Central European (e.g., Viktor Hulík), Italian, Latin American, and Hungarian artists. Here the collectors’ careful selection is as present as ever. 

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Daring decision-making and constant reappraisal, on the other hand, are also apparent from contemporary artists such as innovator Aleksander DRAKULIC (Slovenia) or engineer-cum-artist Ferenc Pócsy of Hungary. In short, this group of works provides a representative picture of kineticism and op art from the 60s to the 2000s.

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Alekdander DRAKULIC is also interested in the questions of perception; his motto “The screen of my perception is my consciousness”. He, too, synthesises op art and kineticism.

His Double Square Matrix project explores how a membrane matrix pattern behaves in an interference environment and how this creates the illusion of space and form. Once more, the human eye perceives a flickering blur movement, present and absent at the same time. The illusion is further enhanced by the properties of the materials used, such as the perfectly even surface of aluminium disband that, once “painted” with UV light, produces a thee-dimensional image on the retina.

Flora Meszaros, from the LUMINOKINETIKA catalog

(A catalog was published within the Szöllősi-Nagy – Nemes Collections catalog series, No. 5, edited by Judit Borus, series editor: Gábor Ébli.)