31 January 2018 - 28 February 2018
|Place||Olomouc, Town Hall, Horní náměstí, CZECH REPUBLIC|
|Organizer||Galerie Caesar / Caesar Gallery|
This Slovak painter and photographer was born on 8 June 1953 in Košice. He studied veterinary medicine at the university in Košice from 1971 to 1976. At present, he lives and works in Hniezdne, near Stará Ĺubovňa. In addition to his demanding work as a veterinarian, he began to systematically
dedicate himself at the end of the 1980s to creatingartworks. The topics and trigger mechanism for his creative activities came from a two-year stay in North Africa, where both the distinctive, exotic
landscape and the intensively live colours – typical for the local culture – made a strong impression on him. Within a fairly short time, he became well-known in the domestic art scene, as well as abroad.
He combines the traditional medium of painting with expressive drawing and collage, recording the
almost banal and extraordinary moments of everyday life, often with a sense of irony and a humorous subtext. Photography for him is of course an artistic medium equivalent to painting, and he uses it masterfully – both for finding his own inspiration for paintings as well as for his own artistic expression and his non-systematic search for the visual poetry hidden in one’s nearby surroundings.
Recently, he has also taken an interest in intermedia documentation, which he combines with video art.
Since 1986 he has had twenty-five solo exhibitions in Slovakia, Poland and Hungary, where he also
enjoys taking part in group exhibitions, symposia, and painting en plein air. In 2012, he became a member of the Slovak Union of Visual Arts.
The main source of inspiration in the case of the
current collection of paintings DISORIENTAL, exhibited for the first time in Galerie Caesar in Olomouc, were the antique photographs discovered more or less by chance of the oriental harem of Naser al-Din Shah Qajar, Shah of Iran for a long 47 years beginning in 1848, and also one of the first photographers in Persia. And it is thanks to the shah’s interest in photography that we can thus get a glimpse into an otherwise sacrosanct and for anordinary mortal the previously forbidden, inaccessible, secret environment of a sovereign’s harem. These portraits of women however are at
some distance from the erotic symbols of today, and rather than our preconceived and romantic
conceptions of pampered, titillating, seductive sexual objects, scantily-clad solely in a delicate atmosphere of sensuality, we see somewhat shapeless creatures dressed in strange habits, with astonishingly bushy eyebrows and conspicuous dark moustaches. It is upon the revitalization of the
values seen and the contrast between the expected and the revealed reality where Turcsány’s authorial statement is placed. As an original catalyser of the ambiguity of the depicted portraits of women, he implants, with overt exaggeration onto the surface of the image, technical elements of an air-conditioning system “cooling” the non-existent passion. In this unusual theme, to which he dedicated several months of intense artistic activity, he came to terms with the reality of changing erotic symbols and observes also the problem of acceptance of current trends in one’s appearance
regarding the sexuality of a contemporary person of the modern age.