… constitutes the oldest part—and perhaps one of the most valuable portions—of the KEMKI ADK collection. In addition to the documents, it also contains his relics: his furniture, the plaster cast of his right hand, his palette, his mourning ribbon, and the silver laurel wreath given to Mihály Munkácsy in 1882 by his fellow artists along with the National Hungarian Society of Fine Arts (KEMKI ADK Inv. No. 4003/1941)—which, in the present work, appears as a silhouette. The collection also …
… was acquired by the Hungarian National Bank from the artist’s nephew, Levente Nagy in 2015. The collection primarily aids in scholarly research. In addition to lists of artworks, books and other publications, it also includes a few autograph letters and early watercolours, which had been left in the family’s possession.
… requirement when it comes to constructing an institutional structure—and especially an archive/collection. The vertically proceeding, Neurathian-type flow diagrams of morphing white shapes projected onto a black enamel surface reminiscent of a switched off monitor screen model this process along three possible paths, all leading to the same destination. The forms derived from textual, framed pictorial (painting, print, etc.), motion picture- and photography-based (perforated edge) media …
… enamel work invokes the artist’s 2012 piece entitled State of Shades, found in the Contemporary Collection of the Hungarian National Gallery.[2] At KEMKI, the “colour average” of the latter work—having been determined by digitally blending the colours of paintings held at the Hungarian National Gallery, in the “interpretation” of the Bonyhád artists—is given a slight tint of military green. The web of references connected to this minimalist and reduced visual world can be widened: …