In 2021-2022, an artistic research project was carried out in the KEMKI with the participation of renowned contemporary artists, as a result of which new works of art were placed in the corridors and some workrooms of the KEMKI.
The tapestries and enamel works of Ádám Albert, Ferenc Gróf and Zsófia Gyenes are site-specific works based on research in the collections of the Museum of Fine Arts and the Hungarian National Gallery They create an opportunity for institutional self-reflection by dealing with memorial material, searching for possible connection points, and employing a contemporary artistic approach. By recalling and reinterpreting the possibilities of the genre (materials, techniques) and their historical context, the works reflect motifs and visual solutions on the textual and material documents preserved in the relevant collection units (e.g. the KEMKI Archive and Documentation Center and the Archive of the Lectorate).
On the tapestries of the right corridor and in the researchers' room of the first floor (by Ferenc Gróf and Zsófia Gyenes) the enlarged logos of the art institutions that defined the period before the regime change (Képcsarnok Vállalat, Young Artists Studio, Association of Hungarian Visual and Industrial Artists, etc.) appear as a central element, a "decorative motif" in the archives in front of backgrounds with colors extracted/mixed from documents - yellowish letter paper, stamp blue, etc..
The left corridor's enamel "board pictures" ( by Albert Ádám), distributed on a metal supporting structure, "illustrative tools" transform some selected motifs of the works of József Rippl-Rónai, Dezső Korniss and Lili Ország, as well as the documents of Mihály Munkácsy, László Moholy-Nagy, and the individual transcripts of the details, visual elements, lines of images/poems of correspondence between Dezső Tandori and Dezső Korniss.
The thematic unit of the enamel paintings on the second floor (by Albert Ádám, Gróf Ferenc) operates pictographs and concepts, cartographic elements, and typographical solutions "interpreted" from a historical and institutional context. The latter works were created at the enamelware factory in Bonyhád, which executed many public works of Hungarian neo-avant-garde artists (for example, the creators of the Pécs Workshop) at the turn of the 60s and 70s, and is still in operation today. The tapestries were made by a hybrid, both industrial and artisanal technology (tufting gun).