István Nádler: Neither for the earth, nor for the skies October 11, 2007 - November 10, 2007

István Nádler (1938, Visegrád) is one of the most outstanding representatives of the ’70s abstract, serial and structuralist art in Hungary. His early formative works were created in the spirit of informel and lyrical abstraction. His art, deeply rooted in the emotive and the sensual, evolved into a more detached, intellectual attitude and from the beginning of the 1970’s he became a characteristic representative of Hungarian hard-edge. His oeuvre is pervaded by the recurring tension between geometric and gestural forms, his works center on the search and discovery of motifs, and their articulation through painterly gestures. From the end of the nineties to the present day his paintings seek a pictoral expression of the internal power that exude a subtle aesthetic balance and harmony.
Nádler’s exhibition opens this year in October with a series of particularly lucid, radiant paintings. The works reflect the aesthetic and philosophical trajectory of the artist since his 2001 series of black-over-black works. From the aesthetics of a complete lack of forms, Nádler returns to the binary division of the picture plane, upon which he creates subtle layers of bright, radiant geometric spaces, whose rigorous order is dissolved with dynamic and spontaneous gesture marks. Visitors of XO and Várfok Exhibition Halls can enjoy Nádler’s series of approx. twenty paintings, in which he combines the painterly representation of the encounter of transcendental and real worlds and his new thematics, the expression of the radiant enegry of light and of spiritual power.
The iambic gestures (the „iambs”) that recur through the series relate and balance the tension between earthly existence and transcendental power. Thus the continuity of the vertical binary division of the paintings extend through this series as well, now reflecting upon Apollinaire’s evocative phrase: the poet’s binaries of the eath/skies, spiritual/physical, the experience of detachment and return. In Nádler’s world, the black field that fills the left half of the canvas (in most compositions) stands for the archaic past and transcendental spirituality, while the right side’s lucid colors exude the power of presence and earthly world. The iambic gesture connects the transcendental and earthly reality, its dynamic movement expresses a cyclical order of detachment and return, exuding radiant energy and unifying harmony. 


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