Galeria Uj Kriterion si Galeria Varfok Budapesta va invita miercuri 25 mai orele 18 la expozitia pictorului
Str. Petofi nr 4, Miercurea Ciuc
For a couple of years, I was getting familiar with the humanity and art of franyó only through the phone because personally I only met him later. Sometimes he called me from Paris and with his jovial serenity he always managed to compensate my daily bitterness, I could step over my miseries which are often caused by others so directly. This is what only those who are capable of love can do, those who are not just artists.
When we were starting to get to know each other, franyó told me that mostly he would like to exhibit in Mongolia, on the Galapagos Islands and in Mátészalka. Recognizing these desires, I cheered for him and – to my great delight – he managed to solve his tasks he set for himself, we even had a joint exhibition together with Rudolf Pacsika in Mátészalka. I was elated mostly by the potential of an exhibition organized for ancient reptiles, because this is the most what an artist can achieve, returning to their own, authentic category.
For there is a utopist ancient reptile inside of us artists, I think that only politicians were able to evolve to the most intense degree of evolution. On the occasion of an exhibition in Kyiv, franyó even got a Lenin-award from the director of the local museum. During a meditation with a bottle of vodka, the Ukrainian intellectual aristocrats immediately faked a new-looking Lenin-prize based on the original prize, which, after a great deal of toasts they gave to ‘dear franyó’, afterwards of which a serious celebration seemed right to be done.
During this celebration a half a bottle of vodka was spilled on this document filled with intricate Cyrillic letters and decorated with wonderful seals, which became stained as the consciousness of a modest average person. This is only a legend though. Or maybe it happened like that! On the paintings of aatóth franyó with strikingly red background, behind his figures, there are some fastidious spaces and times.
He dissolves the heavy topics that are so specific of ArtBrut with irony and self-irony, but he is also familiar with the sarcastic character reminding us of the Syldavs. His paintings reflect his affinity for the Oriental cultures. He overwrites his paintings with prosaic yet mysterious texts that live their own lives in their meaning. Even his unforgettable Syldavian sentence is a proof of this: ‘Mörzixszi krupoa rugtás, buli bluksz ja mi sukk.’
In English, that would sound like this: ‘Real art always bounces back even from the slimmest female ankle.’
– fe Lugossy László