M A Ł G O R Z A T A S Z Y M A N K I E W I C Z
M Á R T O N N E M E S
F A L L I N G O U T T H E R H Y T H M
2 0 1 9 . 0 9 . 0 5 – 1 0 . 31 .
Erika Deák Gallery is delighted to announce its season opening exhibition, a collaboration with BWA Warsawa Gallery, where we will present the most recent works of Hungarian Márton Nemes and Polish Małgorzata Szymankiewicz.
Both artists deal with musical concepts (sound, rhythm, techno, rave) and the social phenomena accompanying these notions (escapism, tribalism, social alienation), while translating them into the language of abstract painting.
Małgorzata Szymankiewicz (1980, Poznan) is one of the most talented Polish painters of her generation. She follows the tradition of Polish and international abstract painting, and focuses on the aesthetic of modernism and its formal questions. In the process of working she amplifies her topics towards a barocque principle, that is to applicatio sensuum, the dynamics, the illusion of movement, and as well the appearance of plasticity in painting.
Rhythm, for her, is a mean of escape from conventions, repetitions of typical human actions and way of thinking, while she uses plasticity to break the expected rhythms.
Plasticity for her is the actual mark of creation, it is the form and its deconstruction, and suggests the unpredictable that stops the movement of rhythm.
Márton Nemes (1986, Székesfehérvár) lives and works in London. His body of work can’t be described as traditional paintings, he endlessly experiments with new technics and materials, constantly widens the boundaries of art. By pushing the limits of painting, Nemes is able to enhance our assessment of abstract painting, he often expands into space. Anomalies of the built-up environment, or the elements of subcultural phenomenas, such as the electronic music culture and its accompanying stylistic features has always been present in his art. Refering to the features of contemporary youth cultures, repetitive structures, patterns, wildly expressive details are juxtaposed with rigid, cold constructions within his works.
Falling out the rhythm alludes to constant experimenting, to the ever changing and advancing act of the creative process, but as well refers to the un-resting unity of the variety of used materials, to the captivating colloquiality of this two-person exhibition.